Dam I'm Late For Work

Prelude 3 (B) is speech-like, inspired by how rap manipulates rhythm. Triplets, poly rhythms and syncopation play into the contemporary style. The climax around bar 28 is lots of fun. The final two bars are inspired by Chopin’s Prelude Op. 28 No. 3 (G major), finishing in unison. Sheet music at https://www.australiancomposers.com.au/search?q=rachel+hocking

Prelude 3

Produced by Andrew Adkins
Recorded at Electrahead Media - Nashville, TN

All instruments performed by Andrew Adkins
Music and Lyrics by Andrew Adkins
© 2022 Andrew R. Adkins/Whiskey Begonias (ASCAP)

A Revolver In The Field

Keep loving one another

A 90s new man called Stan - South-Grove-Shuffle (Hot & Tasty mix)

This was already my favourite track on the album when it was made even better ...by @APi_ZZ remixing the harmonies.

20. The Judgement

GENRE: METAL/AMBIENT METAL/DARK AMBIENT 
LYRICIST: ORPHEUS VECTOR 
PRODUCED BY PRIMORDIUM 
VOCALS: ROXY BLACK 
COVER: ORPHEUS VECTOR 

SHADOWS BENEATH THE FROZEN DAWN

United

GENRE: METAL/HEAVY METAL/ALTERNATIVE METAL FUSION
LYRICIST: ORPHEUS VECTOR/ROXY BLACK
VOCALS: ROXY BLACK 
COVER: ORPHEUS VECTOR 

LISTEN TILL THE END

END OF OUR FIRST SET. WE WILL BE UPLOADING THE SECOND SET IN TWO WEEKS. 
THROUGH THE VEIL. 


VELOUR SERPENT KISS

The Coming of Age 2025 REMix

Rue Saint-Martin

Cette vie,  qui s’enfuit et s’émiette, 
Cet ennui dont je fuis la silhouette,

Ce Nevers qui m’anime
Monotone, en hiver, 
Et ma rime déraisonne
Rue Saint-Martin Rue Saint-Martin

Au bistro c’était trop la journée,
J’étais au jaune tango toute l’année,

Rue de Nièvre les enseignes
Font la gueule, c’est la fièvre 
Qui me saigne je suis seul,
Rue Saint-Martin Rue Saint-Martin

Quai de Loire j’allais voir solitaire,
Une frangine qui rapine sans manière.
Sur les docks, les biftons,
Ça défile cest du rock
Du cacheton pour les filles
Rue Saint-Martin Rue Saint-Martin

L’été passe et se joue des amours
Qui se lassent et s’échouent pour toujours
Faut pas s’la raconter 
En cachette l’amour ça 
S’débine et ça s’émiette
J’perds mon latin, j'me sens pas bien,
Rue Saint-Martin Rue Saint-Martin

(Paroles Michel Benoit - Musique Alban Bouquette)

Rue Saint Martin

Andrew Adkins doesn’t chase the spotlight—he bends it. Based in East Nashville, just across the river from the neon bustle of Broadway, Adkins has been quietly carving out one of the more intriguing catalogs in modern underground rock. A shapeshifter by design and a lifer by default, he’s the kind of artist whose work doesn’t just sound like something—it feels lived-in, dreamt-up, and a little haunted.

Before going solo, Adkins cut his teeth in a pair of promising, combustible bands. The first was Mellow Down Easy, a swampy blues-rock trio signed to Dualtone Records. The second—Lions for Real—was a gritty-stomp fever dream that burned bright, got picked up by Ryan Gosling’s boutique label, Werewolf Heart Records, and flamed out just as fast. Instead of chasing the next hype cycle, Adkins turned inward.

Since 2013, he’s released a string of solo albums that refuse to play by genre rules—blending dusty Americana with neo-psychedelia, cracked singer-songwriter confessionals with off-kilter rock & roll. His songs don’t so much follow a formula as they unspool like strange little films: vivid, unsettling, and beautiful in the weirdest places. His music has found its way into film and TV (Peacock, Lionsgate Films, Netflix, Hulu, Paramount+, CBS), yet he’s managed to sidestep the machine—remaining defiantly independent and idiosyncratic.

Adkins has shared bills with names like Sturgill Simpson, Lainey Wilson, Cage the Elephant, and Billy Joe Shaver, but don’t mistake him for a scene-hopper—he’s part of the same lineage. The strange ones. The uncompromising ones. The ones who never quite fit into the box but built their own corners of the map instead. Andrew Adkins is an artist obsessed with the craft, allergic to trends, and hell-bent on making music that hits the gut and the weird part of the brain. In a town obsessed with polish, he’s still chasing something raw.

A Revolver In The Field

Andrew Adkins

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