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Bachman, Daniel – When The Roses Come Again [Red Vinyl] – New LPWith Daniel Bachmans new album, "When the Roses Come Again," he exits the steel string world where he started and tiptoes into a new one, where apparitions and nature inhabit compositions in a musical, genealogical garden. When The Roses Come Again by Daniel Bachman Self recorded in the spring of 2023 on a laptop in a cabin that leans against the border of Shenandoah National Park, "When the Roses Come Again," is culled and composed from a week of 8
With Daniel Bachman’s new album, "When the Roses Come Again," he exits the steel string world where he started and tiptoes into a new one, where apparitions and nature inhabit compositions in a musical, genealogical garden.
Self-recorded in the spring of 2023 on a laptop in a cabin that leans against the border of Shenandoah National Park, "When the Roses Come Again," is culled and composed from a week of 8-hour a day improvisations. Bachman worked as a carpenter’s assistant in this cabin and borrowed it for a makeshift studio. He extended his handywork into repurposing and building his own instruments as tools for this creation. He pulled the frets off an old Hondo banjo, sanding it down, in search of new sounds and learned to build his own Appalachian mouth bow from reading an instructional manual. He cut-and-pasted free-form jams into compositions, choosing notes and passages that resonated and connected with himself and each other, sometimes altering their speed and pitch.
But this isn’t an album about living off the land or sustainable solitude. Bachman dug into the dirt of his own musical DNA. On his mother’s side of the family, who lived in the Laurel Highlands of the Alleghany Mountains, were his literal musical descendants, the Hostetler Blind Family Band. A mid-19th century string band, all born blind (including some born without eyes), the Hostetlers performed both original and traditional music on concertina, violins, cello, and dried corncobs for percussion. Bachman doesn’t try to replicate his ancestral past, he does breathe contemporary life into it through its inspiration, using oscillators and drum apps on his phone, as well as fiddle, banjo, and guitar to construct his own string band compositions. All the music was performed, arranged, and mixed entirely by Bachman, except for some of the handbells and harmonium samples played by Tyler Magill (Grand Banks/Carry).
Integrating technology as a tool for collage, as well as acoustic instruments that pre-date all of us, Bachman creates an album that has as much to do with Terry Riley, Laraaji, Eno’s late 70’s ambient albums, and 75 Dollar Bill, as it does the Carter Family, Stanley Brothers, and Hobart Smith. And though this music has an undeniable intensity at times, it grounds the listener in an otherworldly mosaic of memory and experience. “My intention with this record was to represent the spiritual machinery that moves through all life, samsara, the wheel of life, etc. starting with birth, then death, and ending in rebirth,” writes Bachman. “I see this process moving in our garden through the seasons, and through intense personal experiences I’ve had. I see it in the churning of centuries within my own family, and through exploring these intergenerational connections I hope to better understand my own place within these intangible cycles.”
This cycle of life is indicated not just by the textures and sounds of the music but by the compositions’ titles, which originate from the Carter Family’s lyrics to “When the Roses Come Again”, itself a song about life after death. The music remains light and cyclical, re-born as it reverently sings and hums. "When the Roses Come Again" is an album of not just musical leitmotifs, but re-occurring personal and natural histories that bloom long after their perennial promise is deceased.
-Jerry David DeCicca, August 2023-
Self-recorded in the spring of 2023 on a laptop in a cabin that leans against the border of Shenandoah National Park, "When the Roses Come Again," is culled and composed from a week of 8-hour a day improvisations. Bachman worked as a carpenter’s assistant in this cabin and borrowed it for a makeshift studio. He extended his handywork into repurposing and building his own instruments as tools for this creation. He pulled the frets off an old Hondo banjo, sanding it down, in search of new sounds and learned to build his own Appalachian mouth bow from reading an instructional manual. He cut-and-pasted free-form jams into compositions, choosing notes and passages that resonated and connected with himself and each other, sometimes altering their speed and pitch.
But this isn’t an album about living off the land or sustainable solitude. Bachman dug into the dirt of his own musical DNA. On his mother’s side of the family, who lived in the Laurel Highlands of the Alleghany Mountains, were his literal musical descendants, the Hostetler Blind Family Band. A mid-19th century string band, all born blind (including some born without eyes), the Hostetlers performed both original and traditional music on concertina, violins, cello, and dried corncobs for percussion. Bachman doesn’t try to replicate his ancestral past, he does breathe contemporary life into it through its inspiration, using oscillators and drum apps on his phone, as well as fiddle, banjo, and guitar to construct his own string band compositions. All the music was performed, arranged, and mixed entirely by Bachman, except for some of the handbells and harmonium samples played by Tyler Magill (Grand Banks/Carry).
Integrating technology as a tool for collage, as well as acoustic instruments that pre-date all of us, Bachman creates an album that has as much to do with Terry Riley, Laraaji, Eno’s late 70’s ambient albums, and 75 Dollar Bill, as it does the Carter Family, Stanley Brothers, and Hobart Smith. And though this music has an undeniable intensity at times, it grounds the listener in an otherworldly mosaic of memory and experience. “My intention with this record was to represent the spiritual machinery that moves through all life, samsara, the wheel of life, etc. starting with birth, then death, and ending in rebirth,” writes Bachman. “I see this process moving in our garden through the seasons, and through intense personal experiences I’ve had. I see it in the churning of centuries within my own family, and through exploring these intergenerational connections I hope to better understand my own place within these intangible cycles.”
This cycle of life is indicated not just by the textures and sounds of the music but by the compositions’ titles, which originate from the Carter Family’s lyrics to “When the Roses Come Again”, itself a song about life after death. The music remains light and cyclical, re-born as it reverently sings and hums. "When the Roses Come Again" is an album of not just musical leitmotifs, but re-occurring personal and natural histories that bloom long after their perennial promise is deceased.
-Jerry David DeCicca, August 2023-
released November 17, 2023
All guitar, banjo, fiddle, mouthbow and other instruments performed by Daniel Bachman.
Harmonium and hand bells on tracks 3, 5 and 10 played by Tyler Magill.
Source materials recorded between March 4-10, 2023. Edited between April-July 2023. All recording and edited done in Weakley Hollow / Banco, Madison County, Virginia.
Photographs by Daniel Bachman.
Cover illustration by Sarah Bachman.
Layout/design by Darryl Norsen.
Mastering by Chuck Johnson
Bachman has a dedicated fan base who is tightly focused on his next steps. While he has always been restless with his art, his stylistic changes in 2020's "Axacan" demonstrated - and excited - many within that fan base as to how transformative his work and vision can be for "traditional" music in these modern times. This fresh work continued with 2022's "Almanac Behind". "When The Roses Come Again" is a perfect next step to this trendline, a synthesis of tradition and abstraction. In other words, it is yet another vivid reimagining of what a "traditional" album can be in modern times. On this LP Bachman takes acoustic guitar, banjo, fiddle and mouth harp alongside oscillators, drum apps and more to construct one-man string band compositions. Integrating technology as a tool for collage, as well as acoustic instruments that pre-date all of us, Bachman excitingly creates an album that has as much to do with Terry Riley, Laraaji, Eno’s late 70’s ambient albums, and 75 Dollar Bill, as it does the Carter Family, Stanley Brothers, and Hobart Smith. "When The Roses Come Again" is destined to thrill those who have been so enamored with Bachman's past exciting turns as well as pull new folks into the folks who are excited by new sounds.
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4.7 ★★★★★
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Product Reviews
★★★★★ 5
Heavy duty, excellent quality
Size: Small, Color: Textured Ring, Size: Small, Color: Textured Ring
I trust the Nylabone brand and would not buy a cheap substitute to save a few bucks. This ring is heavy duty. I got it for our 9-week-old puppy and it keeps her interested and entertained with all the little nubs. She uses it more as a toy than something to chew on, tossing it around and mouthing it. It's very hard so I'm not worried about her being able to chew off any little pieces at this point. This satisfies her for now and helps to keep her busy and reigns in some of her puppy energy. Recommend!
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Reviewed in the United States on March 9, 2026
★★★★★ 5
Strong
Size: Small, Color: Textured Ring
My French Bulldogs have really strong jaws and are aggressive chewers. These really are sturdy and last a good amount of time. I replace every couple of months and they are one of my dogs favorites and easy for them to hold onto.
WAS THIS REVIEW HELPFUL?YesReportShare
Reviewed in the United States on April 25, 2026
★★★★★ 4
Durable Chew Toy That Actually Holds Up to Strong Jaws
Size: Large, Color: Bundle
This is a reliable option for a heavy chewer, especially for a large breed with a strong bite. The material feels tough and well-made, and it stands up well to consistent chewing without immediately breaking down like softer toys tend to do. It also gives a bit of dental benefit by helping reduce plaque and tartar buildup during play, which is a nice bonus since brushing isn’t always realistic. The textured surface keeps it interesting enough to hold attention for a while, and it doesn’t splinter or create a mess. Overall, it’s a solid, durable chew toy that works well for strong chewers who tend to destroy most standard toys quickly.
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Reviewed in the United States on May 6, 2026
★★★★★ 5
Ergonomic good, material so, so
Size: Large, Color: Wishbone
Nice ergonomic, but the plastic come off and dog chew it. I had rather have a stronger material adequate for bigger dogs.
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Reviewed in the United States on April 30, 2026
★★★★★ 3
Love it, nice for tough chewers, split in half during play
Size: X-Large, Color: Textured Ring, Size: X-Large, Color: Textured Ring
LOVE THIS PRODUCT, would’ve gotten 5 stars but i threw it for my dog and it split in half on contact with the floor. It had lasted us well over 5 months, it’s not his favorite toy but he’ll pick it sometimes, i wouldn’t say it’s unsafe in half just don’t give the smaller parts!
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Reviewed in the United States on December 18, 2025
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