Mount Moriah: Miracle Temple and the Artistic Evolution of H.C. McEntire
When Mount Moriah released Miracle Temple under Merge Records in 2013, the Southern rock revival took on a new emotional resonance. Fronted by the incredibly versatile Heather “H.C.” McEntire, the band created a dynamic fusion of country, folk, and rock elements that transcended genre boundaries and reshaped the landscape of Americana music. While Mount Moriah is often placed in the alt-country category, McEntire’s powerful vocals and lyrical depth make their music far more layered.
Miracle Temple, the band’s second album and their debut release on Merge Records, marks a turning point in both their career and sound. While their self-titled first album (2011) was introspective, focusing on personal and spiritual reflection, Miracle Temple brought a broader and more outward-looking perspective. The album, which has been described as McEntire’s reckoning with Southern identity, love, and loss, showcases both the tenderness and grit of the region. It’s deeply rooted in the traditions of Southern music but stands out for its blend of genres, embracing rock’s boldness, folk’s storytelling, and country’s emotional intimacy.
The Sound of Miracle Temple: Roots Rock with Heart
The soundscape of Miracle Temple balances traditional roots influences with an expansive rock sound. From the rollicking opener “Younger Days” to the hauntingly beautiful “Rosemary,” McEntire’s voice anchors the album, delivering narratives that feel deeply personal yet universally relatable. There’s a clear sense of yearning in songs like “Bright Light” and “I Built a Town,” which dive into themes of disillusionment and identity.
“Swannanoa” is one of the standout tracks, where McEntire’s emotive vocals pair with chugging guitars to capture a sense of both freedom and loss. The vulnerability of her delivery underscores the weight of the lyrics, touching on themes of rural life, redemption, and nostalgia. There’s a tension in McEntire’s songwriting—a pull between the past and present, between spiritual longing and human experience—that creates a palpable emotional landscape throughout the album.
Musically, Miracle Temple is a triumph in its blend of the traditional and modern. The guitar work, often reminiscent of classic Southern rock, brings in a bluesy rawness that pairs well with McEntire’s gospel-inflected vocals. Tracks like “Telling the Hour” and “Miracle Temple Holiness” see the band experimenting with dynamics, moving from gentle balladry to anthemic rock seamlessly, a testament to the band’s musical versatility.
Mount Moriah’s Discography: Building a Southern Gothic Legacy
Mount Moriah’s career might be brief in comparison to other Merge Records staples, but their impact is undeniable. Their 2011 self-titled debut album introduced listeners to McEntire’s unique blend of Southern Gothic lyricism and indie rock textures. Songs like “Lament” and “Old Gowns” explored personal narratives with a haunting, spiritual depth that set the stage for Miracle Temple.
After Miracle Temple, the band released their third album, How to Dance (2016). This record further refined their sound, incorporating more polished production and continuing their exploration of Southern identity. McEntire’s lyrical depth shines on tracks like “Baby Blue” and “Fox in the City,” delving into themes of queerness, identity, and reconciliation with the South. Her voice, equal parts raw and refined, blends perfectly with the album’s rich instrumentation, making it a vital piece in the band’s discography.
H.C. McEntire’s Solo Career: Honing a Singular Voice
Post-Mount Moriah, H.C. McEntire’s solo career took a more introspective turn, allowing her to explore personal themes more intimately. Her debut solo album, Lionheart (2018), is a bold statement of identity, freedom, and resilience. It’s a record that finds McEntire embracing her queerness while delving into the complex relationship between her Southern upbringing and personal spirituality.
Lionheart shifts away from the band’s broader Southern rock sound and toward a more folk and country-based aesthetic. The album’s lead single, “A Lamb, A Dove,” sets the tone with its stripped-down arrangement and confessional lyrics. Songs like “Quartz in the Valley” and “Red Silo” dig deep into McEntire’s reflections on life, faith, and love, all the while grounded by her powerful, soulful vocals.
In 2020, McEntire followed up with Eno Axis, a sonically richer and more expansive album. Building on the foundation of Lionheart, Eno Axis merges her Southern roots with more experimental sounds. Tracks like “Hands for the Harvest” and “High Rise” show her comfort in navigating multiple musical worlds, blending folk, country, and rock seamlessly. The album received critical acclaim for its depth and maturity, cementing McEntire as a formidable solo artist in her own right.
Touring with Angel Olsen: A Match Made in Indie Heaven
In addition to her solo work, McEntire spent two years on tour with fellow indie darling Angel Olsen, contributing backup vocals and handling keys. Olsen’s music, characterized by its moody, atmospheric soundscapes and emotionally raw lyrics, proved to be an ideal pairing for McEntire. Their collaboration created a powerful dynamic on stage, with McEntire’s harmonies adding richness to Olsen’s brooding arrangements.
Their tour together showcased both artists’ versatility, as McEntire’s presence brought depth and texture to Olsen’s live performances. The tour was not only an opportunity for McEntire to further hone her craft, but it also solidified her place as a revered figure within the broader indie music scene.
Legacy and Influence: A Southern Voice That Resonates
H.C. McEntire’s body of work, both with Mount Moriah and as a solo artist, stands out for its authenticity and emotional resonance. She brings the South to life in her music, not as a monolithic or nostalgic place, but as a region filled with complexities—personal, political, and spiritual. Her voice—whether fronting a band or as a solo artist—carries an undeniable power, one that speaks to the experiences of those navigating identity, faith, and belonging in a world that doesn’t always understand them.
From the raw Southern rock of Miracle Temple to the introspective beauty of her solo records, McEntire continues to push boundaries and challenge expectations. Her work is a reminder that music can be a place for both personal exploration and communal healing, and her legacy as an artist will resonate for years to come.
1. H.C. McEntire (Heather McEntire)
• Role: Lead vocalist, guitarist, and lyricist.
• Current Activity: H.C. McEntire has pursued a successful solo career. Her music continues to explore Southern roots, queer identity, and the intersections of faith and place. She released a solo album, Lionheart, in 2018, followed by Eno Axis in 2020, both of which received critical acclaim. She also collaborates frequently with other artists, notably as a touring member of Angel Olsen’s band.
2. Jenks Miller
• Role: Guitarist and co-founder of Mount Moriah.
• Background: Jenks Miller is a multi-instrumentalist and a prolific experimental musician who blends drone, metal, and Americana in his work. He is also the mastermind behind the band Horseback, a project blending metal, ambient, and experimental sounds.
• Current Activity: Jenks Miller remains active in the music scene, primarily focusing on Horseback and other solo experimental projects. His work continues to evolve in both heavy and atmospheric music genres.
3. Casey Toll
• Role: Bassist.
• Current Activity: Casey Toll has been involved in multiple projects since Mount Moriah went on hiatus. He has worked as a session musician and contributed to live performances with various indie and Americana artists, including H.C. McIt’s solo work. Toll’s presence in the local North Carolina music scene remains strong, though he operates more behind the scenes as a bassist and collaborator.
Where Are They Now?
Jenks Miller and Casey Toll are integral members of Mount Moriah, contributing to the band’s unique Southern Gothic sound alongside H.C. McEntire. Their musicianship and individual projects have also shaped the broader soundscapes of the indie and experimental music scenes.
Jenks Miller: A Multi-Genre Mastermind
Jenks Miller is a multi-instrumentalist and composer, known for his ability to traverse various genres and sounds. He co-founded Mount Moriah with McEntire, and his guitar work is one of the defining features of the band’s sound. While McEntire’s voice and lyrics often take center stage, Miller’s nuanced and atmospheric guitar playing gives Mount Moriah its sonic depth, blending elements of rock, folk, and Southern blues with an experimental edge.
Miller’s background is diverse, stretching far beyond the realm of Americana and Southern rock. He’s perhaps most well-known for his work with his other band, Horseback, an experimental project that blends black metal, drone, and psychedelia. In Horseback, Miller explores darker, more abstract themes and avant-garde musical textures, which contrast sharply with the more structured and melodic work he does with Mount Moriah.
Horseback’s albums, such as The Invisible Mountain (2009) and Half-Blood (2012), garnered critical acclaim for their experimental and genre-bending approaches. Miller’s ability to move between metal, drone, and folk shows his versatility as a musician and composer. These experimental influences subtly inform his work with Mount Moriah, where his atmospheric guitar work adds depth and complexity to the band’s Southern rock base.
Miller’s role in Mount Moriah is more than just a guitarist—he’s also a key collaborator in the songwriting process. His understanding of soundscapes and ability to blend different musical elements allows the band to traverse various emotional landscapes while staying rooted in Southern musical traditions.
Casey Toll: The Foundation of Mount Moriah’s Sound
Casey Toll is the bassist for Mount Moriah, and his contributions provide a solid foundation for the band’s expansive sound. Toll’s playing is marked by a sense of restraint and precision, giving space for McEntire’s vocals and Miller’s intricate guitar lines to shine while holding everything together with his steady rhythms.
Toll’s bass work is often understated but critical in defining the band’s groove, grounding their songs even as they explore complex themes and emotions. In tracks like “Bright Light” from Miracle Temple and “Baby Blue” from How to Dance, his basslines anchor the music, helping to create a sense of forward momentum and structure amid the emotional intensity of the lyrics and melodies.
Outside of Mount Moriah, Toll has also collaborated with H.C. McEntire on her solo projects, including her albums Lionheart and Eno Axis. His musicianship carries through these works, where his subtle but impactful basslines help to shape McEntire’s folk and country-inspired soundscapes.
Collaborative Dynamics in Mount Moriah
Together, Jenks Miller and Casey Toll form the sonic backbone of Mount Moriah. Miller’s genre-bending sensibilities and Toll’s rhythmic precision complement McEntire’s emotionally charged vocals and songwriting. This dynamic allows the band to traverse a broad range of sounds, from introspective ballads to rollicking Southern rock anthems, while maintaining a cohesiveness that’s both intricate and emotionally resonant.
Miller’s experimental edge—shaped by his work in Horseback—adds a layer of unpredictability and atmospheric tension to Mount Moriah’s music, while Toll’s steady bass playing keeps the music grounded, making the band’s explorations of Southern identity, love, and personal growth all the more impactful.
Beyond Mount Moriah
Both musicians have continued to work outside of Mount Moriah, contributing to the broader indie and experimental music scenes. While Jenks Miller’s work with Horseback pushes the boundaries of metal and drone music, Casey Toll has remained a steady collaborator with H.C. McEntire in her solo ventures, offering his reliable musicianship to her introspective and deeply personal songs.
Miller, in particular, continues to be a versatile figure in music, moving between roles as a producer, composer, and performer. His ability to fluidly navigate different genres makes him one of the most interesting and innovative musicians in the indie scene, and his contributions to Mount Moriah are part of what makes the band’s music stand out in the crowded field of Americana and Southern rock.
Jenks Miller and Casey Toll’s roles in Mount Moriah underscore the collaborative spirit of the band, with each member bringing unique talents and influences that shape their distinctive sound. Their work within and beyond the band speaks to their versatility and commitment to pushing musical boundaries.
What better band to represent our town and state than Mount Moriah? I fell in love with this band’s creative output on the first listen. An honorable friend gifted me Mount Moriah’s first Merge Media release, Miracle Temple. The perfect accompaniment for a slow drive to the beach cd, if ever there was one.
Those merry few who caught the cut-short, back-to-back, rained-out concerts at Sarah Duke Gardens outdoor music series this past summer may remember this great track, Calavander. This song’s brilliant resonant reference to the Carteret County line conjures up so many joyful beach visits for the Durham Cool team.
Mount Moriah (band) Durham Merge Records recording artist, homecoming performance at Cat’s Cradle was too short for me (1.5 hours) but bursting with brilliance and Southern rock energy. The band was fighting through tour bus influenza.
We know HC McEntire is flying solo with a new 2023 release; listen here now. Recently while discovering more about Angel Olsen, we learned that HC McEntire toured with the artist. In the summer of 2016, McEntire joined Angel Olsen’s band as a backing vocalist. She spent eighteen months traversing North America, Europe, and Australia supporting Olsen’s astounding 2016 LP, My Woman, a once-in-a-lifetime opportunity.
We look forward to a possible Mount Moriah band reunion, but we know HC has already set out on her own more than once, and we are certain the other members have engagements elsewhere.
Swannanoa
provided to YouTube by Merge Media Ltd Swannanoa · Mount Moriah Miracle Temple ℗ 2013 Merge Records Released on: 2013-02-26 Composer: Heather McEntire, Jenks Miller, and Casey Toll
Writing novellas, beloved Swannanoa
Say the words just chose ya
Daughter of a doctor,
But you can’t fix this part of
The plot that you gave up
When we were children
Nothing yet determined
We were empty chapters
Maps not filled in
No fears or tethers
A pair of young wayfarers
You made it all seem clearer
You’re not a coward, either
Delicate rebel,
Brilliant and feral,
Show me every vowel
Black Mountain basements
Keep you from doorsteps
Address the unrest
When we were children
Nothing yet determined
We were empty chapters
Maps not filled in
No key is a ___ for us aging archivists
I made sense of the madness
With a broken compass
Will another let it bring us light?
Is there only fiction in the fall?
Will another let it bring us light?
Is there only fiction in the fall?
Will another let it bring us light?
Is there only fiction in the fall?
Will another let it bring us light?
Is there only fiction in the fall?
Swannanoa is a shamanically hypnotic song. It must be the drum line, but it could also be the first line, “Writing novellas, beloved, say the words just chose you, “daughter of a doctor” This is my favorite selection from Miracle Temple as it triggers the urge to throw off my best James Morrison snakeline shamanic shuffle. Let me know if you feel the same.
Mount Moriah – Swannanoa – HearYa Live Session
Mount Moriah performs “Swannanoa” live in-studio for HearYa.com on 7/11/11. The session was recorded in downtown Chicago at Shirk Music + Sound and sponsored by BEER NUTS Brand Snacks.
Camera Ops: Nathan Saks and Mark Smirl
Video Editor: Stephen Shirk
Audio Producer/Engineer: Stephen Shirk
Music in this video
Song
Swannanoa
Artist
Mount Moriah
Album
Miracle Temple
Licensed to YouTube by
[Merlin] merge records (on behalf of Merge Records); House of Hassle Publishing LLC, Exploration Group (Music Publishing), Polaris Hub AB, ASCAP, and 5 Music Rights Societies
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Mount Moriah’s Southern Baptist Upbringing
Heather McEntire of Mount Moriah talks about being queer in the South and her band’s new album, Miracle Temple. See story here: http://bit.ly/14tbdNA
Mount Moriah – Swannanoa – HearYa Live Session
Mount Moriah performs “Swannanoa” live in-studio for HearYa.com on 7/11/11. The session was recorded in downtown Chicago at Shirk Music + Sound and sponsored by BEER NUTS Brand Snacks. Download mp3’s from the session for free here: http://www.hearya.com/2011/11/04/moun…
Song
Artist
Album
Licensed to YouTube by
Mount Moriah “I Built a House” | OFF THE AVENUE E161
Mount Moriah “Eureka Springs” Live at KDHX 6/17/13
See and hear the full session at: http://kdhx.org/music/live-performanc… Mount Moriah performs “Eureka Springs” live in the Magnolia Avenue Studios of KDHX in St. Louis, June 17, 2013. Hosted by Chris Bay for Gold Soundz. Audio by Dan Kinney. Video by Ed Kleinberg.
Interview with Mount Moriah (Live at SXSW)
Russ Borris with Mount Moriah lives at Hotel San José Austin, Texas. Recorded at SXSW, March 14, 2013 Host: Russ Borris Engineer: Jim O’Hara Cameras: Jim O’Hara, Tim Pierson, and Josh Briseño Editor: Joe Grimaldi
Mount Moriah – Swannanoa – HearYa Live Session
Mount Moriah performs “Swannanoa” live in-studio for HearYa.com on 7/11/11. The session was recorded in downtown Chicago at Shirk Music
Song
Swannanoa
Artist
Mount Moriah
Album
Miracle Temple
Licensed to YouTube by
[Merlin] mergerecords (on behalf of Merge Records); ASCAP, Exploration Group (Music Publishing), and 5 Music Rights Societies
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Mount Moriah – The Letting Go
Merge Records on Youtube
Hueism Pictures (http://hueismpictures.com/) Directors: Habib Yazdi, Andrew Synowiez Director of Photography: Andrew Synowiez
Mount Moriah – Calvander (Lyric Video)
From the Calvander 7-inch, out October 9, 2015, on Merge Records.
Calvander
Mount Moriah
Under the Calvander sign
Hitched a ride to the Carteret county line
Down on my knees by the bogue bank tide
Prayed to something for some kind
Any kind of light
Inner banks all the way east
Followed the tracks out past the fishery
I swear to God tonight
Those Jacksonville boys ain’t gonna find
Sweet
Company
Carry on and on and on on
With your cosmic reach
Newport river whispered fate
Spells cast with every crashing wave
Neon lines and a new name
Held up my palm and I offered up my face
Blue heart and a dark mind
Looking for any kind some kind of sign
I swear to God tonight
Those Jacksonville boys ain’t gonna find
Sweet
Company
…
Keep me gentle and keep me easy
Four lines of mounted mercury
Keep me gentle and keep me easy
Four lines of mounted mercury
Keep me gentle and keep me easy
Four lines of mounted mercury
Keep me gentle and keep me easy
Four lines of mounted mercury
Under the calvander sign
Hitched a ride to the Carteret county line
Down on my knees by the bogue bank tide
Prayed to something for some kind
Any kind of light
Inner banks all the way east
Followed the tracks out past the fishery
I swear to God tonight
Those Jacksonville boys ain’t gonna find
Sweet
Company
Carry on and on and on on
With your cosmic reach
Source: Musixmatch
Mount Moriah – Lament
Director: Habib Yazdi
Director of Photography: Andrew Synowiez
Gaffer: Alex Maness
Production Stills: Lalitree Darnielle
If this will be
Anything
Then let it be
Over
Because the heart can’t keep
Trying
To love something
It doesn’t
If this will be
Anything
Then let it be a
Disaster
A mouthful of bees
Couldn’t stop me
From whispering,
I don’t know you.
But if scars could sing
About the permanent things
They’d say it’s damaged
But it was something.
If this will be anything
Then let it be over
Source: LyricFind
Songwriters: Heather Mcentire / Robert Miller
Lament lyrics © Rough Trade Publishing
Lament
A great video, a familiar Durham NC setting for an incredible song. The line “a mouthful of bees could not stop me from whispering, “I don’t know you”. Quite the rhyming sequence. Consider for just a shutdown moment, the prospect of a mouthful of stirring bees. Next, If stars could sing about permanent things, they would sing, “It was damaged, but it was something”.
This song hits your primal core and resonates down the spine of astral memory.
Song
Miracle Temple Holiness
Artist
Mount Moriah
Album
Miracle Temple
Licensed to YouTube by
[Merlin] merge records (on behalf of Merge Records); ASCAP, Audiam (Publishing), and 7 Music Rights Societies
Mount Moriah – Miracle Temple Holiness – Luna Sessions @Pickathon 2016 S01E11
Special thanks to The Oregon Film Office.
Producer: Ryan Stiles
Executive Producer: Zale Schoenborn
Associate Producer: Terry Groves, John MacArthur
Assistant Producer: Stephanie Manzo
Line Producer: Seth Chandler
Production Manager: Alisha Flaumenbaum, Josh Madera
Associate Distribution Producer: Ned Failing, Shawna Burke, David Gluck
Legal: Vincent Sliwoski, Harris Moure, PLLC
Editor: Ryan Stiles
Camera: Thomas Lyons
Audio Recording Engineer: Brian Bovenizer
Channels Mix Engineer: Jason Powers
Production Assistant: Peter Rodocker
Intro Sound Design: Josh Derry
Mount Moriah – Calvander – 2/8/2016 – Paste Studios, New York, NY
This stripped-down duo version is worthy of your attention. The lyric, vocal Viking performance, solid guitar chord strum, between the stocked shelves of Paste Studio tapes.
Mount Moriah – Miracle Temple Holiness (Official Music Video)
I was a saint, I wed the breaking dawn
Bricks met neatly, and the doors stayed closed
Beholden to only haunt the familiar womb
Master garden paths
Never lost, never lost, never lose
Sullen soothsayer, I held the tea leaves close
I nailed the good book onto every beadboard post
I kept the hemlocks groomed, owned the beam, and mote
Free will, follow me
Never lost, never lost, never lose
If fearness shakes up your holy water
Let it rise, let it rise, let it rise
I’ve seen the darkness take you down with it, mama
Let it rise, let it rise, let it rise
Let it rise
I was a saint, I wed the breaking dawn
I kept the kettle on, shines the savior’s throne
Beholden to only haunt the familiar womb
Master garden paths
Never lost, never lost, never lose
If fearness shakes up your holy water
Let it rise, let it rise, let it rise
I’ve seen the darkness take you down with it, mama
Let it rise, let it rise, let it rise
Let it rise
If fearness shakes up your holy water
Let it rise, let it rise, let it rise
Let it rise
I’ve seen the darkness take you down with it, mama
Let it rise
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Mount Moriah – Telling The Hour – HearYa Live Session
Mount Moriah performs “Telling The Hour” live in-studio for HearYa.com on 7/11/11. The session was recorded in downtown Chicago at Shirk Music + Sound and sponsored by BEER NUTS Brand Snacks
Mount Moriah “Eureka Springs” | OFF THE AVENUE E162
Blessed O Blessed,
Look at all those pretty dresses
We’re in the glass chapel with all of the doves,
Crying into the napkins.
Take a Seven & Seven,
Hand me one more until it’s lifted.
We waded into the healing spring,
But nothing happened.
Are you hardened?
Can you pardon the very hand
That draws a line into the sand?
Those hard mark-making women,
They will take all they are given.
The orange sun slipped into the ridge.
And all was silent.
Lights out at Crescent,
Let me head back on to Memphis.
J-23, BROTHER promise me
My name is up next.
Are you hardened?
Can you pardon the very hand?
That draws a line into the sand?
