Very seldom will you find a group of musicians able to make music together while still following their personal paths. Therein lies the cohesion of Dandelion Gold, a label and group consisting of ten artists from the Bothell and Seattle areas who have dropped different elements of musical inspiration and influence into a melting pot that brews creativity.

This potent formula can be heard on their new thirteen-track compilation album, Dandelion Gold: One. Led by Johnny Goss and Ola Hungerford — known as Cock and Swan — each artist in Dandelion Gold is showcased and brings his or her own color and texture to One — but it still feels like the overall landscape of each recording connects to the next one.

For instance, throughout the acoustic-driven “Homunculus,” guitarist Olie Eshelman releases a vibrant kaleidoscope of impressions from each chord progression which in turn creates a carefree style that’ll get your foot tapping.

This follows right into the hollow acoustics of Shana Cleveland’s “And, In The Night, Home.” Here, we find the picture gloomy, with Cleveland wailing her words for textural effect. The cohesion that settles within both tracks is crafted well.

On a more off-beat path, Kevin Parsell treats the listener to a hypnotic dose of trance-style instrumentation with “Moira (Granite).” Halfway through the record, the musical direction almost feels like it goes into a time warp, attempting to make its way back to where it began. Trippy, to say the least.

For the most part, vocalists on One are few, with instrumentals the go-to performance. However, there is one track in particular that catches the ear. “What I Want,” performed by Jenny Asarnow — also known as Sweet Potatoes — is easiest to describe as “voices on top of voices,” figuratively and literally.

“My music is based on voice. On my many voices, on the places that I go to and the places that are in my mind,” Asarnow wrote in an e-mail. As her signature style, this musical direction is nothing close to conventional. Asarnow confesses her influences include blues crooner Billie Holiday, experimental duo Alejandra and Aeron and the abstract-leaning Lucky Dragons. What she does as a musician is pick out bits and pieces from these different artists and lend her own way of expressing life through music.

This is reiterated in her recent release, Sweet Potatoes (And Friends). As a seven-track EP, Sweet Potatoes is an audio-excursion in itself. Asarnow’s voice is supported by instruments including guitar, clarinet, kazoo and tambourine.

The infectious melody on “Lovesick Blues” complements Asarnow’s voice as she puts a spin on her own sour blues ballad. As she tells the story of a man feeling the repercussions of his break-up with a girl, regret is apparent in Asarnow’s delivery as she sings, “I’ve grown so used to you somehow / Well I’m nobody’s sugar daddy now / And I’m lonesome / I’ve got the Lovesick Blues.”

The somber tone Asarnow invokes on “It’s Over” feels like the ending of a bad day; you’re relieved it’s in the past, but worried about what will come next. The ending then takes a 180-degree spin with Asarnow’s voice becoming joyous rather than melancholy.

The closest Asarnow gets to anything remotely contemporary is on “Layers,” and even here she treats the music just as the title would lead you to believe; vocals building upon vocals until it becomes a choral wall of sound.

Though Sweet Potatoes can be looked at as a solo project, Dandelion Gold members contributed — from the recording process to promotion of the EP.

“Dandelion Gold is basically a supportive group of musicians who collaborate often and sound good together,” Asarnow said. “[We’re] a warm and dedicated group of people who love to make and listen to each other’s music.”

If you’re willing to branch out for music that is wholly distinct and creative, look no further than Dandelion Gold’s One and Asarnow’s Sweet Potatoes.

Reach reporter Edwin Ortiz at arts@dailyuw.com.