Joseph Decosimo - Fiery Gizzard - VINYL LP
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Old-time and traditional music stay exciting for their contrasts. Exacting instrumentation honed through mentorships and late-night jams at fiddler's conventions tangles with a community-sourced inventiveness that influences variants and new sounds. Joseph Decosimo is a master of this genre for this very reason, blending deep technique with an openness and curiosity that keep his music crackling with life. A Inchmarvelous fiddlerInch (No Depression) and banjo player who braids Inchexultation and venerationInch (INDY Week) into his music, on his third solo album Fiery Gizzard Decosimo gathers a close-knit ensemble of friends from his musical career to infuse his interpretations of fiddle and banjo pieces with a contagious communal joy.As an artist working with traditional music from the South and Appalachia, Decosimo chooses songs based not only on historical significance and lineage but also his own sensory approach. For Fiery Gizzard, his ear was tuned to otherworldly tones and mystery, sourcing from field recordings such as Virginia fiddler Luther Davis' hypnotic version of InchShady GroveInch while amping up the music's psychedelic potential. On the middle Tennessee banjo composition InchFlowery Girls,Inch a VHS of bluesman Abner Jay inspired Decosimo to rig up a pickup inside a fretless banjo and play it through a tube amp to capture some of Jay's edge and funkiness. But to round out the sound and keep it kinetic meant galvanizing a genre-eschewing crew to jam out- and not in a Inchspaced-out droolyInch kind of way, he laughs, but as a sort of Inchresponsive conversation.InchDecosimo has always been a community-minded artist. He began playing as a seventh grader in Tennessee, fostering relationships with older players at jams and in homes, a learning mode natural to his inquisitive nature and desire for musical connection. A folklorist by intuition, he later becam
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VINYLSpecifications
- GenreFolkDescriptionOld-time and traditional music stay exciting for their contrasts. Exacting instrumentation honed through mentorships and late-night jams at fiddler's conventions tangles with a community-sourced inventiveness that influences variants and new sounds. Joseph Decosimo is a master of this genre for this very reason, blending deep technique with an openness and curiosity that keep his music crackling with life. A Inchmarvelous fiddlerInch (No Depression) and banjo player who braids Inchexultation and venerationInch (INDY Week) into his music, on his third solo album Fiery Gizzard Decosimo gathers a close-knit ensemble of friends from his musical career to infuse his interpretations of fiddle and banjo pieces with a contagious communal joy.As an artist working with traditional music from the South and Appalachia, Decosimo chooses songs based not only on historical significance and lineage but also his own sensory approach. For Fiery Gizzard, his ear was tuned to otherworldly tones and mystery, sourcing from field recordings such as Virginia fiddler Luther Davis' hypnotic version of InchShady GroveInch while amping up the music's psychedelic potential. On the middle Tennessee banjo composition InchFlowery Girls,Inch a VHS of bluesman Abner Jay inspired Decosimo to rig up a pickup inside a fretless banjo and play it through a tube amp to capture some of Jay's edge and funkiness. But to round out the sound and keep it kinetic meant galvanizing a genre-eschewing crew to jam out- and not in a Inchspaced-out droolyInch kind of way, he laughs, but as a sort of Inchresponsive conversation.InchDecosimo has always been a community-minded artist. He began playing as a seventh grader in Tennessee, fostering relationships with older players at jams and in homes, a learning mode natural to his inquisitive nature and desire for musical connection. A folklorist by intuition, he later becamArtistJoseph DecosimoTitleFiery GizzardFormatVINYLLabelDear Life Records
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Old-time and traditional music stay exciting for their contrasts. Exacting instrumentation honed through mentorships and late-night jams at fiddler's conventions tangles with a community-sourced inventiveness that influences variants and new sounds. Joseph Decosimo is a master of this genre for this very reason, blending deep technique with an openness and curiosity that keep his music crackling with life. A Inchmarvelous fiddlerInch (No Depression) and banjo player who braids Inchexultation and venerationInch (INDY Week) into his music, on his third solo album Fiery Gizzard Decosimo gathers a close-knit ensemble of friends from his musical career to infuse his interpretations of fiddle and banjo pieces with a contagious communal joy.As an artist working with traditional music from the South and Appalachia, Decosimo chooses songs based not only on historical significance and lineage but also his own sensory approach. For Fiery Gizzard, his ear was tuned to otherworldly tones and mystery, sourcing from field recordings such as Virginia fiddler Luther Davis' hypnotic version of InchShady GroveInch while amping up the music's psychedelic potential. On the middle Tennessee banjo composition InchFlowery Girls,Inch a VHS of bluesman Abner Jay inspired Decosimo to rig up a pickup inside a fretless banjo and play it through a tube amp to capture some of Jay's edge and funkiness. But to round out the sound and keep it kinetic meant galvanizing a genre-eschewing crew to jam out- and not in a Inchspaced-out droolyInch kind of way, he laughs, but as a sort of Inchresponsive conversation.InchDecosimo has always been a community-minded artist. He began playing as a seventh grader in Tennessee, fostering relationships with older players at jams and in homes, a learning mode natural to his inquisitive nature and desire for musical connection. A folklorist by intuition, he later becam

Vinyl LP pressing. 2013 album from the Chicago-based Experimental Alt-Rock band. Stitches touches on all permutable definitions of the word, it's episodes of discomfort and healing rendered with exquisite beauty and craftsmanship. Archetypes and mythological figures rub shoulders with bruised civilians throughout this odyssey. Intimate timbres garage sale drum machines, slack guitar strings, hushed vocals offset the album's cinematic inclinations. The listener moves through a landscape of Old Testament blood and guts, spaghetti Western deserts and Southwestern horizons, zeroing in on emotions and images that cannot be glanced over.

Old-time and traditional music stay exciting for their contrasts. Exacting instrumentationhoned through mentorships and late-night jams at fiddler's conventions tangles with acommunity-sourced inventiveness that influences variants and new sounds. Joseph Decosimois a master of this genre for this very reason, blending deep technique with an openness andcuriosity that keep his music crackling with life. A Inchmarvelous fiddlerInch (No Depression) andbanjo player who braids Inchexultation and venerationInch (INDY Week) into his music, on his thirdsolo album Fiery Gizzard Decosimo gathers a close-knit ensemble of friends from his musicalcareer to infuse his interpretations of fiddle and banjo pieces with a contagious communaljoy.As an artist working with traditional music from the South and Appalachia, Decosimo choosessongs based not only on historical significance and lineage but also his own sensoryapproach. For Fiery Gizzard, his ear was tuned to otherworldly tones and mystery, sourcingfrom field recordings such as Virginia fiddler Luther Davis' hypnotic version of InchShady GroveInchwhile amping up the music's psychedelic potential. On the middle Tennessee banjocomposition InchFlowery Girls,Inch a VHS of bluesman Abner Jay inspired Decosimo to rig up apickup inside a fretless banjo and play it through a tube amp to capture some of Jay's edgeand funkiness. But to round out the sound and keep it kinetic meant galvanizing a genreeschewing crew to jam out- and not in a Inchspaced-out droolyInch kind of way, he laughs, but as asort of Inchresponsive conversation.InchDecosimo has always been a community-minded artist. He began playing as a seventh graderin Tennessee, fostering relationships with older players at jams and in homes, a learningmode natural to his inquisitive nature and desire for musical connection. A folklorist byintuition, he later became one by profession,
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