It’s a wild, electric phantasmagoria of blues, rock, garage, and soul; it blasts off into diverse orbits only to come back together into a singular Savage cosmology.
Imagine the Dead Kennedys three decades on. Fiery cosmic psychobilly and retro R&B/garage tones. Sacrebleu!
Boy in a Well is complex; it’s a manically conceived, historically situated, emotionally underscored, plot-driven fictive universe. It’s demented, unpredictable, taboo, ambitious, and yet distinctively cohesive.
Birmingham/Nashville group’s second full-length has one foot firmly planted in reality as the other tip-toes in and out of mental complexities, self-perception and altered-state illusions. The results are revealing, exhilarating and profound.
The Bad Testament lands somewhere west of the Old Testament and south of an AA handbook. It’s a record of hard-grinding lost love, blues and deep, dark Americana.
On I’m Glad Trouble Don’t Last Always, his fifth album and third for Bloodshot Records, Luke Winslow-King draws from a deep, dark creative well, turning heartbreak and divorce into an inspired soundtrack for picking up the pieces.
In July 2015, with the help of 75 mekoristers, MEKONCEPTION took place at Jalopy Theater in Red Hook, Brooklyn, an event dedicated to creating a new record in real time around a single microphone. "Why should a record take more time to record than it does to listen to!" was the concept.
Twelve chapters of writing and art from mekons and mekon friends, inspired by each song on the CD.
The album plays like the jukebox at the full service honky-tonk saloon, jazz club, Tin Pan Alley pitch house, and blues joint along the tracks. Get off at the Carrboro station.
Side A is a down home slice of Alabama jive, all syncopation and kazoo. It'll have you dancing around the bonfire, shoes off and your drink on...
A psychedelic soul mantra. Taken as a meditation, it stabilizes and focuses. There might be roaches in the kitchen, but there’s roaches in the ashtray, too.
Built on the sonic intersection of the Bad Livers’ lawless next-gen traditional country & bluegrass, and Black Flag’s burn-it-all-down revolt and breakneck tempos. High wire musicianship, debilitating despair, wild-eyed hope, and sharp-elbowed views of social (in)justice.
With a body of work known for the indelicate and raucous, this may be their most deliberate and punchy yet—no one’s more dangerous than a man with nothing to lose. The title can be read two different ways, after all.
At once bluegrass, blues, folk, and country, it is also none of them. It is a product of two voices intertwined with one another for over three decades. It might be best summarized as Appalachian soul. Pure Freakwater