Cicadas have long been a mysterious phenomenon in the American South, living for long years under the soil before emerging simultaneously, seemingly without warning, to fill the long, drooping summer days with their vibrating song.

It’s fitting, then, that Cicada Rhythm has been on a hiatus of sorts, gathering its strength underground, emerging with a new record after nearly seven years.

Andrea DeMarcus, a Juilliard trained bassist, and Dave Kirslis, a train-hopping guitarist, met in 2011 after the freight train Kirslis had been hitching a ride on stopped in Athens. What began to develop then were the seeds of both a romantic and musical relationship, a conversation over the next 14 years which would lead to marriage, roots in the community and two critically lauded albums.

2015’s self-titled album was in many ways a success; the duo’s foot-stomping rhythms, electrifying harmonies and open road sensibilities perfectly captured the roots revival movement of the early 2010s, drawing the early attention of peers such as The Wood Brothers, Houndmouth and The Milk Carton Kids. But to the members of Cicada Rhythm, their sound wasn’t merely a trend. It was fundamental to the way they expressed themselves musically, an organic result of their experiences in both American cities and the natural world.

2018’s Everywhere I Go expanded on the group’s trademark sound, working with local drummer Colin Agnew and penning songs of the open road that were at times poignantly political in nature.

When the 2020 COVID pandemic swept across the globe, effectively halting the livelihoods of thousands of career musicians, DeMarcus and Kirslis were forced to re-evaluate their priorities as musicians. Kirslis found solace in the trades, becoming a carpenter with Athens’ Levelish Construction. Carpentry gave him a skill that could be measured, where each movement was a clear step towards a finished product.

DeMarcus said that by not leaning as much on music as a main source of income, her relationship with music became deeper. No longer pressured to constantly churn out music, meet arbitrary deadlines or create promotional content, she and Kirslis became more discerning with the shows they played, and found greater joy in the act of simply making music with others.

“Music became more of an outlet,” De Marcus said. “We started to have more gratitude on stage.”

The couple also began work in 2020 on a full renovation of an abandoned farmhouse from the 1800s, a project which put Kirslis’ carpentry skills to the ultimate test. DeMarcus and Kirslis moved in this summer. The home and the surrounding land will be the location of the seventh annual Cicada Rhythm farm show, a now legendary tradition that celebrates the community and the healing power of music.

This year’s show will also serve as a release show for their upcoming album. After focusing mainly on carpentry for so long, and at risk of “turning into a two-by-four,” Kirslis began to think about releasing music again.

“I wanted to be an artist,” he said. “That’s who I am. At the end of the day, what I’m most proud of is this music and this band.”

The duo had been hard at work behind the scenes, with a vast back catalog of unreleased music that had gradually been forming itself into a cohesive album. The result, this year’s Magic State, is a 12-track record that, while retaining the group’s signature sound, is wondering and curious. Whereas Cicada Rhythm’s earlier records stand quite firm in their statements, Magic State is more nebulous. It’s an album that reflects life in transition, the infinite possibility, the magic state of change.

“The album is about questioning truths you once thought were concrete,” DeMarcus said. “There aren’t many conclusions to be made; it’s all questions.”

The record begins with the song “Oranges and Cream,” an infinitely tender love song by DeMarcus. Crunchy guitar carries the rapturous chorus, which builds with anticipatory flourishes until it releases like a warm sigh.

The second track, “Quick Buck,” was inspired by Kirslis’ affinity for scrapping, a hobby he took up during COVID. While working as a contractor, he would frequently collect scrap from job sites that would otherwise be thrown away. “When we’d throw away fan motors or a little bit of wire or pipe, I’d grab it because it’s like a little piggy bank to me,” said Kirslis.

One day, Kirslis and his friend Matthew Pendrick, an Atlanta musician, took a trip to Athens Recycling with notepads in hand and wrote down what they saw. From the menagerie of items came a song that is equal parts playful and rugged, about a man down on his luck looking to sell his scrap.

The record was recorded over a five day period at Agnew’s home studio in Madison, and it is being released independent of any label. The album art was created by Flournoy Holmes, an artist whose work includes the iconic cover for the Allman Brothers’ album Eat A Peach, as well as work for Carole King, Dr. John and Kansas. - (description written by Patrick Barry)

Magic State is available now for sale.