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.
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.
Never a genre loyalist, 'ADIOS' finds Branan (much like his musically restless heroes Elvis Costello and Tom Waits) coloring outside the lines in sometimes jarring shades of fuzz and twang. You can trust Branan to take you somewhere unexpected.
Four Lost Souls is pure Americana, not just because of where it was recorded or who played on what track, but because it is beyond the news of the day. It is a travelogue of sorts; it goes to a place where the differences between country, soul, blues, and rock-and-roll are blown aside by the warm languid breezes.
At its core, Heart-Shaped Mountain is an album about love and growth. At a time when divisiveness fills the headlines, Ha Ha Tonka is fighting the good fight and building narrative tributes to friends and loved ones, memories past, and prospects of the future.
13-song compilation of off-kilter original Xmas songs and unlikely covers by Bloodshot artists and friends. The collection runs the gamut of garage rock, doo-wop, honky tonk, surf, and more. From the traditional to the subversive, there's something for everyone's stocking.
Rowdy punk rock insolence to the right, a bottle in a bag; organic three-chords-and-the-truth frankness to the left—one eye in the rearview mirror and one eye on the rough road ahead. Sidelong is a record that will make you sit up and take notice. This is a new voice for a new country.
14-song instrumental Christmas Album by Chicago guitarist Joel Paterson, a multi-track guitar extravaganza in the tradition of Les Paul, Chet Atkins, and many more of Joel's biggest heroes and influences.
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...
William Elliott Whitmore & Esmé Patterson are both critically acclaimed and beloved by their fans for their distinct voices and style of songcraft.
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.
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.
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.