Little Tybee’s eponymous self titled 4th studio album is by far the group's most ambitious work, and fully crystallizes the Atlanta sextet’s brand of dynamic and multi-layered dream folk. Named for a small island off the coast of Georgia, Little Tybee have been a mainstay in Atlanta’s burgeoning music scene since they formed in 2009. The group has developed a cult following for their celebrated live sets, and have opened for acts including Victor Wooten, Kurt Vile, Of Montreal, Maps and Atlases, Hundred Waters and many more. Little Tybee “have been developing their genre bending sound over the course of nearly seven years, three albums, and countless tours across the States,” and according to Vice’s Noisey, “it’s time to start paying attention.”
The bulk of the Little Tybee’s compositions begin their life as delicate creations, etched around the sinewy acoustic guitar and lilting vocals of singer songwriter and band leader Brock Scott. The songs are then fleshed out by the eight-string guitar virtuoso Josh Martin (endorsed by Ibanez & Dunlop), the classical flare of Nirvana Kelly’s violin, the deep pocket grooves of Ryan Donald’s hook-laden bass and Pat Brook’s gospel tinged beats, all rounded out by Chris Case’s driving keyboard arrangements. The result is kinetic and eclectic, an album which is both soothing and bombastic, and which rewards repeat listens. By blending elements of Folk, Psych, Jazz, and Bossa, Little Tybee have created a genre all their own, both creative and technical, with a keen ear for melody and accessibility.