On Sunday, June 11, Bray Dickerson will launch his album at Catawba Brewing. The event is actual a double bill with Johnson City, Tenn.-based singer-songwriter Hunter Grigg, who has also just completed a new record.
Turchi headed back to his roots, recording Tallahatchie, a solo record in the truest sense of the word. “The only sort of natural and right thing to do musically — personally, too — was to get back to the most basic, square-one kind of music,” he says.
The band holds an album release party at The Mothlight on Saturday, Jan. 7, 9 p.m.
If Section Secrets, a nine-track mix of rock, experimental and ambient sounds will be released with a show at The Mothlight on Sunday, Dec. 18.
Depending on your current metal state, you might take keen pleasure in a song title, “F**ked Up Erector Set.” Especially when it plays as if said erector said it being hurled and smashed; tiny screws and painted metal pieces sent flying in all directions. The song is the lead track on Recorded (out on Monday, […]
“I didn’t have a plan that I was going to write political songs, but the songs occurred out of the unavoidable situation we’ve been in,” Townsend says. “It’s always a tenuous line to walk: music, politics, that kind of thing.”
The singer-songwriter plays an album release party at Isis Restaurant and Music Hall on Sunday, Nov. 6.
“The songs lend themselves to a lot of space,” Tirey says. “I don’t apply some kind of aesthetic intention; it just happens that way.” When it’s proposed that there’s a southern-Gothic feel to his songs, he demurs a bit, suggesting instead, “just an American ethos.”
When Childress set out to record his debut solo album, Mind the Gap — which he’ll launch at Isis Restaurant & Music Hall on Saturday, Oct. 15 — theatrics had to take a back seat.
Though the subject matter comes from tricky emotions and real talk, Ridenhour’s songs are far from downers. Instead, his writing is pop-savvy and smart; his performances are dynamic, with hooky melodies, frenzied riffs and kinetic, danceable energy.
Analog Moon songwriter/musician Todd Britton. He thought that futurist Ray Kurzweil’s ideas about the future would make a fun concept for an album, especially if he could “take it in a sci-fi direction, as opposed to [basing it upon] the actual scientific papers.”
The local singer-songwriter and bandleader launched her new album, today. She also shares a video for the title track.
The Other Way Around tackles many of these big-picture themes, but LaMotte’s approach is subtle. “I don’t like songs that are all message-y, that hit people over the head,” he says. His music almost always has an objective, “but I want to make the point artfully, in such a way that people can interpret it as they like.”
The band played four songs ahead of its album release celebration at The Mothlight on Friday, June 24.
Asheville gets a first listen, with band’s launch and extensive tour (including a date in Belgium, and more European shows to come) starting, fittingly, from The Broadcast’s adopted hometown.
Southern Crescent will also benefit from a new tact on the business side of things. The LP is being released via LoHi Records, a new label out of Greensboro, backed by entrepreneur Jim Brooks, singer-songwriter veteran Todd Snider and Railroad Earth fiddle player Tim Carbone, among others.
Experienced includes an impressive, all-star list of guest players (Del McCoury, Sam Bush, Peter Rowan, Keller Williams and many others) who augment and complement the core trio. “I like to showcase their talents while creating something unique and very special for the combo,” Keel says.
“We’re into the pirate thing; we’re into the carnival and circus thing. But we’re not defining ourselves by those genres,” says songwriter and keyboardist Danny Tetrault. “There’s a kind of carnival scene in Asheville, and we love being part of that. But you can tell by our music: We’re a rock band.”
The song “Truck Stop Stars” from her new album, Carnival of Hopes, is about a woman leaving a mountain town to cross the U.S. “To me, it foreshadowed my own drive back across the country to Asheville, but I wrote it before I made the decision to move,” she says.
“A lot of people make a blues connection to that music, but what I’m attracted to in all of that is the groove,” says Reed Turchi. Hooks and melody are qualities that he “definitely focused on. I’m always interested in chasing new musical ideas, and I am also interested in trying to make the best music possible.”
There are plenty of wonders, but Live at The Mothlight would rather thrill, scare, haunt and taunt that be plainly, simply pretty.