Native Ohioans Detweiler and Bergquist launched Over the Rhine as a quartet in the spring of 1989, naming the ensemble after the historic, bohemian Cincinnati neighborhood Over-the-Rhine, where they lived and first wrote and recorded together. Their early demos and performances quickly struck a chord with listeners, and they already had a solid local following by the time they launched their recording career with a pair of well-received independently-released albums, Till We Have Faces (1991) and Patience (1992).
Over the next two decades, Over the Rhine continued to build a musically and emotionally potent catalogue, encompassing the studio albums Eve (1994), Good Dog Bad Dog (1996), Films For Radio (2001), Ohio (2003), Drunkard’s Prayer (2005), The Trumpet Child (2007) and The Long Surrender (2011), the holiday-themed The Darkest Night of the Year (1996) and Snow Angels (2006), the live Changes Come (2004), and a series of limited-edition CDs featuring live, rare and unreleased material.
The fierce independent streak that has fueled Over the Rhine from the start asserted itself when Bergquist and Detweiler decided to release 2007′s The Trumpet Child on their own Great Speckled Dog label (named after the couple’s Great Dane, Elroy). The Long Surrender marked the band’s first venture into fan-funded recording.
“We are blessed with an incredibly devoted audience who’ve assured us that they have invited our music into many of the significant milestones a human can experience,” Detweiler states, adding, “People have told us that they fell in love, or walked down the aisle, or conceived, or went off to war, or buried loved ones, or gave birth to our music. And so forth. At the end of the day, what more can a songwriter ask for?”
Meet Me At The Edge Of The World’s effortlessly engaging, timelessly resonant songs more than justify such loyalty, once again validating Over the Rhine’s enduring musical mission.
“We see our catalog as our life’s work,” Bergquist concludes. “It’s imperfect and broken, but we’ve also come to see our records as strangely beautiful and valid in their own way—much like life itself.”