Red Beet Records

*****

A continuation of both form and thought, this second album from Eric Brace and Thomm Jutz is another beautiful collection of compelling songs. There is something about this pair of singer-songwriter’s music that is quite hypnotic, working its way into your head without you realising it. Like a warm, crackling fire on a cold winter night, CIRCLE AND SQUARE feels like home. Lulling you into a trance, it’s a sonic palette that blends narratives entwined with authenticity, but also an acoustic sound brewed in the Americana heartland. The instrumentation is organic and though the compositions, initially, feel simple and straightforward, there is depth here that most writers aspire to. Kudos then to Eric and Thomm for turning their love and fascination for creating music into a delightful, elevating piece of work that really gets as close to sheer perfection as it’s possible to be.

Creativity is at the heart of this set and is the complete antidote to the destructive world that we currently live in. Their story-like songs highlight the less celebrated people, from ordinary workers to artists, displaced townspeople to colleagues no longer around. The album opens with 10 to 4, a reflection on time zones whilst relaxing in the Netherlands during a tour. Eric’s tuneful, clear vocal is at the centre of a song that features a catchy chorus and memorable melody. Thomm’s intriguing harmonies, that are more of a caress, pull you in further to the languorous lyrics, that help create a beautiful meditation on living life in the moment. They turn to history for inspiration as well. On The Back Of A Horse surveys both the daring and difficulties faced by the rugged individuals—mainly women—who helped to make the 1930s Pack Horse Library Project a lifeline for those living in isolated communities in rural Appalachia. The song follows Eloise on her journey across rough terrain, her saddlebags packed with books, magazines and newspapers for eager readers. Studded with the tiniest details, it takes the images or pictures of the woman, the landscape and the families she was travelling to, as real stoic symbols of America’s new frontier. 

The gently jogging Fontana Dam, conceals the reality of how the march of progress can impact ordinary people. Four thriving towns in North Carolina were submerged in the 1940s, with hundreds of families displaced. Told from the perspective of a former inhabitant of Proctor, and honing-in on deeply evocative personal memories, beneath the welcoming musical arrangement and gentle melodic lull, the lyrics explore sad lyrical territory that leaves a lasting impression. In the past, Eric and Thomm worked a lot in a trio with Peter Cooper. That came to an end three years ago when Peter, an acclaimed journalist, singer and songwriter passed away at a relatively young age, leaving a massive gap in so many people’s lives. Nothing Hurts shows how that gap has so deeply affected this pair. Tinged with simple melodicism and a stark, intimate vocal from Eric; emotionally perceptive, this exudes waves of pastoral comfort. Both are art lovers, and a trio of songs pay tribute to the little-known Thomas Hart Benton, Diego Rivera and Max Beckham. Though I’ve seen The Sources of Country Music painting in the Country Music Hall of Fame many times, I had no knowledge of the artist or the background to this stunning work of art. Thomas Hart Benton, fills in the details with an informative and catchy slice of Americana-folk that is irresistible. Diego In Detroit, unveils the background of the Detroit Industry Murals painted by the acclaimed Mexican painter in the 1930s. It’s not the kind of subject often explored in a roots music song (unless you’re Eric and Thomm), and certainly not with the level of specificity in its words. From the same era, Beckman In The Frame, lyrically captures the images that the banned German painter created so masterfully. The  duo pull you in with simple, but effective vocals and an immaculate musical arrangement. 

Credit should be given to the small studio group comprising Mark Fain (bass), Lynn Williams (drums), Finn Goodwin-Bain (piano) and Thomm’s  own inventive multi-instrumental skills. This talented crew have ended up creating a low-key epic that makes its stand on the often-overlooked ideas of meaningful songwriting and outstanding musicianship. Along the way, they have done a wonderful job of paying homage to the 20^th Century, by shining a light on lesser- known people buried deep within it; creating interesting songs that are both relatable and sit neatly into the folk-song tradition, without sounding in any way archaic.  

https://www.redbeetrecords.com

January 2026