Abram Shook - Love at Low Speed - VINYL LP

The Neon Machine, the fourth album from Austin musician Abram Shook, is a dystopian dance party, and everyone's invited. Juxtaposed against 2017's sepia-tinged, quietly reflective Love at Low Speed, the new record's mix of irresistible beats and slyly humor- ous lyrics might seem like a 180 at first glance a giddy, knowing soundtrack to the end of the world. Those familiar with Shook's previous work, however, understand that he has always explored his own brand of off-kilter funk, from the soulful swagger of his debut album's standout single InchCoastal' through Low Speed's Prince-inspired InchLies'. The varied influences of world music and jazz that are present in all his records can still be heard (as in the High-Life inspired guitar work on InchMy Money'), though here Shook tucks them into the corners and uses them in more subtle ways, giving center stage to a vintage Sequen- tial Circuits Prophet 600, a drum sequencer, and his signature rubbery bass lines. In Shook's adept hands, The Neon Machine is full of day-glo danceability even though something slightly sinister lurks beneath the surface; it's a kind of tour de force synesthe- sia for the fevered mind. With this record, Shook has traded in his usual gimlet-eyed observations for a playfully cynical sense of humor InchI play the game where I drink you off my mind/It never works, but I love to try/And I can go all night,' he sings on InchCocaine Blonde'. Using highly confessional lyrics and deeply personal insight to convey his anger, with the current political climate, he writes candidly about his anxieties, and frustrations toward a country and culture that he's grown up with, but hasn't always felt at home in. Every line seems to have a double meaning, and once you start to unlock the code - that every reference to a drug or a lover is actually a metaphor for the United States - they become even darker and

Limited colored vinyl LP pressing. The appeal of William Fitzsimmons' sound is indicative of his unique upbringing and consequent life experience. Born to two blind parents, Fitzsimmons grew up in a home where sound - particularly music - was integral to communication. His parents had an assortment of guitars, pianos and other instruments, and introduced young William to the music of James Taylor, Joni Mitchell and Leonard Cohen, among others. For many years, armed with a Master's degree in counseling, he worked as a mental health therapist, and only began recording his songs during graduate school breaks. Over the course of his career, Fitzsimmons has made his living writing a specific brand of honest and inward-looking folk songs that fearlessly and candidly examine the evolving self while dexterously communicating his talent for robust melodies and catchy instrumentation.

Landscape Dream is Abram Shook's follow up to 2014's Sun Marquee, an album VICE called Inchpleasant as F**k.Inch and Texas Monthly called Inchcompelling, weird, and lovely.Inch Applying what he learned through writing and recording Sun Marquee, Landscape Dream is a natural progression, demonstrating how much Shook's songwriting and production acumen has sharpened over the past year. Sun Marquee was a learning process where songs were often forced out of experiments in recording techniques. As Abram explains, InchI had a lot of thoughts I just threw out there, but often I arrived at dead-ends and had to figure out how to make something out of what was available.Inch However, on Landscape Dream he Inchwent back to writing with just voice and guitar and then used arranging, production, and recording ideas pulled from Sun Marquee.Inch The effectiveness of his new approach is clear from the 70's rock of InchFind ItInch and InchChelseaInch to the African vibes of InchGet GoneInch, the dreamy Brazilian vibes on Inch5amInch and InchBeach GlassInch, and the slow-jam soul found on InchPerfectInch, InchJawInch, and InchVesselInch.