I Came To Sing The Song follows Adam’s acclaimed sophomore album Pearls To Swine, released on September 9, 2016 and which caught the attention of NPR Music, Pitchfork, The AV Club, Stereogum, Paste, Texas Monthly, and many more. Written and recorded at Cacophony Recorders in Austin throughout January/February 2016 during the same sessions as Pearls To Swine, the EP has a focus on songs about songwriting, and is a small testament to dedicating one’s life to song. It’s a personal, inward-looking short collection, marked by a deliberate, languid tempo and spacey atmosphere, as well as Adam’s unmistakable falsetto. The songs on I Came To Sing The Song were recorded live and to tape with minimal overdubs, and feature the players in Adam’s band: Swans’ Thor Harris (on conga drums, vibraphone, and percussion), Aisha Burns (violin), and Dailey Toliver (bass/piano), with drum kit performances by Matthew Shepherd and Rodolfo Villareal III. Two songs on the EP, the title track and “Green Mountain Road,” both include performances by Lauryn Gould on flute.
released February 24, 2017
Adam Torres: Vocals, Guitars
Aisha Burns: Violin
Dailey Toliver: Bass, Piano
Lauryn Gould: Flute (1-4)
Matthew Shepherd: Drumkit (3)
Rodolfo Villarreal III: Drumkit (2)
Thor Harris: Vibraphone, Conga Drums
Produced by Adam Torres & Erik Wofford
Engineered & Mixed by Erik Wofford at Cacophony Recorders, Austin, Texas
Mastered by Jeff Lipton at Peerless Mastering, Boston, MA
Assistant Mastering Engineer: Maria Rice
supported by 9 fans who also own “I Came to Sing the Song”
I emotionally relate so much to this album. I wish I were a cute girl with a voice just like her, in all honesty. Truthful, melancholic and intimate, this album will definitely hit anyone in the deepest part of their being. Thank god I found this via a misclick. Alex Jesus
supported by 8 fans who also own “I Came to Sing the Song”
The songwriting here is impeccable, both left-turn adventurous and willing to settle into a groove.
Wry observations about bugs give way to poignant observations of existential insignificance. Haley's observations feel at once universal and intimate, all delivered with a voice that dares to soar and crumble at once.
Thanks for this. Roswell Greeniaus