The array of sounds Garcia made at the Matrix is dizzying, from garage rock to jazz fusion to bluegrass to cosmic funk…and beyond. Download and enjoy . . .
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Listening to Jay Bolotin's mysterious songs, it's easy to hear why people like Mickey Newbury, Kris Kristofferson, Merle Haggard, and other Music City luminaries lauded the Kentucky native's work . . .
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If you've been around a minute, you'll remember the original iteration of the AD Transmissions podcast, a format we phased into our present (more "traditional") model in 2016. But this? It's a return to the sound collage framework . . .
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In 2013 Kevin Morby released his first work as a solo artist, Harlem River. As a debut, the record laid the foundation of an aesthetic framework he's continued to mine and augment over three consecutive albums. Morby's songwriting routes itself in traditional structures, yet pulls from a wide palette -- ranging from the linear to the abstract. It was the latter that was on display last month in Los Angeles . . .
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...I dropped the needle, disappeared into the couch and let saccharine waves of perverse lounge cascade over me. I may have even closed my eyes (poetic license). I have no idea of the artist’s intent, or what they were aiming for, as I’d already tossed the accompanying press materials. But often this is a good thing. The record works fine as-is. Whatever it is . . .
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Lagniappe (la·gniappe) noun ˈlan-ˌyap,’ – 1. An extra or unexpected gift or benefit. 2. Something given or obtained as a gratuity or bonus.
Bonny Doon's pace is like the Mitch Hedberg joke, "I'm sick of following my dreams. I'm just going to ask them where they're goin' and hook up with them later." Hedberg's delivery, like Bonny Doon's, belied craft: it might be a joke about . . .
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Nestled neatly at the end of Mexican Summer’s compilation, A Decade Deeper, celebrating the label’s first ten years of “living, breathing, and believing,” is a new all-time jammer from Orlando’s Tonstartssbandht. The cover, "Livin' In Hope," finds brothers Andy and Edwin White harmonizing in grand spaciousness about a journey from the country to the city. It transports the listener to a zone of languid Arcadian gospel-psych. Lyrically rooted in . . .
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Tonight and on-demand. An alternate history of popular music if, say, Yaphet Koto, The Electric Piano Underground and Tim Maia reigned supreme . . .
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Dave Harrington is a modern-day guitar hero in an era that increasingly does not seem to care about such figures. His credits should be legendary, but as it stands, he plays weekly gigs in New York City and carries an unassuming personality. His latest record, Pure Imagination, No Country, should change that, but it probably won’t. Anything outside of another become a member or log in.
Jessica
Pratt doesn’t have many contemporaries. Her nylon-string reveries exist in a
precarious space between the then and now, and she seems destined to float as a
cult figure for generations—but just the same, she’s right here today, busy and
appreciated. At this point in time, there’s nothing cult about her.
Rather than just the stylistic touchstones—Leonard Cohen, Karen Dalton, Marianne Faithfull—that can be felt in her three albums, it’s almost more prudent to understand Pratt through the spiritual characters of her world: The mystique of Brian Jones. The . . .
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Nina Simone, live at the Village Gate in Manhattan’s Greenwich Village, 1961, sashaying between folk, classical, and jazz . . .
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Following the 2007 singles compilation Weirdo Rippers, No Age returned the following year with the release of Nouns. Both the media and the masses took note, and for good reason. As an album, Nouns endures both as a sonic manifesto, and as a time-capsule of the mid-late 00s underground; specifically the DTLA noise-punk scene. Over the past decade, the duo have released three more albums; works that have explored and expanded upon the initial framework laid out within Nouns 30 minute runtime. And while less . . .
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"I'm sitting here in Carrboro, North Carolina." This is the voice of Alejandro Escovedo. On the day we're speaking, I'm hoping to catch his performance that night at the Cat's Cradle in Carrboro, but I'm also dealing with the possibility of ice on the roads and about an hour's drive each way. By the end of that night, I'd be shaking my head listening to him and his and current bandmates, Don Antonio, rework his 2012 song "Sally Was a Cop" into something transcendentally different from its original studio version, and I . . .
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Jimmy Jukebox – Motor Boat (AD Rive Gauche edit) ++ Loak Klang – Loak Klang ++ Shintaro Sakamoto – Love If Possible ++ Ronald Langestraat – I’m Ready For Dancing ++ Shintaro Sakamoto – Another Planet ++ Julien Gasc – Luke Howard . . .
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Swan’s Chamber: the new project from Georgia based multi-instrumentalist & songwriter Taylor Ross. His new four-song suite, via the Leaving Records imprint, is a solo work for guitar, recorder, and piano, employing a classical romanticism and playful pop humor that both artfully belies, and subtly projects its unfolding dramas . . .
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