Shakey Graves

Recently described as an “antifolk phenomenon” by NPR Music, Alejandro Rose-Garcia (aka Shakey Graves) is one of those rare artists whose music inspires the kind of obsessive devotion that compels someone to spend hours searching for more. Fans eagerly wait for the next track to surface online, erratically released from a collection of hundreds of unheard bedroom recordings and live rarities.

As word of his haunting, sometime bizarre lo-fi recording style and contrastingly explosive live shows continues to spread, Shakey Graves is quickly rising from obscurity. Maybe the single most buzzed-about artist in his hometown of Austin, TX, his shows there are the stuff of legend – so much so that the Mayor of Austin gave him his own local holiday. February 9th is officially proclaimed “Shakey Graves Day.”

He performs live as an astonishing one man band, stomping out dusty rhythms on a hand-made kick drum built from an old suitcase on top of feverish finger picking that brings to mind Townes Van Zandt, Leo Kottke or Michael Hurley.

Shakey Graves has a huge year ahead of him, including a nationwide tour dates and an upcoming live album release. He’s also putting the finishing touches on his sophomore studio album, with a release date TBA soon.

Fort King

Fort King, nom de guerre for Ryan Fuller, a songsmith who grew up in Ocala, FL and resides in Los Angeles. Steeped in old folk traditions and country blues like Mississippi John Hurt, his outsider view of LA life made him something of a citified crooner of New Weird Americana. “Black Palms” is a dirge of nascent teen suicide in a country setting. “Osceola” highlights the psychology of the Seminole Indian warrior, much as Neil Young chronicled new world holocausts in his “Cortez, the Killer.” Heartbreak is also a theme and Ryan’s fingerpicking and soft delivery have invited comparison to Elliott Smith.

The Mid Cities

The Mid Cities is the name for a batch of songs Jonathan Price wrote directly after three years of steady, cross-country touring with two different bands, and the material revolves around the difficulties of prolonged periods away: crumbling relationships, substance abuse, utter disconnection. The entire debut album (out later this year) was written in a two week span right after the last and most painful stretch of touring, and this timing lends the work an atmosphere of regret, angst, and the sadness of knowing your friends are coming home to less than they left. Lyrically bleak and often danceable, these songs are disappointment hymnals reminiscent of The Walkmen, Jarvis Cocker, and The Smiths.


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