Adia Victoria

"I wanted you to get the humidity of it, the heat, the ways we reach to the pits of hell and the heights of heaven," South Carolina native Adia Victoria has said of her third album. "I wanted this record to encapsulate the extremes of the South." Mission accomplished; listening to A Southern Gothic, there is no escaping that uneasy—truly, haunted—feeling of so much beauty and so much menace all in one place. The singer-songwriter gets right to it with "Magnolia Blues": "I'm going back South/ Down to Carolina/ I'm gonna plant myself/ Under a magnolia/ I'm gonna let that dirt/ Do its work." The magnolia tree is both a symbol of deep-South femininity and strength as well as horror, given its association with lynchings.

The Nashville-based artist travels the land of Delta blues, afro punk, and country, and with "Beyond The Bloodhounds", Adia reveals a fresh reference point on the musical landscape. The album features the indelible lyrics, voice, and guitar solos of Adia Victoria along with a band of talented musicians including Tiffany Minton (Drums), Alex Caress (keys), Mason Hickman (guitar), and Jason Harris (bass). "Beyond The Bloodhounds" was produced by Roger Moutenot (Yo La Tengo, Sleater Kinney) and the artist herself and recorded at Nashville, Tennessee's Haptown Studios.

In following up 2016's excellent Beyond the Bloodhounds, Adia Victoria both deepens her arresting Southern poeticism and takes a significant sonic leap beyond her indie blues origins. On Silences, the singer/songwriter's sophomore set, the melting pot of swampy blues, folk, and garage punk that marked her debut has given way to a more exploratory and layered approach. Recording in Upstate New York with co-producer Aaron Dessner (the National), Victoria frames her 12 varied missives against a backdrop of subtle electronic noise, austere string and brass orchestrations, and tensely cinematic indie rock. While the blues are not absent from this set, they are transmuted to something more ephemeral and adapted to whatever climate or situation suits the artist's needs.

"I wanted you to get the humidity of it, the heat, the ways we reach to the pits of hell and the heights of heaven," South Carolina native Adia Victoria has said of her third album.

Two years after the release of her critically-acclaimed debutBeyond the Bloodhounds, Nashville-based modern blueswoman Adia Victoria returns with Silences. The albumwas recorded withAaron Dessner(The National) at his studio in upstate New York. Throughout the album's 12 tracks, Victoria brings the topics of mental illness, drug addiction, sexism, and all the elements that consume the day-to-day lives of women attempting to make a world of their own.

Two years after the release of her critically-acclaimed debutBeyond the Bloodhounds, Nashville-based modern blueswoman Adia Victoria returns with Silences. The albumwas recorded withAaron Dessner(The National) at his studio in upstate New York. Throughout the album's 12 tracks, Victoria brings the topics of mental illness, drug addiction, sexism, and all the elements that consume the day-to-day lives of women attempting to make a world of their own.

Georgia Blue is a labor of love. On election day 2020, when I saw that there was a good chance the state of Georgia might go blue, I came up with an idea: to record an album of Georgia-related songs as a thank you to the state and donate the money to a Georgia based non-profit organization.

After scoring a freak hit with the Buzz Bin classic ""Popular,"" New York indie-rockers Nada Surf built themselves into career artists with a devoted cult following. Arguably the most pivotal album in that arc was Let Go, the 2003 release that saw them aligning with longtime label home Barsuk Records for the first time. That album's US release date is rapidly approaching its 15th anniversary, and the band is celebrating by assembling their very own charity tribute LP. Standing At The Gates: The Songs Of Nada Surf's Let Go features the entire tracklist performed by an assortment of friends and associates including Aimee Mann, William Tyler, Rogue Wave, the Long Winters, Holly Miranda, Manchester Orchestra, Victoria Bergsman, and recent Barsuk signees Charly Bliss.

" I had songs recorded in the 80s, in the 90s, in the 2000s, and 2010s, but I never once had the joy of hearing one of the songs that I wrote from the perspective of a Black woman recorded by a Black woman. With this project…I hope to change that." - Alice Randall