A glorious hymnal of dramatic, blustery compositions and serene meditations dedicated to faith and devotion, things a man like Edwards clings to in times of despair.   Full text...

With the exception of downright sunny instrumental “Bible and Bird”, Mosaic eschews familiar rural American song structures and arrangements, relying more heavily on echo, drone, and percussion drawn from a wide range of cultural influences, from Tuvan throat-singing to Eastern European gypsy folk.   Full text...

Mosaic, the third proper album from Wovenhand and the first since the dissolution of 16 Horsepower, makes that very clear: Though most of the songs here are based in archetypical Americana banjo, acoustic guitar and massive church organ swells, Edwards borrows heavily from European Christianity for source material and on European tradition for instrumentation.  Full text...

Yes, Edwards occasionally sounds like the type of Bible-thumper that’ll curse you to hell before going home to beat his wife and down some bourbon—but, more often than not, it’s because he’s a man more comfortable in his faith than his music lets us be in ours.  Full text...

There are certain kinds of music that seem to put you into direct contact with the person that made them, an unfiltered glimpse into a foreign soul. Mosaic is one of those records, overwhelming, dizzying, serious and beautiful, a spiritual experience even if you don't share Edwards' difficult faith.   Full text...

Mosaic is Edwards' most ambitious effort to date, finding him immersing himself in a simmering cauldron of dusky atmospheres, haunting drones and those goose-bump causing winsome vocals. It's a formula for an eccentric and haunting effort.  Full text...

This is by far the darkest Christian album I've ever heard.  Full text...