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Alabama based Pine Hill Haints display their unique blend of Old-School Country/Bluegrass/Folk, meets The Clash-inspired indie-rock on their latest effort, Ghost Dance. Vocalist/guitarist Jamie Barrier sounds at times like Joe Strummer. Barrier’s catchy guitar hooks at times sound like something Quentin Tarantino would put in a film. Simple bass licks played by Matt Bakula on a washtub bass add rich tone, with subtle use of slides. Charm in the music is found in its simplistic core and catchy hooks, which are familiar enough to stir up feelings of nostalgia, but innovative enough to hold your interest. Occasional use of an accordion by Posey add to the old-timey (not a word, but most appropriate) feel of the music, and adds new dimensions to the music. If the drums seem redundant, or over simplistic even for a bare bones band such as this, it is because Ben Rhyne’s drum set consists of a snare drum. No bass drum, no cymbals, no superfluous paraphernalia; just a snare drum. Nothing else would work with Pine Hill Haints. There is nothing in Pine Hill Haints that is not needed. Rounding out the lineup is Katie Barrier playing the washboard, and mandolin. They even use a saw in an eerie solo on Wake Up, the album’s last track.

For a band with such basic instruments, and simple musical arrangements, their lyrics tackle some hefty topics, ranging from neglected love, spiritualism, and globalization, often under the guise of an upbeat drinking song. According to the Haints’ record label K Records’ website, www.krecs.com, the band’s unusual name stems from a brief Native American movement in the late 19th century, which has resurfaced to some extent. This piece of information sheds quite a bit of light on the Haints’ musical style, and lyrical philosophies.