ADRON

adronmusic.com

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 far­flung 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 singer­songwriters like Joni Mitchell and Harry Nilsson, and the full­bodied rhythms of 1970’s pop and r&b. 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. Though the music is effortlessly pleasing, it is Adron’s rare ability to meld
genre, geography and musical epochs that reveal the true breadth of her talent. In addition to an extensive performance schedule she is an avid artist and displays the same extraordinary deftness and creativity in her visual art that she does in her music. All of her past album artwork has been her own, including the delicately beaded sculpture, mask and disc art used for Organismo’s album design. In 2012, she crowd­funded the construction of a 10­ft. pyramid covered in treasures for her music video for the single, “Pyramids.” Outside her own
creative endeavors, Adron has collaborated with artists such as Prefuse 73, Helado Negro, The Shadowboxers, Francis & The Lights, and Little Tybee, and performed alongside such historic
talents as Os Mutantes and Laetitia Sadier of Stereolab. For the last two years she has beencompiling an arsenal of hotly anticipated new material, expected for release in early 2016.

TIMBER

Soundcloud: https://soundcloud.com/timber-14

Timber is a collaboration between Janet Simpson and Will Stewart — two veteran musicians who came together in that most natural of ways: In a pinch. Stewart, an Alabama native currently based in Nashville along with the rest of the band, Willie and the Giant, was working on hisCoosa EP when it was suggested that Simpson — a multi-faceted, Birmingham, Alabama based musician known for her work in Wooden Wand, Delicate Cutters, and Teen Getaway — to lend her talents to the proceedings. Pressed for time, Simpson came to the studio that day, spent an hour adding keys and her sumptuous voice to a few of Stewart’s songs, and left to catch a plane for a European tour with Wooden Wand. Last summer, out of the blue, Stewart e-mailed Simpson about writing together. Impressed by Stewart’s melodic gifts and easy demeanor, Simpson accepted the offer. Soon they began trading songs via e-mail, giving each other notes along the way. Once a small batch of similarly-themed compositions made itself apparent, the two met at 2734 Central Recording Studio in Birmingham, AL — working, once again, with producer Lester Nuby — to record their self-titled debut. Though the two had been exchanging songs online, Simpson and Stewart did not know much about each other, much less how to go about recording their new compositions. Over coffee they talked about productions they were currently enamored with, including albums by Teenage Fanclub, Yo La Tengo, D’Angelo, and Neil Young — particularly After The Gold Rush. Caffeinated and invigorated, the two began crafting the album — splitting the instrumental duties, keeping things simple, and embracing spontaneous moments. Per Stewart’s suggestion, they drafted Nashville musician Scott Murray to add pedal steel, utilizing the instrument’s gorgeous washes of sound for atmosphere rather than staid, Americana twang. As a result, Timber’s self-titled EP is a study in gorgeous economy. Each of these five tracks feels like a frozen moment — its protagonists on the cusp of either liberating revelations or freezing paranoia… Maybe both. The lush instrumentation travels splendidly though each song, luxuriating in the open spaces while providing a counterpoint to the dramatic tension coiled within the lyrics. The listener never learns too much, but it’s enough to want to hear the brief program on repeat — an urge that pays in dividends.