320 kbps | 104 MB | LINKS
With his new album, “White and Red Trashes”, Welles is continuing where the rock greats before him left off. From the slow-burning lead single, “Seventeen”, to the energetic “Rock n Roll”, his debut LP is a collection of psychedelic tracks brimming with an emotive, small town restlessness.
320 kbps | 103 MB | LINKS
Scots/Canadian musician Peter GW Sumadh has been marooned in Belfast for over a decade now, serving up a unique blend of alt-folk/Americana. He’ll be releasing his debut LP Open Season.In his time as a refugee in Northern ireland, Sumadh has crafted a unique style for himself – combining rigorously worked folk songs with the on-the-fly approach of someone who can successfully win over the crowd at the rowdiest bar in town.
From the come-all-ye acoustic balladry of ‘The Devil Came To Derry’ to the full-band backing on ‘Golden Cage’ and ‘Spirit of Rocky’ (there’s a slide guitar, accordion, upright bass, trombone and flute all working in harmony there), these are songs from another era, made redolent in the modern day by the charisma of Mr Mad Dalton himself.
FLAC | 1,58 GB | LINKS
Before The Dead brings together a rare collection of the earliest known performances by Jerry Garcia. From an informal and intimate 1961 performance of simple folk songs at a birthday party with future songwriting partner Robert Hunter to more polished coffeehouse gigs with old-timey and bluegrass bands through 1964, this collection showcases Garcia’s deep study of the folk music tradition and its influence on his musical journey leading to the formation of the Grateful Dead. Even with his entire musical career in front of him, Garcia’s magnetic presence as a performer can be plainly heard in these first steps.
• Four CDs containing over 3.5 hours of studio & live performances culled from previously uncirculated masters and newly discovered recordings. Audio restoration and mastering by Fred Kevorkian.
320 kbps | 104 MB | LINKS
Originally from Vancouver but now a resident of Nashville, Steve Dawson may be a more familiar name to you as a session guitarist and producer. Over the past decade he has accrued an embarrassingly huge array of musical accolades (including a whopping seven Juno awards), working with the likes of Kelly Joe Phelps and John Hammond, so it’s little wonder that Lucky Hand has southern, blues-soaked Americana at its core.
With Dawson mixing up fingerstyle and slide techniques, both W.G. Snuffy Walden and Leo Kottke spring to mind. There’s a balance of precision and energy in the playing that every acoustic guitar instrumental record needs but what really sets Lucky Hand apart from the crowd are the inspired string arrangements peppered throughout, courtesy of Dawson’s long-time collaborator Jesse Zubot. It is so much more than just long-bowed sweetness; there is real invention in the agile interplay between the guitar and quartet, with the playful opening track ‘The Circuit Rider of Pigeon Forge’ recalling the legendary Penguin Café Orchestra. Equally quirky is ‘Old Hickory Breakdown’ which has the quartet and guitar trading licks and on ‘Bone Cave’ we’re presented with a mashup like no other: it’s Contemporary-Classical-Cajun.
Other textures on the record come in the form of John Reischman’s mandolin on the particularly sweet ‘Little Harpeth’ and some beautiful harmonica work from Charlie McCoy duelling with Dawson’s resonator guitar on ‘Bentonia Blues’. There are also splashes of ukulele, twelve-string and – for album closer ‘Bugscuffle’ – the Weissenborn lap guitar gets an airing too, naturally.
The intimate, chamber (as opposed to lush, sweeping) sound of the record helps the aforementioned front porch vibe and I wasn’t surprised to find that the album was recorded live with up to twelve mics in the room, which alone is a serious testament to Dawson’s considerable skills as a guitarist. For me though, the depth and bravery of Jesse Zubot’s arrangements constitute the record’s special ingredients. They help to elevate Lucky Hand high above the vast majority of instrumental fingerfests and will keep me coming back for future listens. Now then, I just need to make a centimetre or two of space here…
Review by Rich Barnard
320 kbps | 122 MB | LINKS
Tracks:
01. Run
02. Hoverboards
03. Trees, Fields
04. Words
05. Sheets
06. East Hastings
07. Nowhere Bound
08. Take It Away
09. Beast of Our Babylon
10. Fire
11. Ghosts
12. Barmaid
320 kbps | 82 MB | LINKS
It began in 2006 when Adam Kirschner discovered South Carolina based musician Joel Hamilton (The Working Title/Mechanical River), setting into motion years of inspired songwriting. When it came time to record his first EP in 2011, he contacted Joel, hoping to have him involved as a producer. When Hamilton responded with interest in the project, Kirschner panicked and retracted his offer. If he was going to collaborate with his hero, he wanted to be ready…and that time hadn’t arrived yet.
With a new determination, Adam moved South to Vancouver. And over the last six years has written, recorded and released two EP’s with producer Dave Meszaros (Old Man Canyon/Wake Owl). In the Spring of 2017, struggling with his mental health, Kirschner penned eight songs in two short weeks. It was the record he had been waiting for; his most intimate and honest work to date.
By August everything had come full circle, Kirschner joined Hamilton in South Carolina for a marathon six day recording session. Focusing on the genuine charm and clarity of Kirschner’s writing while allowing the listener to experience him at his most vulnerable. A feat that wouldn’t have been possible without the help of his collaborators Alex Dobson (Old Man Canyon/Wake Owl), Andy Dixon (Shovels & Rovel/Indianola), Davey Badiuk (Liam Gallagher/Tegan & Sara/Dragonette) and of course Joel Hamilton himself.
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