Fiddler and singer Alison Krauss has followed a two-track career path: One marks her longtime association with Union Station, her backing band since 1990, and the other, her solo career as a mainstream country artist. Arcadia marks the first time she's recorded with Union Station in 14 years. The band includes her violin alongside Jerry Douglas's dobro, Barry Bales' bass playing, and Ron Block's banjo (all sing). Guitarist/mandolinist Dan Tyminski announced his solo career after completing this album. He is replaced by IIIrd Tyme Out frontman/guitarist Russell Moore who, in addition to his lead and baritone harmony singing, will assume guitar duties from here on in.

The ten-track program includes songs Krauss collected during the band's hiatus. The first one she chose, Jeremy Lister's "The End of the Road," opens the album and sets its tone with a dark tale of despair and disillusionment. All but two tracks here are written in a minor key by a variety of composers with lyrics underscoring heartbreak, change, hardship, historic tragedy, and more. Krauss' brother Viktor Krauss (who also contributes piano here) composed the foreboding "The Hangman," set to a poem by Maurice Ogden. It's driven by banjo, piano, and arco bass with an affecting, lonesome vocal by Moore. There's a dreamy tinge to Tyminski's and Robert Lee Castleman's "Wrong Way" -- it's a piercing midtempo ballad with dobro as the engine buoying Krauss's heartbreaking vocal. Moore claims the lead on the traditional "Granite Mills" with the strings arranged by Krauss. It's a ballad based on an 1874 mill fire in Massachusetts that winds through Celtic folk and driving, atmospheric bluegrass. "Richmond on the James" is a Civil War-era tune introduced by an intricate mandolin pulse that's eventually commandeered by banjo as Krauss delivers chugging fiddle stops as an additional rhythm under the bass. Douglas delivers winding, unruly chords before Krauss' solo. Her brother co-wrote "One Ray of Shine" with Saras Siskind, featuring mandolin by Adam Steffey. A moody ballad, it relates the tale of a reclusive protagonist who prefers the tree in her yard to people and yearns for a single ray of sunshine. JD McPherson's "North Side Girl" also features Moore in an old-timey, swinging country-blues with killer dobro work, keening fiddle, and interlocking mandolin. He claims authority with his expressive, empathetic, and resonant instrument. Castleman's "Forever" is a paean to a beloved on the occasion of their parting. Douglas gets reverb all over his dobro as Krauss' fiddle answers with passion. Moore is upfront on "Snow," a high lonesome bluegrass stomper with amazing fiddle, dobro, and banjo work. The album's other bookend, the gorgeous, languid "A Light Up Ahead" is also by Lister. Krauss' gentle yet commanding croon delivers a glimmer of hope atop dobro and guitar before the bass enters for Douglas' and Tyminski's solos. Arcadia is a long-awaited return for Krauss and Union Station; here they reframe American traditional music in a context informed by modern production aesthetics, yet still sound kinetic and completely organic.

Looks Like The End Of The Road    
The Hangman    
The Wrong Way    
Granite Mills    
One Ray Of Shine    
Richmond On The James    
North Side Gal    
Forever    
Snow    
There's A Light Up Ahead