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The Donkeys - Bio
Ride the Black Wave
California places a distinct sonic stamp upon the m
usic born with in its boundaries.
Owens had his Bakersfield, Parsons his Joshua Tree,
and Malkmus his Stockton, and
in their tunes you can hear dust, desert highways,
and skateboards gliding over
suburbia. The Donkeys have San Diego, and from tha
t environment have woven a
fundamental ease in their music - a rock, a roll, a
sway, a slide - you could even call it
a breeze. On
Ride the Black Wave
The Donkeys continue their easy rolling, classic
vibrations
,
but add a mystery and tension that make this recor
d their most lyrically
and instrumentally compelling.
Ride the Black Wave
embodies what Jack Kerouac described of California
’s coast as
having an “end of the land sadness.” The Donkeys st
are out at the ocean in a
“fantastic drowse” - a kind of pensiveness towards
their environs that summons the
elements of sound and style that belong only to the
m. In “Blues In The Afternoon”,
a collective mantra, the band runs out of land and
asks of the ocean to offer
suggestions about their fate. It is songs like the
se that prove the Donkeys are a band
in the true sense of the word, sharing each other’s
worry and wonder. With
RTBW,
The Donkeys have further caged their craft and have
accomplished the delicate and
artful challenge of taming the captured, while also
letting it be wild.
Recorded at San Diego’s Singing Serpent and mixed b
y LA’s Thom Monahan, the
Telecasters have a golden shimmer, the drums seem t
o echo with a regional
reverberation. The notes coming off the Rhodes flo
at on like beer-buzzed
afternoons, but just when you get lost in the hypno
tic swirl of “Sunny Daze” the
churning guitars begin to circle like sharks, remin
ding us of the realities beneath all
beautiful surfaces. Ten tracks deep, Adrianne Verh
oeven of San Francisco’s Extra
Classic appears like the mythic Calafia herself, de
livering a vocal that would bring
Cortez to his knees.
So, it is with
Ride the Black Wave
that The Donkeys add their own stratum to
California’s ever expanding musical frontier, while
maintaining their golden “shine”
as well as interjecting a tension with the sun and
beauty. The record hypnotizes as
much as it awakens; it poetically puts us at ease w
hile we sit in traffic, peck at our
keyboards in cubicles, or conversely, it accompanie
s us as we ride along desert
highways, or sway with our lovers. It is about hom
e; it is about waves, and
surrendering to their movements, trusting that they
will take us to where we truly
belong. 

07 Ride The Black Wave

Alejandro Rose-Garcia, better known as Shakey Graves, still brings his Samsonite luggage on the road with him as an instrument, but his shows are no longer just a one-man band experience. This new sound is obvious in his Studio Z performance, but Rose-Garcia made sure to note that his shows now are an equal mix of his trio and his Samsonite companion. His latest album, And The War Came, is in stores now! 

Shakey Graves - Studio Z - Family and Genus - 2015-04-15

Sensation of Falling, which consists of Sawyer Johnston, (songwriter, vocals and bass) Andrew Graves, (drums and percussion) and Dean Cates (guitar and electronics), jump-started their musical career by winning Appalachian State’s annual Battle of the Bands in 2014 as their first show together. The group has progressed quickly, and, after only a year of living in the same town, they began recording their debut album in December. The 9-track LP was recorded at Sensation of Falling’s home studio, but produced by Ben Mercer at Wet Bandit Audio. According to Andrew Graves, “the goal of this album was to create music that we want to listen to. When I put on an album, I expect a cohesive work of art. I hope we can give listeners that experience.” In spite of the range of sounds on “The Lost Limit” – from the eponymous opener, which sounds like a blend of Nirvana and the Beatles, to the closer “All You Can Afford,” which would be more at home on a Fleet Foxes record – the album feels singular, tight, and rooted in feeling rather than flash.

Before There's Me

Remix of a Moby track from mobygratis.com - made with Suno v4.5

Weep

Off and On Again

Fish in a Rut

Hard Time Killing Floor

Stereoscope

Let the Wind in

Battlefields

Acid Tongue

The Next Messiah

‘Lost In My Mind’ is from the new album SOLACE from RÜFÜS DU SOL
Available to listen or buy now - https://rufusdusol.lnk.to/solace

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Let the Wind in

Marty O'Reilly

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