MONDAY SEP 05, 2016
Sad Fish
Adron
Adron is rapidly being recognized as one of the most uniquely gifted songwriters and vocalists of this generation. Named Best Songwriter of 2012 by the Atlanta-based arts and culture magazine Creative Loafing, she has managed to unite audiences from wildly far-flung backgrounds, age groups and subcultural scenes with her universally communicative and infectious music. In a style nearly impossible to describe using the terms of conventional genres, she playfully blends Brazilian samba, bossa nova and Tropicália with Classical harmony, the sincerity and thoughtfulness of singer-songwriters like Joni Mitchell and Harry Nilsson, and the full-bodied rhythms of 1970’s pop and r&b. “By combining elements of surreal, personal narratives and her quasi-Brazilian-style strum, Adron’s songs [are] at once baroque and hypnotic,” writes music critic Chad Radford at Creative Loafing. Adron’s music is infused with an international texture and a remarkably vintage, yet completely original and personal sound. While able to craft polished and mature songs, she also possesses a bold and often bizarre sense of humor that she manages to sneak into her lyrics. Adron also adds a unique array of embellishments such as birdcalls and other vocalizations, and sings eloquently in three languages. Musically, she seems almost oblivious to her upbringing as a suburban Chicago native and longtime Atlanta resident, instead floating in a musical ether of exotic influences. Though the music pleases effortlessly, it is Adron’s rare ability to meld genre, geography and musical epochs that reveal the true breadth of her talent. “Born as it is out of a true love for tradition, Adron’s inclusion of world music elements never feels trite or tacked on; her music is as warm and spirited as the cultures that have inspired it.” -Flagpole, Athens, GA.
She is often touring across the US, playing alongside artists like Toubab Krewe, Reggie Watts, Reptar, Space Trucks (Of Montreal side project), Cate Le Bon, and Bright Black Morning Light. She is also a mainstay at the 30A Songwriters Festival. Outside her own creative endeavors, Adron has collaborated with artists such as Prefuse 73, Helado Negro, Francis & The Lights, The Shadowboxers, The Selmanaires, Little Tybee, and visual/sound artist Michael Alan. She is currently recording material for her next two full-length records; one a concept album about death, mazes and the Amazon called Thanatrópica, the other a follow-up to Organismo titled Water Music, which is expected to be released in early 2015.
Adron is rapidly being recognized as one of the most uniquely gifted songwriters and vocalists of this generation. Named Best Songwriter of 2012 by the Atlanta-based arts and culture magazine Creative Loafing, she has managed to unite audiences from wildly far-flung backgrounds, age groups and subcultural scenes with her universally communicative and infectious music. In a style nearly impossible to describe using the terms of conventional genres, she playfully blends Brazilian samba, bossa nova and Tropicália with Classical harmony, the sincerity and thoughtfulness of singer-songwriters like Joni Mitchell and Harry Nilsson, and the full-bodied rhythms of 1970’s pop and r&b. “By combining elements of surreal, personal narratives and her quasi-Brazilian-style strum, Adron’s songs [are] at once baroque and hypnotic,” writes music critic Chad Radford at Creative Loafing. Adron’s music is infused with an international texture and a remarkably vintage, yet completely original and personal sound. While able to craft polished and mature songs, she also possesses a bold and often bizarre sense of humor that she manages to sneak into her lyrics. Adron also adds a unique array of embellishments such as birdcalls and other vocalizations, and sings eloquently in three languages. Musically, she seems almost oblivious to her upbringing as a suburban Chicago native and longtime Atlanta resident, instead floating in a musical ether of exotic influences. Though the music pleases effortlessly, it is Adron’s rare ability to meld genre, geography and musical epochs that reveal the true breadth of her talent. “Born as it is out of a true love for tradition, Adron’s inclusion of world music elements never feels trite or tacked on; her music is as warm and spirited as the cultures that have inspired it.” -Flagpole, Athens, GA.
She is often touring across the US, playing alongside artists like Toubab Krewe, Reggie Watts, Reptar, Space Trucks (Of Montreal side project), Cate Le Bon, and Bright Black Morning Light. She is also a mainstay at the 30A Songwriters Festival. Outside her own creative endeavors, Adron has collaborated with artists such as Prefuse 73, Helado Negro, Francis & The Lights, The Shadowboxers, The Selmanaires, Little Tybee, and visual/sound artist Michael Alan. She is currently recording material for her next two full-length records; one a concept album about death, mazes and the Amazon called Thanatrópica, the other a follow-up to Organismo titled Water Music, which is expected to be released in early 2015.
Peter Webb
If one thing is certain, the sprawling membership of Faun and a Pan Flute shows no sign of depleting its creative resources. Whether creating agile rhythmic sound collages or psych-kraut-pop, the Faun boys thrive on aural diversity, reveling in a din of disparate sounds that loosely codify under the experimental nonet’s umbrella. The latest side project comes from Faun saxophonist Peter Webb and his debut release, Liminal Space.
Recorded last year between September and December at Studilaroche, the album features 10 songs that are much more low-key than other works associated with Faun’s side projects, nodding toward Nick Drake’s forlorn acoustic numbers and sultry, jazz club pop than modern classical composers or glitch-hop producers. Littered with subtle but potent miniatures with titles such as “Spain,” “(refrain),” and “Jared,” Liminal Space veers into a variety of coolly urgent, passionately understated songs performed mostly by Webb manning guitars, piano, Rhodes, organ, and vocals, with assistance from John Gregg (drums), Ryan Gregory (viola, violin), Adam Mincey (bass), and Jared Pepper (drums). “Little Sister” is a rain-soaked lament, while “Proximity” rouses the solemn self-reflection. The duo of “Kenyon (told of love)” and “Barricades” sink into meditative modes while “Trees” and the album's closing number “Astrologister” are more upbeat, resembling a low-key My Morning Jacket performing an acoustic set of their updated roots rock.
If one thing is certain, the sprawling membership of Faun and a Pan Flute shows no sign of depleting its creative resources. Whether creating agile rhythmic sound collages or psych-kraut-pop, the Faun boys thrive on aural diversity, reveling in a din of disparate sounds that loosely codify under the experimental nonet’s umbrella. The latest side project comes from Faun saxophonist Peter Webb and his debut release, Liminal Space.
Recorded last year between September and December at Studilaroche, the album features 10 songs that are much more low-key than other works associated with Faun’s side projects, nodding toward Nick Drake’s forlorn acoustic numbers and sultry, jazz club pop than modern classical composers or glitch-hop producers. Littered with subtle but potent miniatures with titles such as “Spain,” “(refrain),” and “Jared,” Liminal Space veers into a variety of coolly urgent, passionately understated songs performed mostly by Webb manning guitars, piano, Rhodes, organ, and vocals, with assistance from John Gregg (drums), Ryan Gregory (viola, violin), Adam Mincey (bass), and Jared Pepper (drums). “Little Sister” is a rain-soaked lament, while “Proximity” rouses the solemn self-reflection. The duo of “Kenyon (told of love)” and “Barricades” sink into meditative modes while “Trees” and the album's closing number “Astrologister” are more upbeat, resembling a low-key My Morning Jacket performing an acoustic set of their updated roots rock.