Adam Faucett and The Tall Grass

Adam Faucett and The Tall Grass


Wed · October 10, 2018

Doors: 8:00 pm / Show: 8:45 pm


This event is 21 and over

Adam Faucett and The Tall Grass
Adam Faucett and The Tall Grass
Hailing from Little Rock, Arkansas, and possessing a voice the Onion A.V. Club warns “knocks your brain into the back of your skull,” Adam Faucett has drawn comparisons from Tim Buckley to Cat Power to Otis Redding.

Called “one of the greatest, most thoughtful lyricists the state has to offer,” (Arkansas Times) Faucett has again pushed the borders of his “part folk, part blues, part elemental rock stomp, part unidentifiable cosmic holler” (Arkansas Democrat-Gazette) with the release of It Took the Shape of a Bird, a record of his most personal, unbodied, and darkly beautiful songs to date.

Faucett began performing solo in 2006 when the demise of Russellville, Arkansas-based band, Taught the Rabbits, pushed him toward Chicago. He returned to Arkansas in 2007 to record his first solo album, The Great Basking Shark, and began touring nationally. 2008’s Show Me Magic, Show Me Out followed, featuring Faucett’s band, The Tall Grass, and a relentless tour schedule soon led to shows with Jason Isbell, Damien Jurado and Lucero.

2011 saw the release of More Like A Temple, which received praise from outlets including American Songwriter, Paste Magazine, No Depression and Uprooted Music Review. Temple also gained overseas support, landing at #14 on the EuroAmericana chart and received 5 stars from Altcountry.NL, bringing Adam to Europe for the first time.

2014’s Blind Water Finds Blind Water—Faucett’s first release with Last Chance Records—was named to American Songwriter’s “Top 50 Albums of 2014,” and found him back in Europe. In addition, he spent time as international and national tour support for Chuck Ragan, Austin Lucas, King Buzzo, and most recently, Pallbearer.

Faucett’s latest record, It Took the Shape of a Bird (Last Chance Records), is available on all platforms August 24, 2018. His fifth solo album, it’s also his most personal and heaviest. From opening track “King Snake,” it wastes no time immersing the listener into a world of murky storytelling fueled by true, though often skewed, accounts, wherein Faucett’s moving, heartrending melodies breathe life into a cast of tragic, historic characters and locales: a World War II-era orphan, Louisiana gris gris girls, a biker’s funeral procession, a friend struggling with faith and addiction, and even the Mackay Bennett—the ship which recovered most of the bodies from the Titanic disaster.

Bird delves deep into the spiritual and examines the creation of art, and the artist. Its backdrops are disparate, ranging from rural Arkansas to the dust clouds of deep space. And its moments of lilt are bolder due to its darker turns.
Adam Geer (guitar/vocals) leads the Philly based power trio RedTouchBlack. Geer, formerly of the bands Reverend Mantis and Oshe, plays the frontman for the first time blending his distinct style of blues/stoner metal riffs and fuzz heavy solos with odd time signatures.
Adam Phaneuf (drums/backup vocals) joins forces with Geer again after their time with the Reverend. His loose but steady style works perfectly to hold it down during Geer’s extended solos. Phaneuf fronts the band Towering Pine and started in the Philly scene with The Last Barbarians.
Forrest Wright (bass) is expanding his musical range from his normal lap steel guitar duties with the band Midwestern Exposure to play bass on this project. The low end is his new friend. Locking in with Phaneuf for the rhythm section are the bones and muscle of RedTouchBlack.
Bryant Eugene Vazquez has been called a prolific artist, a musical chameleon, braggadocious, a jack of all trades, a musical genius, manic and moody. He’s been compared to the likes of masters: Bob Dylan, Lou Reed, Tom Waits, Nick Cave, Elliott Smith, Randy Newman, and David Bowie. All hyperbole and biases aside, Bryant Eugene Vazquez is an artist who holds the craft of songwriting to its highest esteem. There’s a reason for all the comparisons, and that evidence can only be found in the work he continues to produce at an inexhaustible rate. Since moving to Philadelphia in October 2013, Vazquez has released a total of ten albums; of these ten separate bodies of work, four of them have been written and recorded in Philadelphia, including 2015’s All Damn Day/The Greatest Hits, which premiered on WXPN The Key and enjoyed much critical acclaim.

Enter 2016, Vazquez makes good on his promise to deliver the second album in a trilogy of “album studies” which focus on specific genres from different decades of popular music. On September 30th,The Key once again graciously provided the platform for premiere, this time: Grey Expectations, an album which sets its sights on the genre-pioneering sounds of bands like The Jesus and Mary Chain. As Vazquez himself states the album consists of, “pop/rock songs, disguised to replicate the sounds of the mid 80s/early 90s noise/pop/rock/ shoegaze; all themed around the bitterness of winter,” providing a collection of work where the “production is crowded and fuzzy, the guitars are tinny and abrasive, and Vazquez’s vocals are more breathy and buried than ever before,” as described by WXPN The Key’s Chad Snyder. Mitchell Hillman of The Phoenix New Times further drives the point of the album stating, “the entire album is an homage to the noise pop, post punk and shoegaze sound found in abundance from the mid-'80s to the mid-' completely captures the essence of early Jesus & Mary Chain or the pre-Creation Records pop of My Bloody Valentine.”

Recorded using only two microphones, Vazquez continues his tradition of the lo-fi/DIY/home-recording process. As done on his previous effort, Grey Expectations is entirely written, performed, and recorded by Vazquez-- a feat which continually grows impressive and awe-inspiring with every self-released album. From start to finish, Grey Expectations assaults the ears of its listener by constructing a dense wall of noise, fuzz, and reverb--bulldozing through eight songs in just under half an hour, all the while maintaining a structure of simple chord progressions and memorable hooks.

In summation, perhaps Mitchell Hillman best encapsulates Bryant Eugene Vazquez in his endeavors, “It appears at this point in time that Vazquez can simply apply himself to any genre, any music construction, and master it by making it his own. It also seems he likes to play a game of "Anything you can do, I can do better," because he actually can and it doesn't matter if it's grunge, folk, Americana, hard rock, or in this case alternative noise pop. The man is something of a master painter in which each brushstroke is attached to a sound or a concept or an era, and he takes those strokes to create an entire painting that becomes his newest, best album to date. I cannot admire his attitude, aptitude and altitude vigorously enough, much less his chameleon-like career and an ear for essential audio ephemera most would never notice to include.” As 2016 nears its end, only one thing is certain for Bryant Eugene Vazquez: the nature of his prolific onslaught doesn’t appear to be in danger of losing steam anytime in the foreseeable future.
Venue Information:
Kung Fu Necktie
1250 N Front Street
Philadelphia, PA, 19122