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“Beyond the Foothills is a 14-song collection of detailed character sketches and daredevil instrumental expeditions. Each musician possesses a craftsman’s steady hand and patience, creating a stirring blend of acoustic tides. Every member writes, and each songwriter lends a distinctly different flavor to the record while never unraveling the record’s cohesive coil. Straying further from conformity’s bounds, three of the four members share lead vocals, adding another critical chemical element to the band’s makeup.”
—Martin England, Showcase Magazine
“The vocals are tight and true; the instrumental work impressive, the songs a pleasure to hear repeatedly. The first tune, "Chairs Around The Table," is a High Range original that stands up to the best works of nearly any contemporary bluegrass band, with a loose, bouncy rhythm that immediately grabs the listener’s attention. The instrumental "Cuttin’ Grass" gives Carlson, mandolinist Rob Kneeland, banjo player Todd Jones, and guest artist Lincoln Meyers on a blazing flatpicking guitar the chance to step out and show their remarkable potential. Great tunes abound here, such as the iron ore mining saga "Republic Steal" and the mournful "Leave This All Behind."”
—David McCarty, Bluegrass Unlimited
“High Range has a sound all its own - full of surprises, instrumental excellence, some fine vocals and some absolutely killer originals.”
—Dave Higgs, Bluegrass Breakdown, Nashville Public Radio
“Excellent songwriting and musicianship on contemporary bluegrass, folk, and beyond.”
—Tim Walsh, Bluegrass Now
“Though the musicianship in High Range may be first caliber, the focus of this particular outfit is certainly on the songs. These songs are carefully structured, passionately performed, and interestingly borrow influences from many genres... bluegrass, jazz, folk, and even funk. The outcome is an interesting, and highly successful, experiment in inspired acoustic music from some fine players.”
—Jamie Perkins, Spotlight Seacoast Arts & Entertainment
“Foothills is peppered with great guitar runs from Todd Jones, truly original (bluegrass?) bass lines from Nate Edgar, precise mandolin chirps from Rob Kneeland, and everything from bluegrass sawing to classical 64th-note runs from fiddler Ellen Carlson. I repeat: It was a wonderful surprise. The writing shows a clear vision for the band as one willing to draw on the sounds of Flatt, Scruggs, Monroe, and such, but also willing to venture forward with the likes of Tony Rice and Bela Fleck — possibly beyond.
—Sam Pfeifle, The Portland Phoenix