I Pledge To Swear & Shake.

Swear & Shake are, arguably, the most beautiful band I have ever heard. Originally hailing from New York and born from the rich and warm, New York folk pedigree with a more recent infusion of Nashville roots, the band brings an intimate and sumptuous musical experience.

Swear and Shake first spun into my orbit about 6 years ago when I discovered their enchanting 5 track EP, appropriately titled "Extended Play" via Frostwire. So taken was I with the recording, I donated some money to them in the hope I would see more from them. 

And they did not disappoint. In 2012, after their first successful Kickstarter campaign (and my own first experience of pledging to such a campaign), Swear & Shake minted their first long play album, The Maple Ridge - as eclectic and yet as sugnature a recording as you will ever find as a band looking to define their sound. Each song was lovingly hewn and brought to life through each band member's unique skills and it is a beautiful acheivement for them. 

In the midst of a move to Nashville, an almost unbroken tour schedule and some minor tweaks to the line-up, they returned to the studio in 2014 to produce their 3rd recording (their 2nd EP) "Ain't That Loving". 

Helmed by the three principals, Adam McHeffey Kari Spieler and Shaun Savage, Swear & Shake are now working on a brand new, long play project called "The Sound Of Letting Go". This promises to be a hand crafted collection of music of the highest integrity and I would encourage you to become lost in their wonder. 

In a collaboration with Pledge Music, a purpose built crowdfunding space, Swear & Shake have put together an impressive list of investment incentives which start at as little as $5 and go right upto $3500 (USD) which will get you a house performance from the band themselves. There's plenty in addition here as the band draws in art and fashion to create merchandise that complements their music which, of course, features at all pledge levels.

Take a look at their project page at Pledge Music and consider supporting them. With around 18 days of their campaign left to go, they are roughly 75% funded. It is no small thing for me to say that they really are a one of a kind musical experience and I guarantee you will not be disappointed by the core mission of this project - an album called "The Sound Of Letting Go."

Do this. 

DFA.

Then Came The Sun by Trainwreck In Sarasota.

I've talked about the work of singer/songwriter Rob McCann previously when I took a look at his début E.P. "The Narrow Escape" back in 2011. Under the stage name of "Trainwreck In Sarasota", I enthused about his talents as a songwriter at the time, but I was also taken by his exquisite talent with the guitar combined with his nuanced vocals which made him one of the stand out musicians of 2011. 


Well, Rob is back and has just released a follow up E.P. entitled "Then Came The Sun" via his Band Camp portal.

The E.P. comprises four tracks of unadorned beauty, again showcasing McCann's skill as a song smith, instrumentalist and vocalist. Recorded, once again, in a stripped back fashion in Oklahoma, McCann delivers a varied musical palette that, from a story perspective, traverses themes such as reflection, determination self doubt and questions of endurance in an industry that favours polish over substance.


His vocals are complex as he marries them with superb guitar instrumentals that are acoustically wondrous. His chord progressions a crisp and he favours a use of minors and sharps over straight up conventional chord groupings which makes for a more interesting sound form. 


As I was listening to Then Came The Sun, I was reminded of a passage from "Every Man For Himself by author Beryl Bainbridge. 


'Think of music," he said. "Why is it that we are most moved by those works composed in a minor key?" 


It's a obscure reference I know but it is entirely apt.


I really wish that I had been acquainted with Rob's work during the period in which I was writing The Hambledown Dream. In early incarnations of the novel, I'd expanded my protagonist, Andy DeVries, repertoire to include both vocals as well as guitar but I opted to go for a pure instrumentalist in the final cut of the novel. If I had known of Rob's work back then, I most certainly would have infused his musical influence into my characterization.  


McCann is an artist in the truest sense and there is a patience and deliberate quality to his compositions that is so appealing because it is honest. Honesty in music is an increasingly rare commodity. 

"Then Came The Sun" can be purchased from Rob's "Trainwreck In Sarasota" Band Camp portal. How this works is that purchasers can nominate an amount they would like to pay for the artists work and are then able to checkout securely. It's a wonderfully democratic way to purchase music, so long as one respects the time, effort and sweat the artist has put into their work. 


In the case of "Trainwreck In Sarasota", no less than his heart has been poured into these tracks, so it is deserving of a proper reward.


Buy "Then Came The Sun" here.


Follow "Trainwreck In Sarasota" here.


Tweet "Trainwreck In Sarasota" here.


DFA. 

Train Wreck In Sarasota - There Need Be No Other Title.

Continuing on my journey of musical discovery, this week I'd like to share with you the music of Rob McCann whose acoustic project "Trainwreck in Sarasota" is turning heads - and ears - in all the right ways.


McCann's newly released EP "The Narrow Escape" has just landed through McCann's label Basement Session Records as a follow up to the 2010 release "Something To Call Your Own" and both releases herald a unique take on the trident of singer/songwriter/guitarist that is all at once refreshing and familiar but never stagnant. So it's worthy to explore both pieces as a way of showcasing McCann in his entirety.   


Upon first listen to "The Narrow Escape" I was greeted with the most satisfying of acoustics and I imagined the performer having set himself in some sort of disused apartment building or warehouse with high ceilings, exposed double brick walls and solid timber floors - tall windows along one side, letting in fractured light through dusty glass. Such environments lend themselves to a raw and organic sound that takes you into them - they are tactile and sensual - something that can oft be missed from the crispness of the studio. I often talk about good music's ability to evoke vivid imagery and Trainwreck in Sarasota achieves this handsomely.

Cover art for "The Narrow Escape" (2011 Basement Session Records).

McCann's playing is intricate and complex and by this I mean he doesn't simply stick to safe chord progressions nor labor on one particular rhythm. His instrumental pieces are in and of themselves a dance where the guitar itself is the vocalist and he achieves an almost classical flourish to what is otherwise indie/experimental folk and blues. This is what impresses me most about the performances on both releases - though I tend to favor "The Narrow Escape's" depth of musicality, which is merely a personal preference and in no way diminishes "Something To Call Your Own. As an artist - be it a musical or a literary one - we tend to pride ourselves on our first productions.  


Trainwreck in Sarasota' songs are lyrically appealing and McCann is a songwriter and lyricist of considerable talent. His songs on both releases range through the territory of deep emotional reflection, dealing with such abstracts as depression, substance abuse, fear and loathing as well as soul searching, love and absolution. As vocalist, McCann has a range and a rawness that suits the folk/blues sound of his guitar. It is honest and passionate, reflective and melodious. Most important of all - it is unquestionably individual, which is so refreshing to find in among the dearth of manufactured music that has swamped the mainstream in recent times.

Trainwreck in Sarasota's Rob McCann.

I don't like to compare musicians with one another because I think it can sometimes be unhelpful but McCann himself does cite as musical influences the likes of The Decemberists, Jeff Martin, Hawksley Workman and The Weepies. I myself, was reminded a little of Colin Hay, Chris Whitley and even Seasick Steve. The quality of Trainwreck in Sarasota's sound, combined with McCann's vocal presence, song writing smarts and guitarmanship make him worthy of being mentioned in the same breath. If there were any criticisms at all to make of Rob and his music, it would be to simply say that his sound is crying out for the addition of a session band and some additional harmonies.


"The Narrow Escape" and "Something To Call Your Own" are both available through McCann's official site and, while both recordings are free, I would encourage prospective listeners to kick in with a donation. Both works are highly deserving given the care and attention that has gone into them. 


The final word on Trainwreck in Sarasota, to me, is luminous. Go get yourself some.


DFA.