Zeb Gould

"...Then one evening Zeb Gould showed up with his 12 string guitar, and changed my perception of what I even thought possible for a performance of this magnitude. I felt as though John Fahey and Neil Young, in an effort to simultaneously squeeze through the door of our minuscule club, had somehow fused into a single inimitable force of virtuosic playing and nuanced composition. Zeb Gould seemed to have come from nowhere, and I was completely floored. I’ve been a fan ever since." - The Ampeater Review

Having opened for folk heavyweights Gillian Welch and David Rawlings, Zeb Gould must be something special. His bio says that he studied the art of fingerstyle guitar and the music of Fahey, Kottke, and Hedges. All I can say is that it shows. All of the Morning Birds is an intense trip through the countryside and yet is not overladen with “quick” fingerpicking or reoccurring themes. Only one song is sung, but each song tells a distinct story. It paints a delicate picture and shows off the skills of an up and comer in instrumental guitar. - CDReviews.com

While working as an archivist for classical composer Philip Glass, Zeb Gould started recording some work of his own. In college, Gould had developed a repertoire of fingerstyle instrumental works for the 12 and six-string guitar. His sessions in Glass' studio resulted in the album All of the Morningbirds, which includes the track "The Green Line," Gould's interpretation of a bustling Metro station.

Originally from Jersey City, N.J., Gould went to college in Bloomington, Ind. While studying, he practiced fingerstyle guitar by learning and deconstructing the works of John Fahey, Leo Kottke and Michael Hedges. Gould opened for acts such as Gillian Welch and David Rawlings, Kim Ritchie, Edith Frost and Sue Garner and became involved with the band Magnolia Electric Co.'s side projects. In one such project, he played lead electric guitar with fingerpicks for the Cinnamon Girls, a Neil Young cover band that played entire records as sets.

After graduating, Gould moved east to New York City with Megan Weeder. Weeder, a violinist, joins Gould on "Two Sisters," the last track on his album. - National Public Radio - NPR.com

Recorded within the walls of a former church turned recording studio, Destroyer Deliver is the latest album from indie singer/songwriter Zeb Gould. Following his 2014 release Dying Waves, Gould’s new album is eight tracks of acoustic guitar driven folk songs that could put even the most stressed minds at ease.
Fans of CSNY will love “A Body Ain’t Nothing” as it has Neil Young worthy vocal harmonies, soft but savvy guitars and two beautiful voices that compliment each other wonderfully. The song brings a flash of nostalgia to the record as it dives back in time to the California folk rock scene of the 1960’s. While many songs on the album have a similar aesthetic, it’s the unobtrusive keyboard addition that makes this track that much more special.

While the album is sonically cohesive, Gould takes time on tracks like “The Arsonist” and “New Moon Darkness” to explore various instrumentation avenues that stand out compared to the rest of the album. The contrast between a whimsical strings section with the addition of a banjo on “New Moon Darkness” is an unlikely pair that works well. It makes the track multifaceted and allows fans to discover something new upon each listen. “The Arsonist” also takes an alternative approach by building its monumental finish towards the end of the song before quickly fading back down. While the song is serene throughout the majority of the track, a powerful build up towards end resembles that of the song’s title. What was once calm and contained gets ignited by an unknown force and delivers the song’s powerful and unconventional ending.

The album also holds a pair of mindful songs that sonically radiate themes of peace, calmness and tranquility. Tracks like “Right As Rain” and “Away, My Destroyer” end the album on a relaxing note that truly highlights Gould’s fingerpicking talents. The addition of more strings and subtle notes from a piano make for a very graceful ending to a beautiful body of work.

Despite Destroyer Deliver being marketed as “gloomy-folk music” the opposite could be argued just as easily. Gould’s voice along with his contributors create a sense of warmth throughout their music that makes their melancholic sound comforting and inviting. With the addition of top tier instrumentation, Destroyer Deliver would be a welcomed addition to any music collection looking to add some mindfulness to their space.
- Words by Katie Tymochenko - Northern Transmissions

"Listeners who enjoyed the early recordings of John Fahey and Leo Kottke won't miss the obvious nod to those influences on Zeb Gould's "All of the Morningbirds, a collection of 12-string guitar songs. Gould practically channels Kottke with a driving, percussive style on "A Spider's Quest for the Sun," "Consuela," "End/Beginning," and "Young Icarus." According to the label's press release, Gould spent time in New York working as an archivist for composer Philip Glass, which might account for this eclectic potpourri. "Hedwig" has a sparse, almost piano-like color to it, while "Interlude" is bracketed by over 25 seconds of silence before and after the fading track. There is one vocal on the CD, "Locomotive Blue Streak," with harmonies reminiscent of Crosby, Still, Nash, and Young's early work. The album closes with the only ensemble piece, "Two Sisters," where Gould is joined by Megan Weeder on violin and Sam Crawford on piano. The eleven cuts on this record will satisfy those who like 12-string guitar playing, and will recall perhaps the heyday of that medium..." - Minor7th.com

...Gould's ace card...is a compositional intelligence departing from the mainstay of the style's wont. Like Peter Lang, he incorporates elements not easily identified but which expand the parameters of the ouevre nicely. A bluegrassy base remains the heart, but there are ample change-ups and time shifts, including wistfully languid passages, tone mutations, liquid themes, and a myriad of colorative devices...
...Gould tries his hand at singing on one cut and reveals not just a marvelous set of pipes but a very good sense of multiple harmonies and where they ought to go, tracking himself as a quartet, bringing out a CSNY complexity and sonority... - Folk and Acoustic Music Exchange - FAME

"...If 'All of the Morningbirds' is any indication, Gould fits right in with [Leo Kottke and John Fahey].
The album opens with 'A Spider's Quest for the Sun," which deftly blends a rootsy melody line with Gould's frenteic fingerpicking. It's a good example of how enjoyable the genre can be as a flurry of notes intertwine the melody line, enhancing and enriching it far beyond its simple origins.
As rich as "Spider's" sound is, "Hedwig" is equally spare. Gould utilizes silence as well as he does noise, structuring the delicate, moody melody with finesse. There's a somber yet hopeful quality to the song, which stands as a reminder to how much emotional weight can be created with just one instrument in the right hands.
Equally impressive is "Consuela," which balances noise and silence with its tasteful fingerpicking and enough space for the composition to breathe. There's enough of a Mexican feel to justify the title while reminding us of our neighbor to the south's rich six-string heritage.
Gould's day job is working for Philip Glass, who's likely the most renowned American avant-garde composer alive. It would be a stretch to say that working as Glass's archivist has influenced Gould's music, but Gould shows an insight and appreciation for composition that many of his fingerpicking peers lack..." - The Other Paper