The jangle pop of Sixpence None the Richer feels like the comfort of an old friend, or the familiarity of an autumn wind -- something fans who'd given up hope on new music can truly appreciate. I am one of those fans, and their brand new EP, Rosemary Hill, is the best possible gift in the perfect season for their artful pop-rock.

From their more aggressive work on This Beautiful Mess (1995) through the lush commercial success of their self-titled album (1997), and the reflective pop tones of Divine Discontent (2002), Sixpence None the Richer has always found a way to weave beauty and pain into a gorgeous sounding tapestry. I have a deep love for each of these three albums and would count them among my all-time favorites. So, suffice it to say, I was both elated and cautiously optimistic to hear of their reunion for new tunes and a tour.

Sixpence songs have always hit that sweet spot of introspective lyrics, intricate guitar riffs, and dreamy vocals that could both uplift and/or break a heart. As such, maybe the red tape their releases have faced in the past, and the uncertainty of their continued existence as a band, have only heightened the sense of longing and anticipation of new music.

And now, after what feels like ages, (or 12 years for non-Christmas tunes) Rosemary Hill is here. Featuring six new tracks, this is an EP that feels like a continuation of what they do best -- crafting music that feels both intimate and expansive, steeped in sweet melancholy, and showcasing a smattering of each era of the band.

The opener, "Thread the Needle," sets the tone with its jangly guitar riff and Leigh Nash's signature vocals which have never sounded better, immediately drawing listeners back into Sixpence's unique sonics. "Julia" follows with an encouraging word to not give up hope in the face of despair, and some light fuzz pedal propelling it forward. It's an earnest tribute to the dreamer to keep dreaming. In "We Are Love," the defiance quotient is upped, built around a beginning arrangement of shimmering guitars and layered harmonies; it's a song that could fit comfortably within the framework of their earliest work, yet it feels fresh and unforced. Beginning with a self-vocal stack from Leigh, and adding aggressive electric guitar to the acoustic strums, the song ends with a searingly hot guitar solo. It's easily the best new song of the bunch. The chorus has my favorite lyric declaring resolutely, "We are love, we can make it/We're a chain you can't break it/The long darkness had a run/But hey, here comes the sun/We are love, we can take it."

Coming out of the blazing "We Are Love," "Child and Man" finds the quartet slowing things down, leaning into a folk-tinged ballad that reminds of songs from Lost in Transition. Further leaning into the Americana/Country vibes found on their aforementioned last album, "Homeland" carries a poignant sense of yearning for home in New Braunfels, Texas where the duo originally founded the band. It evokes imagery of autumnal landscapes and the bittersweet nature of homecomings, perfectly aligning with the season in which the EP is being released. Closing with the title track, "Rosemary Hill," Sixpence None the Richer leaves us on a reflective note. With swirling, orchestral arrangements, the song feels like a cinematic journey through the band's past and present. There's an unmistakable sense of nostalgia, yet also hints at new beginnings. This title track would fit neatly inside the tracklist of their self-titled album and is a gentle, yet sweetly effective closer.

With Rosemary Hill, Sixpence None the Richer proves they haven't lost a step. Not only that, they remain adept at capturing life's little moments and translating them into music that resonates deeply. For longtime fans, this EP is not just a welcome return; it's a reminder of why fans fell in love with their music in the first place. Only time will tell if Rosemary Hill can measure up to the "classics" in their back catalog, but for now, we can rejoice and enjoy the new Sixpence None the Richer, and for that, I'm grateful.

- Review date: 10/3/24, written by Josh Balogh of Jesusfreakhideout.com