The albums, EPs and singles BLANK had on repeat last year
2019 was another stellar year for original music created by Knoxville artists. Longtime vanguards of the scene like Bark, Jeff Heiskell and Kevin Abernathy released vital new works on par or better than anything they’ve ever put out before. Popular acts like Erick Baker, Brian Paddock, Guy Marshall, Jubal, Josiah and the Greater Good and Pale Root made increasingly bigger moves in the studio and on the live circuit. Newer acts comprising now-veteran scenesters like The Common Creatures, David Webb’s Burning Bush, Travis Bigwood and The Lonesome Doves and Deadbeat Scoundrels released exciting and innovative debut recordings. And prolific solo artists like Adeem the Artist, Matt Woods, Albert Murrian and David Clifton continued to put out a diverse mix of folk, rock and jazz, respectively. The hip-hop scene continued to grow and thrive, as well, with artists like Lamont, Fky9, The Good Guy Collective and LiL iFFy all making waves.
As BLANK has covered several of the albums, EPs and singles that made this year-end list over the course of 2019, we have noted where appropriate that we have included an excerpt from a previously published article.
Albums
Kelsi Walker – “Nervous Kid”
Kelsi Walker exploded onto the scene within the last few years by tearing up the local circuit, hosting an open mic night at Vienna Coffee House and making a splash on major local bills like this year’s Sunset on Central festival. The full-length follow-up to her strong debut EP “Skin and Bones” (2017) is remarkable. We see an artist growing into her own and exploding with exuberance on shimmering, well-produced folk-rock featuring tight dynamics, hooks and pop sensibilities.
Brian Paddock – “Love Is Weird”
The former Shimmy and the Burns frontman continues to develop as a songwriter and as a bandleader on his second full-length solo release. The following is an excerpt from our interview with him in May that was published right as he and his band, The American Gentlemen, were tearing up the stages and wowing crowds at this year’s Rhythm N’ Blooms:
“Love is Weird” showcases Paddock maturing even further as an artist while still belting out wonderfully idiosyncratic songs with his distinctive whiskey-and-cigarette-soaked raspy growl. The backing band’s contributions sound like the countrified love child of Tom Petty and the Heartbreakers and Neil Young and Crazy Horse, and this batch of songs deals with heavy, deep themes like love, loss and regret while still managing to come off sounding upbeat and laden with hooks. …
Paddock has a penchant for writing songs that hit hard from line one. “That’s kinda the idea,” he says. “I cut pretty deep on this one.” He says he takes inspiration in this regard from what he learned from journalism: packing the strongest information into the lede to catch the interest of listeners right away. …
Paddock says that he used to labor over bridges that didn’t necessarily “move the story forward” and songs that didn’t work in general. Now, though, with years of experience practicing and honing songs both alone and onstage, he has refined his instincts. Showing no remorse, he says simply of some songs, “I will walk away. I used to write a song a day, and pretty much all of them sucked. I know when it’s not working.” It certainly is working now.
Bark – “Terminal Everything”
An excerpt from our guide to the 2019 edition of Second Bell, the festival’s second:
Beloved scene veterans Tim and Susan Lee have been touring for the past several years behind their duo collaboration Bark, which features Susan on drums and vocals and Tim on vocals and his trademark Fender Bass VI guitar – a nasty, swampy, hybrid mix of bass and electric in one tight package. The result is a wonderfully sludgy mix of primal rock, blues, punk and power-pop grooves. The band recently brought it back to the basics on this year’s well-received “Terminal Everything,” which was conceived after a season of loss in which the Lees lost parents, friends and pets. Their response was to rally around each other, band together and grind out music in a cathartic release. The excellent record also features the obscene talents of other locals like Mike Baggetta, Black Atticus and Joshua Wright accentuating the gritty sound of the duo coming across more urgent and vital than they ever have before.”
Jeff Heiskell – “Songs in the Key of H”
The great Jeff Heiskell is back with another chapter in a resurgence that began in 2006 with “Soundtrack for an Aneurism” and “Clip-on Nose Ring” in 2008 and continued with “Arriving” in 2015 and “Emotional Terrorism” in 2017. “Songs in the Key of H” continues the former frontman of the Judybats explorations in psychedelic pop. The songs are experimental in structure and instrumentation, and his collaborations musically with John T. Baker and Gray Comer at The Arbor Studio and with Storyhaus Media on a recent spate of music videos for songs like “Knoxville Town” have enhanced the art, as well. A favorite on this album is the frenetic, hilarious and NSFW “Alexanderbear69” and its accompanying video, which actually were released in 2018 but made the next year’s album.
Kevin Abernathy – “Whammy Bar Diaries”
Most Knoxvillians know Kevin Abernathy as a longtime veteran of the local scene, for often sitting in with bands like Mic Harrison and the High Score and for putting out several critically acclaimed albums of excellent original solo material. Even more often these days, though, he is known for being the father of the Pinklets, the cherished local indie outfit.
But with “Whammy Bar Diaries,” Abernathy lets the audience in on the story of one of his earliest musical escapades: he and his teenage band’s foray to California in hopes of making it big in the hair-metal scene of the ‘80s. Accompanying the songs on his website are written pieces that reveal Abernathy as a strong essayist and writer of prose. In them, he tells episodic stories about that period of his life. Regarding the music, “Las Cruces Sunset” is a gorgeous, reflective folk song, and “Monumental Days” brings a fun, hard-driving classic-rock sound that’s reminiscent of the best of that era.
Guy Marshall – “The Love We’ve Made Together and Otherwise”
Excerpted from “The triumphant return of Guy Marshall,” May 7, 2019:
Guy Marshall have become the darlings of the Americana scene since emerging a little more than six years ago, taking the mantle of the exciting new kids on the block in the wake of the everybodyfields’ breakup and The Black Lillies spending more time on the road. … Like the everybodyfields before them, sometimes the tension between the couple at the helm is evident and can create beautifully risky, flirty, dangerous fun – the kind of which that keeps audiences on the edge of their proverbial seats waiting to see what happens next. …
“I Don’t Try” is a newer, personal song, [which McNulty] says explores “mistakes I had made” … Another track the band has been road-testing around the region for about a year now is “Hard Times,” which documents the literal seasonal depression the couple experiences in winter and the figurative winter of their relationship – the tumultuous times they encounter in their relationship. … The band chose to bookend the album with positive love songs “The Love” and “The Night We Lay Down,” both of which highlight where they are now in their journey together. The middle comprises a mix of songs that detail the difficult journey. Two of those tracks, “County Fair” and the lead single “West Virginia,” are older songs that date back to the “Depression Blues” era. They are excellent examples of the storytelling style embodied in country and Americana music.”
Jubal – “County Ball”
Excerpted from “Jubal’s sound grows with ‘County Ball,’” May 7, 2019:
The past incarnation of Jubal on albums “Bloodroot” (2015) and “Warm Regards” (2017) featured primarily the subtle fingerpicking and gentle, warmly intertwining vocals of Kress and former partner Bonnie Simmons, a sound that won them many fans in the area. In the “Warm Regards” era, they began to add extra musicians more often and started to tour out of town. But as has been mentioned and referenced in other pieces, once the band chose to focus on touring, Simmons made the decision to move on from the project. … In her absence, the arrangements [for County Ball] have been rocked up a bit more, and Kress has been forced by necessity to stretch his vocals and articulate more. His individual voice has become more developed, idiosyncratic and bigger as a result. …
His songs have become a little bigger, too, more focused to project out with the idea and plan of coming up over the band and the beat to the larger audience that he’s now reaching. … “How Some Things Fall” … may be the most powerful, sharp and hooky song on the album. “Chardonnay” and “Through the Shades” are very strong tracks, as well. … Guitarist Jake Smith produced “County Ball,” as well as the recent, stripped-down “Peso Tapes.” “It was our first swing at doing the thing on our own,” he says. “It was humbling to say the least, but I think we made a decent product. … We honestly didn’t think it would work, but we think it turned out pretty good.”
Pale Root – “Riding High”
Excerpted from “Pale Root riding high on sophomore release,” May 7, 2019:
Pale Root, for most of its tenure, has been the acoustic folk duo of Aaron Freeman on lead vocals and rhythm guitar and Jordan Burris on harmony vocals and lead guitar – although both men write all parts of songs for the project and fluidly switch roles as needed. “Riding High” is a rich collection mixing Appalachian folk, rocking Americana and classic country. The songs on the album run the gamut from brooding (“Corners”) to hopeful (“Morning Light”) and remorseful (“Anymore”). “Balsa Wood,” “Wild and Willing” and “Fade” all have a loose, warm sentimentality and groovy tones that would have fans of acts as diverse as The Band, Scott Miller and even the jammy Acoustic Syndicate stand up and take notice – as well as enjoy. …
Talking to Burris about their influences, it wasn’t surprising to hear him mention Jeff Tweedy and Willie Nelson in the same breath. Burris and Freeman agree their songwriting isn’t going for anything particularly stylistic or political, but it is rather largely personal, relational and experiential. … “You have these songs, and they become these little islands or little beacons of little things you were going through together,” Burris explains. …
The package art is DIY and community-based, too; Burris majored in art in college and provided the drawing for the cover of “Riding High” (as well as the painting that graces the front of their self-titled 2015 album. Friend Tara Kneiser took the promo photo of the two on the backside of the album. “As far as a narrative to me,” Burris says, “it’s kind of cool. Like, we all knew each other when we were young and then came back together to do this.”
Erick Baker – “Morning Light”
Erick Baker has long been a fixture on the regional scene and in recent years has become one of its most successful and popular figures, opening for multiple major national artists at the Tennessee and Bijou theaters over the course of the past decade, selling out his annual Valentine’s Day shows at the Bijou and touring the country extensively. He’s always had a powerful pop/soul voice and memorable, hooky songs. But up-and-coming producer and jack-of-all trades Will Carter and his Eleanor Studios took Baker’s sound to the next level on “Morning Light” with rich, warm country-rock instrumentation and smooth production that makes the songs pop.
The Common Creatures – “The Common Creatures”
As with many Knoxville music stories, this exciting all-star group grew from a small microcosm of many scenes. Its members all hail from different bands but were friends who began to cross-pollinate musically, the result of which was something fresh and new. Drummer Andrew Tinsley and guitarist Matt Montgomery were playing together in Southern Cities. Tinsley and his wife Emily, The Common Creatures’ lead vocalist, shared mutual friends with Albert Murrian and started out in the same practice space working with Murrian and his longtime friend and former 1220 bandmate, Alex Trammel. The collective served as Murrian’s backing band for shows following the release of the musician’s “Art Rock” EP. Eventually, Montgomery got pulled into the fold, too.
After a handful of shows together, Murrian and the Creatures parted ways, but the Tinsleys, Montgomery and Trammel decided to stay on and work on some new original material: a sweeping revue of ‘60s and ‘70s soul, pop, funk and disco augmented by the rich bass tones of Jon Augustus (Josiah and the Greater Good), another friend of the Tinsleys. Together, they created a warm, smooth and dynamic sound. Trammel and Montgomery wrote the majority of the tunes with Trammel on keys and singing lead on some songs and harmonizing with Tinsley on others.
Emily Force-Tinsley is a budding lyricist with a warm, smooth, vintage soul/rock voice that would be at home in a record collection with Amy Winehouse and all of her earlier influences. Montgomery, Augustus, Trammel and Andrew Tinsley create a groovy rhythm section with killer dynamics and tone, and Montgomery soars over the crowd with some electrifying and classy solos. Top Hat Studios produced this excellent debut that shows The Common Creatures have sky-high potential, both locally and beyond.
David Webb’s Burning Bush – “Endless Caresses”
Perhaps the most original and anarchic of the local bunch this year is the debut full-length album by David Webb, former rhythm guitarist for Tree Tops. Webb unleashes a batch of wildly unique and progressive indie rock that veers in different directions: towards punk, psychedelia, freak-folk, prog rock and more. The album really is hard to explain, so BLANK recommends that readers download it right now or go to the next live performance in order to appreciate the material themselves.
EPs
Travis Bigwood and The Lonesome Doves – “Bad Conditions”
One of the most popular budding acts in town is Travis Bigwood and his backing group. Fronted by a musician who for years has served up the low end for some Knoxville favorites (Guy Marshall, Sweet Years), this EP finds Bigwood coming into his own as a songwriter and performer. He and bandmates Aubrey Mullins and Cord Johnson display a strong command of and an affinity for vintage rock, country and pop.
The group recently has been performing whole sets covering singular artists like Elvis, The Beatles and more at Maple Hall. Their gorgeous HD videos, set in interesting locales like St. John’s Cathedral and The Star of Knoxville riverboat, have earned them quite the local following, and their silky-smooth live harmonies at key events like Rhythm N’ Blooms made for a strong promotional campaign for the EP. “Paw’s Place” and “Put Me in Tonight” are standout tracks on the lush release.
Three Star Revival – “Reset”
Excerpted from the Second Bell 2019 guide:
The “Reset” EP, the newest effort from the groovy group founded in Knoxville, further solidifies the transition of the band from a predominantly roots-rock sound to one that showers the masses with silky yet hard-hitting R&B-infused funk-rock. Ben Gaines’ sweet croon soars over Bo Kitzmann and Tyler Reddick’s muscular and tight rhythm section. Guitarist Cam Moore and keyboardist Greg Walton’s shredding riffs and solos, respectively, keep things edgy and exciting and counter the smoothness. The neo-soul jams are rife with pop hooks, and the product as a whole is supremely danceable.
Adeem the Artist & Caleb Haynes – “A Moment Like This”
Adeem the Artist is a prolific songwriter with multiple albums and EPs to his name, and he’s honed his live chops with years of performing dense cover sets all over the region (even including a stint a few years back on a Carnival cruise ship). He is in top form on this collaborative EP with his brother, Nashville songwriter Caleb Haynes.
Deadbeat Scoundrels – “Killing Time”
Excerpted from “Live stalwarts Deadbeat Scoundrels go on the record,” Nov. 8, 2019:
Produced by Matt Honkonen at his Pitchwire studio, … “Killing Time” lets folks see an original and more introspective side of the group while still capturing the band at its energetic best. … Made up of [Aaron] Zecchini on vocals and guitjo, Preston Davis on standup bass (on the album; sometimes Jeremy Carriger fills in on electric bass live, as was the case at the EP release show) and Marty Hodge on drums, the Deadbeat Scoundrels play an Appalachian-inflected version of alternative folk-rock that brings in elements of jazz and jam. …
All of the members of the group are classically trained former music majors at area universities who came of age around the time of the emergence of college radio/jam favorites like Dave Matthews Band, Phish and Widespread Panic, as well as smaller bands like Acoustic Syndicate and Railroad Earth and grunge rockers like Pearl Jam, Jane’s Addiction and Alice and Chains – all of whom in some way influence this release. … “For our first EP, I wanted it to be kind of bare bones, nothing theatrical,” Zecchini says. “And [Honkonen] did a really good job … it was exactly what I wanted him to do.” …
The EP features five tracks, all imbued with a jazzy, rhythmic styling propelled by Davis’ standup bass, Zecchini’s thrashing/plucking guitjo and Hodge’s shuffle drums. Zecchini sings with a raspy yet melodic vocal he attributes to listening to a lot of grunge and alt acts in the ‘90s. The vocals are sometimes personal, referencing relationships or personal struggles, but often they remain vague or general enough to feel universal and generational … “Killing Time” is a great companion for the car, perfect for dozens of spins, as the songs flow well together, uniting country/blues stomp and jazzy grooves to wonderful effect. Zecchini’s voice alternates well, too, between almost high-register pleading and then lower, more assuring tones. It can lull listeners into a hypnotic state of comfort, making them feel like they’ve known the guys in the group forever.
Singles
LiL iFFy – “36 Months”
The unexpected yet triumphant return of the wizard rapper thrilled local fans when the Wil Wright-helmed project released a new single and brought back its epic live show, first at Second Bell and then at a few other prominent local events. It was a surprise move for Wright, having announced the retirement of the iFFy brand quite some time ago. But the musical chameleon responsible for indie rock stalwarts Senryu, award-winning film scores and, most recently, the special project Weird Miracle assembled for the 2020 edition of Big Ears always seems to have a few tricks up his sleeve.
Sunkiller – “River Vibe (Melting Skull)” and “Sunlight”
Niles Haury is well-known as a bon vivant raconteur/impresario and for holding down the low end in several popular bands like Grandpa’s Stash and briefly, Crumbsnatchers. His Backhouse bungalow in the Fort Sanders neighborhood was home to many eclectic Hot Air gatherings where musicians and artists would gather and share improvisational experiences. He has hosted hundreds of touring bands. He’s worked in some capacity at multiple local venues. But his newest musical project may be his most lively and interesting.
Local singer-songwriter and guitarist Brandon Graham was impressing at local open mic nights starting at an early age, and eventually he ended up living with Haury, jamming and beginning what recently became known as Sunkiller. Since the group surfaced with Hudson K percussionist Nate Barrett on the skins, they’ve been all over the place, playing multiple local venues, events and festivals. Their debut tracks, “Sunlight” and “River Vibe (Melting Skull),” are groovy, indie/psychedelic romps that are nothing short of hypnotic. Graham’s airy falsetto and meandering, frolicking lead riffs and solos over Haury and Barrett’s jazzy grooves are, as many early millenial jam fans would say, “quite crispy.”
Albert Murrian – “Working”
Albert Murrian is a singular talent, combining his sonic vision and technical know-how regarding production techniques with the studio wizardry of Matt Honkonen at Pitchwire to create tight, psychedelic pop-rock gems that are reminiscent of The Beatles. The best example of what his capabilities was last year’s ebullient “Working,” an ode to 9-to-5ers and working-class stiffs everywhere. The video, directed by Ben Gleason and Elizabeth Price, features a spate of downtown businesses (including The French Market Creperie and Pete’s Coffee Shop) and depicting workers going about their busy, lively days. The song’s lyrics lament the strain of all work and no play, but the song and video make the frenetic buzz of activity on a regular workday – in Knoxville, in America – seem whimsical and filled with energy and vitality.
Josiah and the Greater Good – “Relapse”
When they put their minds to it, Josiah and Greater Good can really funk things up – in the best way possible. “Relapse,” the first of a series of singles released throughout the year, is probably the hardest-rocking of the bunch. The mixture of Josiah Atchley’s sultry, swaggering pop/soul vocal and searing musical accompaniment is a definite highlight of 2019.
Adeem the Artist – “Suicide Scars”
Across a catalog that is rather sizable and incredibly diverse musically, Adeem the Artist may just explore the widest variety of lyrical themes of any area songwriter, as well. But one unifying feature seems to be the frequent “I see you” songs (as the last line of this particular one reassures) directed at marginalized peoples and communities. The aforementioned “A Moment Like This” EP was forged in the lead-up to Knoxville Pride, and the standalone single “Suicide Scars” reads like an open letter written to an awkward and depressive teen who checks him out at a store one day and whose visible hurt deeply affects him. The song is short, simple and packs an intense emotional wallop.
David Clifton – “Grand Central Station New York”
Gorgeous jazz-infused folk abounds on David Clifton’s “Fruit of the Spirit” album – but especially on this single. Clifton has become revered in the local scene for his evocative songs featuring delicate vocals and instrumental arrangements, and this latest tune is no different.
