Dane Overton and the Joy Williams Band is an Australian dirty-blues trio.
Dane Overton and the Joy Williams Band
There are occasions when social media genuinely does make the world a smaller and more interconnected place. Someone I connect with in Australia live streamed a couple of tracks by Dane Overton and the Joy Williams Band as they played on Saturday – resulting in a new connection being made with the band and via instant messaging here we all are, connected by the internet regardless of our geographic location.
Word arrives of a single coming out in March and an EP due for release in June, news of which I will update as they surface.
As a brief introduction – based on a two and a half minute live performance – of a band I look forward to hearing much more of during the year – the song The Only Way.
Within the past few hours the US alt-folk project Elizabeth And The Catapult revealed a new live version of Ambrosia.
Elizabeth And The Catapult
Taken from the most recent LP – Keepsake – Ambrosia, the fourth of the dozen tracks. This live version captures the essence of both the song and the album as a whole, with its layered loops and frail texturing.
The Scottish alt-rock creator Kev Howell revealed a live stripped back acoustic version of the song Distance a few days ago.
More usually found playing fully plugged-in ‘6os and ’70s influenced textured-rock, this acoustic version of the first track of the nine on the début LP Haunting Ambition demonstrates the tender roots from which the fuller sound is created.
Dan O’Farrell & The Difference Engine is a roots-rock trio from England.
Dan O’Farrell & The Difference Engine
For some little while now there has been an exchange of emails between ourselves, which sadly, have never aligned until this point in time.
Regular readers, will anticipate that on being presented with a double-bass it is something I am likely to be delighted to share; even dating back to the last decade on the old URL.
Dan O’Farrell & The Difference Engine are able to do far more than merely add double-bass as they delve far beyond the saplings of ’50s rock’n’roll to conjoin their music with the tap and lateral roots of Southern Soul from the ’20s to deliver music that puts a fresh paintbrush to music of almost a century ago whilst equally able to sweep up the intervening decades with music which resonates of the ’10s and its fractured societal constructs.
A live performance earlier in the year surfaced a few days ago of the, as yet, unreleased Death By A 1000 Cuts which even more delightedly adds a fourth player on lapsteel in a song that reflects of the salami slicing of the 99% for the after-dinner cabaret entertainment of the 1%.