Reed Turner

Nice smooth smart hummable pop with a slightly moody feel. This Austin, Texas-based singer/songwriter makes music that could be appreciated by millions. Ghosts In The Attic presents ten expertly written pop tunes that are in the same general vein as Leonard Cohen. These songs have a classic sound and feel, using traditional instruments in order to get the point across. Turner has a great voice and knows how to use it. One thing that sets these songs apart is the fact that many of them tell a story. As such, Reed proves he is as good at writing lyrics as he is at crafting melodies. This is a very solid album from start to finish and contains no filler. Our initial favorite cuts include "Modern Man," "Killed That Girl ('Cause She Was Killin' Me)," "Locking Doors," and "The Sculptor & The Stone." - babysue

Still relatively unknown two years after his first much critically acclaimed album, Reed Turner is a guy with a tremendous talent for songwriting, singing and guitar picking-that's a striking commentary on how difficult it is to make a mark these days. In between that first album ALL MY RUNNING and this one, there was an EP-SIDE ONE: SEE HOW FAR I GET-again very well-received, and one of the tracks "Acrobats And Soldiers"� won the Directors Award at the 2011 Nashville Songwriting and Lyrics Contest. However, GHOSTS IN THE ATTIC surpasses everything so far-it's utterly outstanding.

One of the few upbeat numbers, the near-rocking "Modern Man,"� with an intense five minutes-plus arrangement, is far from the strongest track here, but provides a good lead into the delights which follow. There are four superb tracks which have equal top billing from me, up second, the title track which is centred around the dark secrets held up at the top of the house and is played out to an appropriately understated thumping beat and "Killed That Girl"� is a corking country-styled murder ballad which does not have a happy ending. By the way, I suspect that Turner is from the Tom Russell and Hayes Carll school and would want to be labelled anything other than a country singer. He writes better songs and makes a far more likeable sound than most of what passes as country these days.

The other two standouts are "Room For Doubt"� about life's big question; well sung with near enough just his guitar for company and "Long Gone,"� a bluesy number complete with just the right amount of harmonica and fiddle. Mention should be made here of the contribution on harmony vocal and fiddle, particularly on the title track and "Long Gone,"� which he co-wrote, with the very impressive Phoebe Hunt, latterly of Austin's Belleville Outfit. The album closes with a reminder for me anyway of Merle Haggard's songwriting style, and there can be no higher praise than that, in "Long Way To Go"� and finally the darker "The Sculptor And The Stone"�-a reflective lyric on the breakdown of a relationship.Reed Turner is still largely restricted to the Austin, Nashville and all points in between circuits and for this very talented and consummate performer, it can only be a matter of time for wider recognition to come his way. That time is getting shorter. - Maverick

Reed Turner's one of those guys whose work is pervaded with haunting refrains and eerie wistfulness, the kind of musician who makes you sit down and listen whether you want to or not 'cause he's writing and singing about the sides of life you didn't even know you felt that way about until hearing him lay it down. He also assembles a band that's just as laconic and fog-infested as he but can also sneak up on the rockin' side of things when the occasion calls for it…in a somber almost Gothic brand. Killed That Girl has a dark Nick Cavey feel and sound, American by way of Bedlam, mixed with a bit of Kottke's marvelous Time Steps and even a bit of Gordon Lightfoot and David Wilcox here, there, and everywhere.

Ghosts in the Attic is actually night music, a disc to be listened to when the sky's inky black, studded with silent stars but still and pensive, or when the mist rolls in and makes everything gauzy, a time when you don't need the shouting of the radio or the jittery squall of TV. The disc is instead a thoughtful balm, a space for reflection. Don't start for the player when Long Gone cuts in, though. It rises slowly from inter-song quiet to slip into the speakers, Turner's brief harmonica a signal echo of what's going on.

One of the female singers—either Phoebe Hunt or Ellie Carroll, the liner doesn't specify which—steps in for a duet with Turner on Long Gone, also a track where the interplay of Turner's and Brian Broderick's guitars mesh in thick and rich but sublimated textures crawling up to the front of the stage, at which point the soloing begins. Tasty. Turner's voice is fetching, mellow and high, kind of like Nick Drake by way of a more intelligent Kenny Loggins, and he strings the entire CD together in such a fashion that I dare you try to turn it off until it's played out. It isn't that Ghosts is a concept work but instead an evocation of a complicated middle mood that neither rejoices nor vexes nor clamors but slowly and inexorably enchants. - FAME

Reed Turner’s latest release, Ghosts In The Attic, is aptly named as it contains poignant and haunting music that not only entertains but stays in your mind.

Turner was born and bred in Texas but has a Berklee-trained voice that has a wonderful soulful quality. He can be classified as an Americana artist as his music integrates blues, country, and folk in to a memorable mix. He is a vocalist/guitarist/ harp player who is backed by bassist Pat Harris, guitarist Brian Broderick, drummer David Sierra, fiddle player/vocalist Phoebe Hunt, vocalist Ellie Carroll, pedal steel guitarist Kim Deschamps, and pianist John Arnt who all help to give his music a full band sound. The key on several songs is Deschamps and his steel pedal guitar as it brings a plaintive quality. This is very apparent on the title track.

He travels in a simple direction with “Room For Doubt.” “The Fire has incisive lyrics and the music is textured. Likewise, “Girl That Killed (Cause She Was Killin’ Me)” proves that he can spin a tale, in this case a story of murder.

Reed Turner has produced a sophisticated album that should please fans of any number of musical genres. Ghosts In The Attic takes its place as one of the better releases of the new year. - Cashbox

he Fire- Born in Portland, Oregon and raised in the music hotbed of Austin, Texas, Turner finished off his music training four years at Berklee College of Music in Boston, where he majored in songwriting. On his latest Ghost In The Attic album, I was blown away by the haunting fiddle and electric-guitar laden track "The Fire." I asked Turner to explain the deep and symbolic track and he said, "That song was inspired by the housing crisis/economic collapse. I was stunned and angered by the amount of greed and stupidity displayed by a group of people who were seemingly willing to help bring down their own country." Powerful stuff. - That Nashville Sound

Ghosts In The Attic (self-released) by Austin’s Reed Turner is an Americana gem straddling blues, bluegrass, folk, country and rock. It’s his profound storytelling, though, as told in his likeable, warm, expressive voice, that’s at the heart of this 10-track stunner. Dude’s funny. He’s obviously got a way with words…a real Texas troubadour. Take “Killed That Girl (‘Cause She Was Killing Me),” for instance, where he updates the traditional murder ballad. With spry and sympathetic fiddle, guitar, bass and percussion, Ghosts In The Attic is eminently listenable, entertaining and totally engrossing to the point where you just want to play it over and over to pick up on stuff that gets past you the first time. At least I did. - Rant 'N' Roll

With his sophomore LP, Reed Turner hits his stride. Having settled back in Austin after attending the Berklee College of Music and stints in Nashville and Portland, the songwriter gathered an impressive outfit for his hometown recording, including Phoebe Hunt on fiddle and harmonies. The resulting collection cuts an array of Americana. Dark undercurrents expand behind his gentle vocals on opener "Modern Man" and burst forth in the yelping blues howls of "Ghost in the Attic" and "Killed That Girl ('Cause She Was Killin' Me)," not to mention the slow electric guitar scorch on the brooding "Long Gone." "Room for Doubt" and "Locking Doors" smooth the sound but not the hurt and lost sentiment, the former swaddled in Kim Deschamps' pedal steel and the latter lifting Reed's powerfully rich tenor. Easy fingerpicking hushes on "Familiar Sound" evoke José González and offset the dramatic vocal flourish of closer "The Sculptor & the Stone." Ghosts reveals a songwriter coming into his own. - Austin Chronicle

Meet Austin’s latest gem – the charismatic, funny and multi-talented Reed Turner. The singer-songwriter of (if I had to label it) Alt-Rock / Alt-Folk / Americana (with elements of other genres), will take you on a journey with his vivid story-telling and soulful vocals on his new album Ghosts in the Attic. It’s a truly unique experience, which, as we all know, is hard to come by these days with all of the music out there. I’d highly recommend it. As Austin Woman Magazine put it, he’s “simply irresistible”.

Do you think that you fit into a particular genre? Is there a certain sound that you’re going for?
I don’t know that I fit into one particular genre, but I think that’s true of a lot of current artists. I love the melting pot that music has become, especially among independent musicians. The fluidity with which people combine genres is really inspiring.

Your most recent album Ghosts in the Attic is gorgeous. There’s a sort of haunting and flowing beauty to it. I love the harmonies. Tell me about the creative / songwriting process. What inspired it? How long did it take to come together?
Thanks for the kind words. This particular group of songs was pulled from about a year’s worth of material. As for the creative process, I write in character about as often as I write from my own perspective, which keeps things interesting. I’m not limited by my own viewpoints, beliefs, or life experiences that way, which is sometimes important. It affects the live performance too. I can feel the emotional shift that much more as we move from song to song.

Any major influences? Who would you like to collaborate with?
I’d love to work with T-Bone Burnett. I think he serves a song as well as any producer out there.

How did growing up in a buzzing music capital like Austin shape you as an artist? Did you always know you wanted to be a musician? You’re a great songwriter. When did you start writing songs?
I think growing up in Austin helped affirm the notion that music is an important part of our makeup, both as individuals and as a culture. It was (is) everywhere, all the time. I grew up in a house that had music playing 24/7, then I’d step outside and there would be music following me down the streets. I bought my first guitar when I was about 16 and started writing songs fairly soon after that. But if I’m being completely honest, I wanted to be a basketball player growing up. Still waiting on that call from the NBA – I’ve got a killer outside shot if anyone’s in the market.

You spent some time traveling around the country before moving back. What did you discover along the way? What brought you back to Austin?
An unbelievable amount – I discovered that this country is massive. I discovered what wonderful gifts both friendship and independence are. I discovered that people are inherently good. I discovered that each city has its own personality, and each state its own pride. I discovered that despite what I thought growing up, I really am a Texan in a lot of ways.I think it was just time for me to come back. I had some momentum career-wise, so that was pulling on me. I was really terrified of staying in Austin and living this sort of Groundhog Day, comfortable existence. But by that time I’d been gone for seven years. I had evolved so much as a person, and Austin so much as a city, that it felt more like another stop on the journey. The familiar faces were an added benefit.

You’ve been touring with some very well-known acts recently, including Gary Clark Jr. Do you have any particularly fond memories of those experiences? What have you learned from them?
Mostly I’ve learned to be gracious, and that it’s never acceptable to mail it in, whether you’re playing for 10 people or 10,000. Often when people are successful in this business, it’s with good reason. The show with Gary was pretty funny, actually. It was in Los Angeles, and for some reason that I’ll never understand the venue had me listed as the headliner. I called and begged them to change it, but they held firm that he’d be opening the show, even though I was playing solo and he had his whole band. I saw him in the green room and jokingly asked him to go easy on me, but he predictably went out and blew the roof off the place. He came back in, gave me a wink and said “I warmed them up for you.”

If you could play any venue in the country, what would be your first choice?
Red Rocks Amphitheatre in Colorado – let me know if you’ve got the hookup. - NYC Melody

Austin, Texas-based folk-rock singer-songwriter Reed Turner was selected as the winner of the 2013 Telluride Troubadour Competition and had the opportunity to perform a short set on the main stage during the 40th Annual Telluride Bluegrass Festival that took place in Colorado, June 20-23.
The nationally recognized performing songwriter competition is open to anyone who writes and performs original music and who is not currently signed to a major recording or publishing deal.

Reed Turner was one of ten finalists chosen from among nearly 500 entrants on the basis of the quality of their songs’ composition, vocal delivery and the overall performance. After performing in two finalist rounds during the festival, Turner was named the winner and awarded a Shanti acoustic guitar and $300 in cash, in addition to the mainstage set before some 10,000 festival goers. He also did a live performance on Telluride public radio station KOTO-FM, during which he was backed by Elephant Revival’s Bridget Law. Among the songs that Reed performed was “Room for Doubt” from his February 2013 release, Ghosts in the Attic. A video of Turner performing that song live in the studio is posted on YouTube, while additional videos and information about him may be found at www.reedturner.com.

Second to fifth-place winners in the 2013 Telluride Troubadour Competition were Pete Katsounes (Boulder, CO), Chris Alvarado (Santa Rosa Beach, FL), Michaela Anne (Brooklyn, NY), and Korby Lenker (Twin Falls, ID).

Previous winners of the Telluride Troubadour Competition, which has been held in conjunction with the festival since 1991, include Larry Good (1991), Cosy Sheridan (1992), Dan Sheridan (1993), Catie Curtis (1994), LJ Booth (1995), Michael Lille (1996), Jonathan Kingham (1997), Eugene Ruffolo (1998), Libby Kirkpatrick (1999), Mary Coppin (2000), Kris Delmhorst (2001), Deb Talan (2002), Rachel Davis (2003), Brian Joseph (2004), Keith Greeninger (2005), Nels Andrews (2006), Gregory Alan Isakov (2007), Nathan Moore (2008), Mitch Barrett (2009), Robby Hecht (2010), Matt Harlan (2011, and Reed Waddle (2012). - Acoustic Music Scene

Austin, TX troubadour Turner gives us the moody, eerie and liberally reverbed "Modern Man" which starts softly but then oh-so-subtlely adds elements that appear as if by magic. Though the song doesn't quite peak, it succeeds as an effective tone poem. "Killed That Girl ('Cause She was Killin' Me)" is inhabited by a deep twang, a bootstomping spine akin to Devil Makes Three to provide the backdrop for a classic folk-blues saga. Turner shifts to a sweet, tender mode for "Room For Doubt," his most Americana outing graced by a beautiful pedal steel guitar. - Music Connection

Haunted folk rock walks the halls of the Reed Turner release, Ghost in the Attic. The track rattles under an ethereal harmony that moans and coos, floating like mist at midnight. Reed Tuner left his birthplace of Austin and found out that, musically, there really is no place like home. The distance helped Reed to appreciate what his home town had to offer an independent musician. Ghost in the Attic was recorded at Test Tube Audio in Austin, TX. The album is old school folk rock. Gentle acoustics with obvious guitar leads that work together for the benefit of the song. “Killed That Girl (‘Cause She Was Killin’ Me) rumbles with a blues/rock intensity and got-your-back girl group harmonies. “Locking Door” offers bright vocals over a molasses rhythm and “The Fire” spreads across a lonesome harmonica call and a solid story line. - Alternate Root

Reed Turner, an Austin-based singer-songwriter who released his latest album, “Ghosts in the Attic,” a few months back, spent most of his childhood in Austin before leaving for the Berklee College of Music in Boston. After graduating in 2008, he moved around the country, to Los Angeles, Nashville and Portland, Ore., before returning to his Texas home.

On “Ghosts,” Turner tells stories that tend to dwell on themes of youthful decision and indecision, delivered via a hazy, sometimes haunting style of Americana and soul. The songs convey a sense of searching that fits Turner’s transient lifestyle. “Though my speech may seem certain, I still leave a lot of room for doubt,” he sings on “Room For Doubt.” That song, which earlier this month won Turner first place in the Troubadour competition at the Telluride Bluegrass Festival, recalls songwriting icons Townes Van Zandt and Lyle Lovett, both inspirations for Turner.

Over the phone a couple weeks ago, Turner said he views his writing as a process of exploring the characters that populate his songs. "What's important to me is not just the story of what happened, but why it happened," he said.

Turner's parents moved him from Portland, OR to Austin when he was 5. Like other kids, he was drawn to the Beatles. Michael Jackson and Led Zeppelin - "the band that made me want to pick up a guitar" - followed, as did Jeff Buckley, who Turner said led him to become a singer-songwriter.

Despite the singer-songwriter label, Turner records and performs with five to seven musicians, including Phoebe Hunt, a well-known Austin-based songwriter and fiddle player. Turner is also a member of Hunt's band. "I don't think I've ever sung with anybody where our voices complement each other the way that Phoebe and I do," he said. "It was instantaneous."

Other members of Turner's band come from Austin's jazz community, something he said pushes his music outside the realm of rock and country. "They're able to offer suggestions, interpret my music differently than I would as a singer-songwriter," he said.

One song that represents a bit of departure for Turner on "Ghosts In The Attic" is "Killed That Girl ('Cause She Was Killin' Me)," a rockabilly-style murder ballad that Turner said was in part inspired by bluegrass music. "I've always loved the murder ballad; it's not uncommon in my songs where people die," he said. "But I haven't killed anyone off yet."

Turner plays Thursday at Lamberts with Nelo. - Austin American-Statesman

Top 20 Who New To Watch 2013 - CMA Close-Up Magazine

Austin, TX troubadour Turner gives us the moody, eerie, and liberally reverbed "Modern Man" which starts softly but oh-so-subtly adds elements that appear as if by magic. Though the song doesn't quite peak, it serves as an effective tone poem. "Killed That Girl ('Cause She Was Killin' Me)" is inhabited by a deep twang, a bootstomping spine akin to Devil Makes Three provides the backdrop to a classic folk-blues saga. Turner shifts to a sweet, tender mode for "Room For Doubt," his most Americana outing graced by a beautiful pedal steel guitar - Music Connection Magazine

Austin, TX troubadour Turner gives us the moody, eerie, and liberally reverbed "Modern Man" which starts softly but oh-so-subtly adds elements that appear as if by magic. Though the song doesn't quite peak, it serves as an effective tone poem. "Killed That Girl ('Cause She Was Killin' Me)" is inhabited by a deep twang, a bootstomping spine akin to Devil Makes Three provides the backdrop to a classic folk-blues saga. Turner shifts to a sweet, tender mode for "Room For Doubt," his most Americana outing graced by a beautiful pedal steel guitar - Music Connection Magazine

I do love me a good murder ballad sometimes. Cocaine Blues, popularized by Johnny Cash and later George Thorogood, is maybe my favorite. I’m pretty enamored now, though, with a cut off the new Reed Turner release, Ghosts In the Attic. The song, Killed That Girl (‘Cause She Was Killing Me) has just the right amount of irony to balance the basic infidelity root cause of the crime.

Overall the one theme that emerges from the album is practiced restraint. The opening number, Modern Man, keeps threatening to be an all out rocker, but instead just keeps a simmer that instead highlights Turner’s lyrics. The Fire could easily be an anthemic cliche in others hands, but here stays close to its folk roots, not unlike Dylan’s acoustic Like A Rolling Stone.

One bonus on the record is the harmony and fiddle of Phoebe Hunt, formerly of the Belleville Outfit. Her light but powerful vocals balance Turner’s darker and drawn out phrasing to add some punch to several songs. She appears on many of the tracks, but my favorites are the title track and Long Gone, a swampy, funky folk song that was also co-written by Hunt.

The album finishes with The Sculptor & the Stone, a reflection on the artist and his material as it translates to breaking up a relationship. It has a nice raw, garage-band guitar sound that makes for a great ending to the antici….pation that builds up throughout the rest of the album. - Twangville

South By Southwest may be over, but with all that music, one could only expect there to be some leftover reverb rumbling in the air. Let’s just say, I may have had a few hounds sniffing out the grounds, since I couldn’t be there for the hunt, in person, and I’m still being shown some work from topnotch acts.

Today, I’m calling out to all you crooner connoisseurs and asking you to put down the glass of red wine and temporarily pause the old Sinatra vinyl playing in the background of your mind. Now that you’ve done that, pick up the bottle, press it to your chapped lips, and grab an earful of this track by my new favorite 21st century crooner, Reed Turner. With much less desperation and hair gel, and a bit more tenacity and 5 o’clock shadow, this Austin-based troubadour knows exactly how to use his music to make listeners feel as if they’re receiving a long lost lover’s whispers of the learned truths of life experience that are soft on the ears, yet hard to swallow. Ghosts in the Attic is Turner’s 3rd and most recent album that just dropped on February 5th. In an interview with RAJR Productions, he states that the purpose of the album was to “get away from the traditional singer/songwriter sound”. Producer, Matt Novesky called it “proof that somebody can get back to basics, and make a very effective, dynamic record.” With Americana poetry one might expect from the lyrics of The Avett Brothers, and an entrancing intimacy reminiscent of Jeff Buckley, Turner really creates a romanticized portrait of reality. His folklores of travel, change, and growth allow for a deep-rooted sympathy with lyrics like, “I give all that I can…just a poet drawing conclusions of a wayward, broken man. And I’m a fool to leave these bloodstains on the floor, by the need to share our wounds with every stranger through the door”. The album, in general, is very well produced with a lot of attention to the little things, which is extremely important in the presentation of folk-oriented music. An upright, double bass is played, which generates a wonderful richness, to the point that you can almost feel the vibration of the strings. The extra vocals from Phoebe Hunt allow for the addition of a mystical alternative feel, and her use of the fiddle really tops it off. When the fiddle presents itself almost exactly half way through the title track, “Ghost in the Attic,” it hits you like a passionate kiss you just can’t resist. The notable appreciation for finger plucking, the appropriate switch-off between an electric and acoustic guitar, and the occasional insertions of harmonica really bring you into his sphere.

If you find yourself weak in the knees, or driving into the night for a Ghosts-induced adventure, I expect you might wanna check him out this coming Thursday, April 4th at The Mint in Los Angeles. Show starts at 9 p.m. - Tinselhoud

Reed Turner's wandering spirit has lured him to several cities, but when it came time to finding inspiration for his newest release, "Ghosts In The Attic", he learned home is where the heart is.
The Austin-raised folk-rocker returned to a welcoming community -- and found collaborators who helped in turn concepts into reality. Produced in Austin by Matt Noveskey, "Ghosts" tackles topics ranging from the conflict between ambition and patience ("Room For Doubt") to cheatin' hearts -- on "Killed That Girl ('Cause She Was Killin' Me)" -- Turner's clever take on the time-honored murder ballad. Turner has built strong collaborative bonds with fiddler and fellow singer-songwriter Phoebe Hunt (he is also a member of her band) and bassist Pat Harris, both of whom play and share writing credits on the album. Hunt and Singer Ellie Carroll add beautiful harmonies to several tracks. - Texas Music

Last we heard from Reed Turner we had just listened to his 2011 EP Side One: See How Far I Get. Now he's returned to our radar with the soon to be released Ghosts in the Attic - scheduled for early February. Plus we hear that he's been hanging out with Phoebe Hunt, which makes us even more intrigued. I plugged the CD in and had it running in the background, but not for long. After switching back to see the song title for the first three tracks, I gave up on work and just listened. I thought the title track would be my favorite, then I listened to Killed That Girl, then Room for Doubt, then Long Gone - you get the idea. This CD gets better the longer you listen. I really thought that his EP was a fine release, but there is no comparison to Ghosts. The song writing is more mature, the guitar work more sophisticated (Lone Gone), and the songs more powerful (Locking Doors & The Fire). The only disappointment is I can't make it to Stubbs to see Turner and Ms. Hunt for the CD release party on February 8th. The future of Texas alt-country is in good hands. - MyJoog

Reed Turner’s wandering spirit has lured him to several cities, but when it came to finding inspiration for his new release, GHOSTS IN THE ATTIC (Feb. 5, 2013), he learned home is where the heart is. The Austin-raised folk-rocker returned to a welcoming music community — and found many collaborators who helped him turn concepts into reality. Turner will perform his latest work at a CD release show Feb. 8 at Stubb’s Bar-B-Que in Austin, and at several showcases during the 25th annual International Folk Alliance Conference Feb. 20-24 at the Delta Chelsea Hotel in Toronto. (See list below.)

GHOSTS, produced in Austin by Matt Noveskey (Joshua Radin, Courrier), tackles topics ranging from the conflict between ambition and patience (“Room for Doubt”) to cheatin’ hearts — addressed in “Killed That Girl (’Cause She Was Killin’ Me”), Turner’s speeded-up take on the time-honored murder ballad.

Though Turner found new creative juice in Austin, he credits his participation in the 2012 Folk Alliance conference in Memphis with helping to cement some special artistic relationships. He returns this year with two bandmates: bassist Pat Harris and fiddler/singer-songwriter Phoebe Hunt (he plays in her band, too). In addition to trio performances, Turner and Hunt will duet; Turner also will perform solo, and accompany Hunt at some of her showcase performances. He is also slated to appear back in Austin in March for South By Southwest, followed by a spring tour. - Music News Nashville

Reed Turner’s wandering spirit has lured him to several cities, but when it came to finding inspiration for his new release, GHOSTS IN THE ATTIC (Feb. 5, 2013), he learned home is where the heart is. The Austin-raised folk-rocker returned to a welcoming music community — and found many collaborators who helped him turn concepts into reality. Turner will perform his latest work at a CD release show Feb. 8 at Stubb’s Bar-B-Que in Austin, and at several showcases during the 25th annual International Folk Alliance Conference Feb. 20-24 at the Delta Chelsea Hotel in Toronto. (See list below.)

GHOSTS, produced in Austin by Matt Noveskey (Joshua Radin, Courrier), tackles topics ranging from the conflict between ambition and patience (“Room for Doubt”) to cheatin’ hearts — addressed in “Killed That Girl (’Cause She Was Killin’ Me”), Turner’s speeded-up take on the time-honored murder ballad.

Though Turner found new creative juice in Austin, he credits his participation in the 2012 Folk Alliance conference in Memphis with helping to cement some special artistic relationships. He returns this year with two bandmates: bassist Pat Harris and fiddler/singer-songwriter Phoebe Hunt (he plays in her band, too). In addition to trio performances, Turner and Hunt will duet; Turner also will perform solo, and accompany Hunt at some of her showcase performances. He is also slated to appear back in Austin in March for South By Southwest, followed by a spring tour.

- Grateful Web

Save time for...Reed Turner's "Ghosts In The Attic" -- and raise a toast to the rewarding partnerships in Americana music. - CMT

REED TURNER IS IDENTIFIED AS A folk-rocker, and he’s got some credibility in that field including a February performance at the International Folk Alliance Conference in Toronto and earlier performances at other folk festivals. Ghosts in the Attic, though, is more of a pop album. That doesn’t make it irrelevant. There is good pop music despite what people hear on the radio, and this is one of the good albums within that genre.

It also includes enough variety within the format to keep it interesting. The opening “Modern Man” and the title song are nicely played and moody, and Reed’s singing is compelling, soft without being weak, and sometimes haunting.

The third song, “Killed That Girl,” is a bit edgier when he ventures into revenge for seeing his “baby” in the arm of another man.

The Austin-based, Berklee School of Music graduate writes well and with depth, too, especially on “Locking Doors,” “The Fire,” and “The Sculptor and the Stone.” “Are you comfortable, do you feel secure, seems these locks and chains and broken frames are what you prefer, there’s a reason there’s a lifetime of regret,” he sings on “Locking Doors.”

Reed, who also plays in Phoebe Hunt’s band, added guitars and harmonica, and produced with Matt Noveskey. Players were Brian Broderick (guitars), Hunt (vocals, fiddle), Pat Harris (bass), John Arndt (piano), Kim Deschamps (pedal steel), David Sierra (drums and other percussion), and Ellie Carroll (vocals). —TOM GEDDIE - Buddy Magazine

Released Feb. 5, Ghosts in the Attic captures Reed Turner’s folk-rock/Americana style. For his album, Turner collaborated with fiddler Phoebe Hunt and bassist Pat Harris, packing in compelling instrumentals with captivatingly soulful lyrics from the singer-songwriter. A true storyteller, Turner uses words that are relevant and wise, steeped in perceptive intelligence. From Room for Doubt, which expresses the conflict between ambition and patience, to Killed that Girl (’Cause She Was Killin’ Me), which tells a murder tale with a rockabilly beat, Ghosts in the Attic will please listeners with its creative diversity and hardhitting sound. Available for purchase at reedturner.com, Waterloo Records, iTunes, Amazon and TuneCore.
- ATX Man

Reed Turner just put out a gorgeous new album Ghosts in the Attic this week and he credits Folk Alliance with helping him find kindred musical spirits to bring his sound to life.

That’s saying something when you consider Reed is in one of the U.S. hotbeds of cool music, Austin. Now, misunderstand — Austin is the wellspring of his inspiration. But the folk-rocker credits the welcoming music community he found at Folk Alliance for extra musical mojo that helped him write and perform new songs that address everything from ambition (“Room for Doubt”) to cheatin’ (“Killed that Girl [‘Cause She Was Killin’ Me]).
He returns to Folk Alliance this year with two band mates: bassist Pat Harris and fiddler/singer-songwriter Phoebe Hunt (he plays in her band, too). In addition to trio performances, Turner and Hunt will duet; Turner also will perform solo, and accompany Hunt at some of her showcase performances.
Reed is playing several showcases at the 25th annual International Folk Alliance Conference Feb. 20-24 at the Delta Chelsea Hotel in Toronto.
Hear and buy Reed Turner’s music here.
Check out more about the Folk Alliance here.
- See more at: http://www.thealternateroot.com/breaking-news/975-reed-turner-praises-folk-alliance-for-inspiration#sthash.Vw5EJkj5.dpuf - Alternate Root Magazine

I don’t listen to folk music, but Reed Turner’s Side One: See How Far I Get makes me want to travel country back-roads with nothing but a guitar, an unkempt beard and a knapsack full of dreams.

Turner’s September 2011 EP is six tracks of good advice, fair warnings, calls for freedom and fond remembrances. Here are the words of wise friends and loving relatives. Its folk-rock rhythms and powerful, inviting vocals flow like a mountain river through soft, harmonica-laced reflections, frolicking tambourine dance numbers and thoughtful falsetto choruses. Turner takes us on life’s journey, with all its playful energy, sober examination and invaluable memories.

The album opens and closes with pensive finger-picking in the cautionary number “Beware the Hand” and the heartwarming reverie “Acrobats and Soldiers.” The technique frames the journey in between, which holds a variety of other satisfying tracks. There’s the go-for-broke, guitar-and-drums-driven anthem for the seekers in all of us See How Far I Get. The toe-tapping “Let’s Roll” inspires us to stop worrying, grab a loved one and dance a hoedown with the moon. The other two tracks softly address our penchants for apathy and misunderstanding with pleasant grooves that belie the gravity of the subjects.

Turner’s Side One: See How Far I Get carries us through shadowed valleys of melancholy and rumination and across sun-kissed mountaintops of determined joy. And at the end of the trek, like an affectionate grandfather, it drapes us with a warm blanket as the sunsets behind the hills.

Sweet dreams.
- University of Idaho Argonaut

With two successful EPs to his name and a growing legion of fans, 25-year-old singer/songwriter Reed Turner has come back to the Westlake area and added local venues to his upcoming tour schedule.
Reed Turner leaned back on the dark leather couch in the dimness of Lola Savannah’s coffee shop, his hair still damp from his morning shower. In contrast with the other mid-morning customers packing the place, laughing, telling jokes and making new friends at the bar; Turner sipped slowly from his cup as he adjusted to the caffeine-fueled energy around him.
An easy confidence rolls off the 25-year-old Westlake High School graduate as he talks about music, the industry and the magic of pulling great melodies and lyrics out of thin air and artfully combining them into songs. That confidence is well earned.
Reed released a new six-song EP, “Side One: See How Far I Get,” in September to rave reviews. Maverick magazine gave the release four and a half stars and called it “a masterful collection of songs, superbly sung and imaginatively arranged.” The EP’s final track, “Acrobats and Soldiers,” won the Director’s Award in this year’s Nashville Songwriting and Lyrics Competition.
Ask Turner what kind of music he writes, and he’ll answer Americana or folk rock. But he doesn’t really believe that.
“You have to have an answer to that question; people need someplace to put you,” he said. “I don’t really think of what I do in genres.”
Born in Portland and raised in the Westbank, Turner can’t remember a time when he wasn’t interested in music.
“You could never walk into our house and not hear music,” he said. “I grew up listening to everything under the sun – Paul Simon, Jeff Buckley, Guy Clark, Townes Van Zandt. My parents are always telling people I wouldn’t go to sleep in my crib unless I had the Beatles playing in my little brown Fisher Price recorder.”
Turner bought his first guitar and amplifier just before he turned 16. By the time he hit his senior year at Westlake High, he was the lead singer for a band called the Dissidents that music fans voted the second best Under 18 band in the Austin Chronicle 2004 Austin Music Awards. That honor helped get him into Boston’s prestigious Berklee College of Music, where he graduated in 2008 with a degree in songwriting and voice.
Turner landed in Los Angeles, where for a few months he tweaked his solo skills in clubs and private performances. He moved on to Nashville, soaking up the culture and recording his 2009 debut album, “All My Running.”
The next two years he spent on the open road, touring and playing venues such as Hotel Café, House of Blues and Bluebird Café, sharing stages with the likes of Gary Clark Jr. and Bob Schneider. For many artists, the road can make for a rough life, hard on the body and hard on the soul. Not so for wild-hearted Turner.
“I was built for the life; I’ve got itchy feet,” he said, smiling. “The road is like a bad girlfriend – sometimes it’s really great; other times it’s terrible, but you just can’t walk away from it.”
After recording his new album in Portland, Turner pointed his car southeast and gunned it back to Austin. Here since summer, he’s happy for the respite at home.
“I didn’t realize how much of a Texan I was until I left,” he said. “You can’t say a bad word about Texas to me right now.”
Turner packs serious talent. There’s the voice – smooth, deep and full of range and experience. His finger-picking, highlighted in the song “Beware the Hand,” is superbly reminiscent of Merle Travis. But it is the lyrics that hook most people.
“Reed Turner’s album ‘Side One: See How Far I Get’ is wrapped in pure folk/Americana,” said John Shelton Ivany, editor of the Top 21 News and Reviews website. “There’s poetry in the lyrics – a rough sound and wounded vocals. One of the best albums of the year.”
Turner’s dad, Michael, agrees.
“I think there are a couple of things that really set Reed’s songwriting apart,” he said. “So much is based on his observations of life around him and the experiences of people he knows. It’s almost as if he writes in a bunch of different voices and perspectives.”
Ask Turner about the magic in writing music and lyrics and which comes easier to him, and he will tell you it depends on the day.
“I don’t start with one or the other,” he said. “It all happens at once. That makes for some interesting writing moments – one interrupts the flow of the other. Sometimes you can’t pick up the guitar fast enough; sometimes you can’t pick up the pen fast enough.”
Treat yourself to an early holiday gift by downloading free music from Turner’s website at www.reedturner.com and catch an upcoming show at Antone’s on Dec. 3 with Will Hoge or at the Saxon Pub with Matt the Electrician on Jan. 5. - The Westlake Picayune

Tumbling from Austin to Boston, Nashville, Tenn., to Portland, Ore., Reed Turner's absorbed lots of influences. This six-song EP, fashioned after one side of a vinyl LP, is the perfect length to expose his multifaceted songwriting. Roots-rock-based, there are echoes of the Avett Brothers and some Red Dirt country, but set-closing meditation "Acrobats & Soldiers" marks Turner as a blossoming Texas troubadour. - Jim Caligiuri - The Austin Chronicle

This really is a masterful collection of songs, superbly sung and imaginatively arranged — if a full album it would’ve been in the running for one of my top ten selections of the year . . . every track is a minor gem . . . .-Alan Cackett - Maverick Magazine

Reed Turner's album "Side One: See How Far I Get" is wrapped in pure folk/Americana. There's poetry in the lyrics, a rough sound and wounded vocals. One of the best albums of the year. - John Shelton Ivany - Top 21

“See How Far I Get” packs a punch as the tune gallops along in a tightly arranged country-rock arrangement, while the poignant acoustic ballad “Acrobats & Soldiers” would likely silence the patrons of the music halls in which Turner entertains." - Jeff Strowe - Popmatters.com

After that hot performance, it was time to enjoy a cool relaxing acoustic set by Reed Turner. This singer/songwriter from Nashville performed an intimate show in the main lounge which featured the dynamic power of his voice behind the soothing guitar rhythms. With songs about life, relationships and etc, there was plenty of vocal emotions to be heard ranging from sadness to heartache. This singer blew away SouthSide's ears when reaching that high falsetto range during one song. Opening his performance with Torches, Reed instantly had this reviewer feeling the fire and passion of what this song was about. Yet while Lover Lay Down (track 2 off his debut album), he showed off the tender side to his voice during this ballad. She enjoyed the subtleness of the downtempo pace from the acoustic guitar which was accompanied by a few harmonic notes at the instrumental. Those few notes added the right amount of energy to the song for the audience to enjoy. On the flipside, the same harmonic sound during one of Reed's "fast" songs rocked it with an acoustic/country tone. The music was more vibrant that you could heard it as well as in his voice. Southside recommends listening to On My Own for the way Reed conveyed the feeling of being without a home through the power of his voice. She also enjoyed the few stanzas of The Cars' Just What I Needed tucked inside the middle of another song. Closing with a cover version of R. Kelly's I Believe I Can Fly, this reviewer highly recommends checking out this singer/songwriter while he's currently on tour. Besides liking his dynamic voice, fans will also enjoy the rockin' acoustic sound that has a mixture of alternative to country and Americana. For more information, visit www.myspace.com/reedturner. - Southside Music Blog

Talented, charismatic and handsome, singer-songwriter Reed Turner has returned to Austin, excited to be back in the city he loves to call home. Born in Oregon and raised in Austin, Turner attended Berklee College of Music in Boston, graduating in 2008, then pursuing his passion to write, record and perform in Los Angeles; Portland, OR; and Nashville, TN.
“I loved being in Nashville, but performing is the thing that keeps me going,” Turner says.
The Live Music Capital of the World seems a perfect fit, as Turner savors this new adventure in his old stomping grounds.
Listening to his music, it’s hard to believe he’s 25 years old. With an incredibly soulful voice, Turner’s thoughtful lyrics are expressive, relevant and wise. His new six-song EP, Side One: See How Far I Get, to be released Sept. 27, stems from his own observations and personal experience, and is steeped in emotion and perceptive intelligence.
The title track, See How Far I Get, embodies the struggle to find footing, and is applicable to anyone questioning their search for success. Acrobats and Soldiers, which won the 2011 Director’s Award in Nashville’s International Songwriting Competition, serves as the realiza- tion deriving from a moment of clarity. His musical style exudes an old-soul vibe accompanied by a hard-hitting, folk-rock sound.
Turner’s 6-foot-3-inch build, cool blue eyes and captivating smile undoubtedly add to his charm. However, the essence of his appeal and attraction lay in his positive outlook, engaging nature, subtle confidence and laid-back approach to his life and music, making him simply irresistible.
For music, full bio and upcoming shows, visit reedturner.com.
Look for Side One: See How Far I Get out Sept. 27. - Austin Woman Magazine

FRIDAY, AUGUST 26, 2011 Some Diverse New Music - From Jazz to Funky Soul
Reed Turner got our attention with his new EP Side One: See How Far I Get. His songwriting immediately reminded me of Joe Pug, but he distinguishes himself through a unique finger picking style. His study at the Berklee College of Music has paid off, because this artist is talented. And this talent is immediately on display on the first track, "Beware the Hand". And "let's Roll" showcases some clever songwriting. And the last track, "Acrobats & Soldiers", is just powerful. I can't wait for Side 2. - Myjoog blogspot

With lyrics that weigh heavy on your heart, and a voice that strikes a chord deep down, Reed Turner should be the next addition to your current playlist! A singer/songwriter from Austin, TX, this southern gentleman is making his mark on the music scene one catchy tune at a time. Turner's folk-rock-acoustic fusion is perfect for kicking it on the back porch as the sun goes down, but get a chance to catch his live show, and you'll find yourself humming his catchy tunes late into the night. Turner's charm works off stage too, so do your best to catch him after a show and you'll wonder if this down-to-earth college grad is the same guy who just spilled his heart on stage. Talented and ready to invade your headphones, Reed Turner is the next big thing, and we can guarantee he's not going anywhere! - Young Hollywood

Singer-songwriter Reed Turner is a 23 year-old who knows how to grab your attention with a song. His debut album All My Running, available through his website ReedTurner.com, shows the originality of a writer whose work we will look forward to exploring, album after album down the road.
Best described as a CD of alternative folk-rock, Turner has a voice that expresses the many feelings behind his intensely personal lyrics, one that is flexible, yet at varying times a shout, a cry, or a whisper.

Turner's songs are in no way formulaic, a unique quality in an era of copycat compositions that pass for creative writing these days. I encourage listeners with a discerning ear for talent, and an affinity for hearing the depth of feeling in a lyric fully expressed, to check out All My Running.

-Niel DePonte
2003 Grammy Nominee
Music Conductor and Producer - 2003 Grammy Nominee Neil DePonte