Hailing from Little Rock, Arkansas, and possessing a voice that the Onion A.V. Club warns “knocks your brain into the back of your skull”, Adam Faucett has drawn comparisons from Tim Buckley to Cat Power to Otis Redding.
Called “one of the greatest, most thoughtful lyricists the state has to offer.” (Arkansas Times) Faucett has again pushed the borders of his “part folk, part blues, part elemental rock stomp, part unidentifiable cosmic holler” (Arkansas Democrat Gazette) with the release Blind Water Finds Blind Water, a record of his most arresting and beautiful songs to date.
Faucett began performing solo in 2006 when the demise of Russellville, AR band Taught the Rabbits pushed him toward Chicago. He returned to Arkansas in 2007 to record his first solo album The Great Basking Shark, and began touring nationally. 2008’s Show Me Magic, Show Me Out followed, featuring Faucett’s band, The Tall Grass. A relentless touring schedule has led to shows with Jason Isbell, Damien Jurado, Chuck Ragan, and Lucero.
For the past two years, Adam has toured nationally and internationally in support of his third acclaimed release, More Like A Temple, which received praise from outlets including American Songwriter, Paste Magazine, No Depression and Uprooted Music Review. Temple also gained overseas support, landing at #14 on the EuroAmericana chart and receiving 5 stars from Altcountry.NL, bringing him to Europe for the first time.
From the opening note of the first track of Faucett’s new release Blind Water Finds Blind Water (Last Chance Records – 2014), it becomes clear that there is no holding back on this album. The emotionally raw “Day Drinker” sets the tone for a tour of unearthly themes set against the workaday backdrops of rural and suburban Arkansas. Sublime melodies mix tensely with characters who live in unsavory and haunted spaces. A Staten Island killer, an abusive ex-husband, and the 20th century “sleeping prophet” Edgar Cayce, all make appearances. Faucett, who says he “identifies more with the flood than the victims”, explains “the tunes of Blind Water take full responsibility for the irreversible damage.”
“Benton” and “Sparkman” reference two of the Arkansas towns where Adam spent his childhood, with the treatment of these stomping grounds blending reality and fiction to create Faucett’s own Arkansas Gothic vision. Deeply personal moments “Opossum”, “Poet Song”, and “Walking Home Late” are, according to Faucett, “all almost word for word true autobiographical accounts of my life in the not-so-Southern, not-so-Midwestern bastard state of mind that is Central Arkansas. This record, written on the run physically and emotionally, is a mapping of a moment guided by the whim and mercy of others. Water, blind and helpless moves not where it wants but where it’s allowed.”
Taken from Adam Faucett’s Bio.