Vernon, a guitarist and singer, and Westerlund, a drummer, started playing together in middle school, but Epoch picks up in 1998, when they fused with bassist Brad Cook and pianist Phil Cook as Mount Vernon. It’s every high schooler’s right to be annoying, and Mount Vernon exercised it fully. Their Saddle Creek-style indie folk was lethally earnest, its high-minded ideals untested, their cultural boundaries unquestioned. They were rule-followers, un-punk, with a “terrifying Protestant work ethic,” as one member put it. In short, they seemed the people least likely to rip it up and start again. Singer Sara Jensen is appealing on “We Can Look Up,” but Vernon is still figuring out whether he wants to be Adam Duritz or Lead Belly. The ska horns don’t help. Mercifully, high school graduation put a stop to this.
Soon enough, the Cooks reunited with a Westerlund, Dan—Joe was studying experimental music and jazz with Milford Graves at Bennington—in another band led by Vernon. But they were all a little wary, and they were all changing. The dreadlocks, dashikis, and Tibetan flags had fallen away, and a gentle, tasteful, moody Americana style was emerging. Vernon’s writing turned inward, his meanings shrouded in melancholy weather reports from real places that already lay half in childhood dreams. By 2004, when they released their debut album as DeYarmond Edison, Vernon was ripening into his husky voice. On the first LP here, you can hear their expanding horizons in a trumpeting electronic bauble from one of Vernon’s solo projects and “The Orient,” a mystic mountain of organ chords that ends disc 1.
The second disc reproduces Silent Signs, the album DeYarmond Edison made before leaving Eau Claire at the peak of their local fame. Now Dan was off to college, and Joe tagged back in. “Lift,” 97 seconds of gorgeously suspended gongs, horns, and soft feedback, tunes the listener’s antenna to the experimentation stirring in the sturdy songs to come. On the title track, the horns hang in graceful swags, the harmonica an almost strident drone. Vernon attenuates simple chord progressions into shards and curls, his songs unrolling in many pensive stages. Other highlights include the surprisingly good Tom Waits impression “Time to Know,” the salty-sweet Stevie Nicks homage “Dead Anchor,” and the whispering banjo-and-vibraphone mirage “Ragstock.”
The book’s appraisal of the music is washed in friendship, but it also has the sharp-eyed insights that only friendship allows. The young Vernon is portrayed as being driven by jealous rivalry with area bands like Amateur Love, which was gaining steam in Eau Claire. Even worse, the Cook brothers were members. Vernon made them choose. The compromise, which probably made sense in their mid-twenties, was that they would go all in on DeYarmond Edison, but it would be a collaborative vessel for their new interests, and they would relocate to Raleigh, a city they knew as an alt-country hotbed in the ’90s, with a Southern halo thanks to “Wagon Wheel.”
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