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Diamond Grove

by Weirs

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  • Streaming + Download

    Includes unlimited streaming via the free Bandcamp app, plus high-quality download in MP3, FLAC and more.
    Purchasable with gift card
    Download available in 24-bit/48kHz.

      $10 USD  or more

     

  • Compact Disc (CD) + Digital Album

    designed by Natalie King, includes liner notes

    Includes unlimited streaming of Diamond Grove via the free Bandcamp app, plus high-quality download in MP3, FLAC and more.
    Download available in 24-bit/48kHz.
    ships out within 5 days
    Purchasable with gift card

      $12 USD or more 

     

  • Record/Vinyl + Digital Album

    designed by Natalie King, includes liner notes

    Includes unlimited streaming of Diamond Grove via the free Bandcamp app, plus high-quality download in MP3, FLAC and more.
    Download available in 24-bit/48kHz.
    ships out within 15 days
    Purchasable with gift card

      $20 USD or more 

     

  • Record/Vinyl + Digital Album

    designed by Natalie King, includes liner notes

    Includes unlimited streaming of Diamond Grove via the free Bandcamp app, plus high-quality download in MP3, FLAC and more.
    Download available in 24-bit/48kHz.
    shipping out on or around November 1, 2025
    Purchasable with gift card

      $22 USD or more 

     

  • "Isaiah 2:4" Crucifix

    "And he shall judge among the nations, and shall rebuke many people: and they shall beat their swords into plowshares, and their spears into pruninghooks: nation shall not lift up sword against nation, neither shall they learn war any more."

    Made in the Iron-Age cuttlefish bone casting method from melted grapeshot gathered by a relative in the 1880s at Fredericksburg. Cast in Hillsborough, NC near Bennett Place, where Sherman's great wave crested and the coward slavers bowed their heads forever. Inscribed with "Isaiah 2:4" in dedication to a future without empire, nation, or war.

    Extremely limited edition, one-of-a-kind pieces- each mold is destroyed by the casting and must be re-carved.

    ***Disclaimer- these are made of 19th century lead and should not be handled before eating or worn on the body. Wash hands after touching. ***
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1.
I want to die easy when I die I want to die easy when I die I want to die easy when I die, shout salvation as I fly I want to die easy when I die I want to see my mother when I die I want to see my mother when I die I want to see my mother when I die, shout salvation as I fly I want to die easy when I die I want to see my father when I die I want to see my father when I die I want to see my father when I die, shout salvation as I fly I want to die easy when I die I want to see Jesus when I die I want to see Jesus when I die I want to see Jesus when I die, shout salvation as I fly I want to die easy when I die I want to die easy when I die
2.
Lord Randall 09:14
Oh where have you been, Lord Randall my son, Oh where have you been, my handsome young one? I’ve been to the wildwood, mother make my bed soon For I’m weary with hunting and I fain would lie down. Where did you get dinner, Lord Randall my son, Where did you get dinner, my handsome young man? I dined with my true love, mother make my bed soon, For I’m weary with hunting and I fain would lie down. What did you eat for your dinner, Lord Randall my son, What did you eat for your dinner, my handsome young man? I had eels boiled in broth, mother make my bed soon, For I’m weary with hunting and I fain would lie down. What’s become of your bloodhounds, Lord Randall my son, What’s become of your bloodhounds, my handsome young man? They swelled and they died, mother make my bed soon, For I’m weary with hunting and I fain would lie down. I fear you are poisoned, Lord Randall my son, I fear you are poisoned, my handsome young man. Oh yes I am poisoned, mother make my bed soon, For I’m sick at my heart and I fain would lie down. What will you leave for your father, Lord Randall my son, What will you leave for your father, my handsome young man? My castle and land, mother make my bed soon, For I’m sick at my heart and I fain would lie down. What’ll you leave for your mother, Lord Randall my son, What’ll you leave for your mother, my handsome young man? My gold and my silver, mother make my bed soon, For I’m sick at my heart and I fain would lie down. What’ll you leave for your true love, Lord Randall my son, What’ll you leave for your true love, my handsome young man? I’ll leave her hellfire, mother make my bed soon, For I’m sick at my heart and I fain would lie down.
3.
Everlasting 03:51
4.
Edward 07:14
How came that blood on your shirtsleeve? Pray my son tell me It is the blood of the old gray horse who plowed the field for me It is much too red for the old gray horse, pray my son tell me It is the blood of the old gray hound, who run the fox for me It is much too red for the old gray hound, pray my son tell me It is the blood of my brother-in-law who went away with me And what will you do now, my love? Pray my son tell me I’ll set my foot on yonder ship and I’ll sail across the sea And it’s when will you be back my love? Pray my son tell me When the sun sets yonder in the east, and that will never be
5.
Doxology (I) 01:12
6.
7.
Lord Bateman 20:45
Lord Bateman was a noble lord, He thought himself of a high degree, He could not rest nor be contented Till he’d sailed upon the old salt sea. O he sailed east and he sailed to the westward, He sailed all over to the Turkish shore, There he was caught and put in prison Never to be released any more. There grew a tree inside of this prison, There grew a tree both broad and high. And there they took and bound him prisoner Till he grew weak and like to die. Now the Turk he had one only daughter And she was fair as she could be, She stole the keys to her father’s prison And declared Lord Bateman she’d set free. She took him down to the deepest cellar, She gave him a drink of the strongest wine; She wrapped her loving little arms around him, Crying, O Lord Bateman, if you were mine. They made a vow, they made a promise, For seven long years for it to stand; He vowed he’d marry no other woman, She vowed she’d marry no other man. Well, seven long years has come and gone, Seven years felt like twenty-nine; It’s she’s packed up all of her gay clothing And declared Lord Bateman she’d go find. Well, she sailed east and she sailed to the westward, She sailed all over to the English shore; She rode till she came to Lord Bateman’s castle And she summonsed his porter down to the door. Oh is this not Lord Bateman’s castle, And is his Lordship not within? Oh yes, Oh yes,” cried the proud young porter, He’s just now bringing his new bride in. Go bid him to send me a slice of bread, Go bid him to send me a drink of wine, And not to forget the Turkish lady That freed him from his close confine. What’s the news, what’s the news, you proud young porter, What’s the news, what’s the news, that you brung to me? There stands a lady outside of your castle, She’s the fairest one I ever did see. “She has got a gold ring on every finger, And on one finger she has got three, And enough gay gold all around her middle As would buy Northumberland of thee. She bids you to send her a slice of bread, She bids you to send her a drink of wine, And not to forget the Turkish lady That freed you from your close confine. Lord Bateman he pounded his fist on the table, And he broke it in pieces one two three, Saying I’ll forsake all for the Turkish Lady, She has crossed that old salt sea for me. O up now spoke that new bride’s mother, She never was known to speak so free, Well, what’s to become of my only daughter, She has just been made a bride to thee. O I’ve done no harm to your only daughter, And she is the none of the worse for me; She rode here on a horse and saddle And she shall leave in coach aree.
8.
Praise God from whom all blessings flow Praise Him all creatures here below Praise Him above ye heavenly host Praise father, son and holy ghost

about

If you head north on I-85 from Hillsborough, NC, and take the exit for 58 East, in fifteen minutes you’ll reach Diamond Grove, a small unincorporated area in Brunswick County, Virginia on the Meherrin River. To most eyes, there’s not much there—you’ll have to drive to Lawrenceville for groceries or to South Hill for hardware. But hidden in this patch of Virginia piedmont are the remnants of a dairy farm established in the 1740s, its main house an old two up, two down beauty still outfitted with rope beds and all. Go there today and you’ll hear distant sounds of someone working soybeans and cotton in the leased-out outbuildings, farm-use tires grinding gravel roads, frogs peeping, and chickadees singing out: chick-a-dee, chick-a-dee. But if you happened to pass through in September of 2023, you might’ve heard fiddle tunes ricocheting off the pines, BBs rattling-to-rest inside empties, and the sounds of Weirs recording their second LP and Dear Life Records debut: Diamond Grove.

Weirs is an experimental collective grown out of central North Carolina’s music scene––one that is equal parts old-time and DIY noise. Non-hierarchical in form, past Weirs performances have included anywhere from two to twelve people. In September 2023, nine traveled up US-58 to pack into the living and dining rooms of the dairy farm main house, still in the family of band member and organizer Oliver Child-Lanning, whose relatives have been there for centuries. This Weirs lineup—neither definitive nor precious—includes Child-Lanning; Justin Morris and Libby Rodenbough (his collaborators in Sluice); Evan Morgan, Courtney Werner, and Mike DeVito of Magic Tuber Stringband; and stalwarts Andy McLeod, Alli Rogers, and Oriana Messer who played deep into those late-summer evenings. What resulted are the nine tracks of Diamond Grove, recorded with an ad hoc signal chain assembled from a greater-community’s worth of borrowed gear.

The Weirs project began as tape experiments on traditional tunes Child-Lanning made under the name Pluviôse in winter 2019. This evolved into the first Weirs record, Prepare to Meet God, which was self-released in July 2020 and was a collaboration between Child-Lanning and Morris during COVID. The strange conditions of that debut—a communal tradition of live songs recorded apart in isolation—are undone by Diamond Grove, a record rooted in the unrepeatable convergence of people, place, and time. On the new record, Weirs continue their search for how best to forward, uphold, and unshackle so-called “traditional” music. They are songcatchers, gathering tunes on the verge of obscure death. Their wild, centuries-spanning repertoire plays like an avant-call-the-tune session—a kind of Real Book for a scene fluent in porch jams, Big Blood, Amps for Christ, and Jean Ritchie. Weirs catch songs whose interpretive canon still feels ajar—open enough to stand next to but never above those who’ve sung them before. These aren’t attempts at definitive versions. The recordings on Diamond Grove feel like visitations rather than revisions. And the question Weirs asks on this record is not how to simply continue the tradition of their forebears, but how traditional music could sound today.

For Weirs, the history of this tradition could be taken less from the folk revival than from musique concrète; less from pristine old master recordings than something like The Shadow Ring if they’d come from the evangelical South. One listen to “(A Still, Small Voice)” and you’ll hear the power of the hymn give way to its equal: the floorboards, fire crackle, dinners made and eaten. This tension between preservation and degradation is the inner light of Diamond Grove. Take “Doxology I”: the melody of “Old Hundred”, a hymn from the Sacred Harp tradition, is converted to MIDI, played through iPhone speakers, and re-recorded in the September air. To some revivalists, this hymn sung with all the glory of fake auto-tuned voices might sound sacreligious. But ears attuned, say, to the hyperpop production of the last few decades will immediately understand the tense beauty of hearing digitally-artifacted shape-note singing. This same tension animates “I Want to Die Easy.” Weirs’ version draws from A Golden Ring of Gospel’s recording, monumentalized in the Folkways collection Sharon Mountain Harmony. The melodies, words, structure are largely unchanged. But the “pure” clarity of voice in the early recording is gone. In its place, we hear the distancing sound of the dairy farm silo where Weirs recorded their version, its natural two-second reverb replacing pristine proximity. In this way, the sound of the recording site itself becomes equal to the traditional performance.

The beating heart of Diamond Grove is Weirs’s take on “Lord Bateman,” a tune Jean Ritchie called a “big ballad:” played when the chores were done and the night’s dancing had stopped. It is an 18th-century song—as old as the Diamond Grove farm—about a captured adventurer, described by Nic Jones as embodying the spirit of an Errol Flynn film. Like many great and often a cappella renditions, this “Lord Bateman” is voice-forward, foregrounding the gather-round-children importance of yarn spinning. What’s new here is the immense drone that transubstantiates the narrative into a ceaseless body of elemental forces. It’s an eye-blurring murmur of collective strings that adds to the canon of Ritchie and June Tabor as much as to Pelt’s Ayahuasca or Henry Flynt’s Hillbilly Tape Music.

While Diamond Grove isn’t explicitly about the old dairy farm where it was recorded, it can’t help but resemble it. Old English ballads like “Lord Bateman” and “Lord Randall” spill into fields once ‘granted’ by the British Crown. Tragic songs like “Edward” stagger across Tuscarora trails and postbellum cotton rows. Hymns like “Everlasting I” and “Everlasting II” catch a moonlight that’s been falling through double-hung windows since Lord Bacon’s Rebellion. And the nocturnals still trill and plows still till a music uncomposed, waiting for any and all ears to chance upon it. Diamond Grove, in these ways, is history. It is a place. It is time. It is songcatching, liveness, tape manipulation. Like the low-head dam that the word weir implies, it is a defense against the current. It is a defense of regional lexicons against mass-produced vernaculars; a defense against the belief that we can simply return to a simpler time; a defense against the idea that folk music must remain “pure”; a defense against the claim that a dream of the future latent in lost histories is irretrievably lost. Against all that, Diamond Grove defends traditional music by making it sound like the complexity of today—because it knows that such music, and all the histories caught up in it, has a role to play in the days to come.

- Aaron Dowdy, June 2025

credits

released October 3, 2025

Oliver Child-Lanning: vocals, bowed dulcimer, sampler, synthesizer, pump organ, tape loops, cymbals, sheet metal, mouth harp, whistle
Justin Morris: vocals, electric guitar, buck call, kalimba
Evan Morgan: vocals, banjo, weissenborn
Courtney Werner: vocals, fiddle
Alli Rogers: vocals, bells, autoharp, turkey call, harmonica, sheet metal
Mike DeVito: vocals, bass, banjo
Andy McLeod: vocals, acoustic guitar
Libby Rodenbough: vocals, fiddle
Israel Hill: Uilleann Pipes
Oriana Messer: vocals, turkey call

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Weirs Hillsborough, North Carolina

Weirs is an experimental/traditional music collective from central North Carolina.

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