Album Notes

The first thing that strikes you about Aderbat is the singer's voice. Matt Taylor's smoky, impressionistic voice. Matt Taylor's rag muffin peaked out twenty something voice, simultaneously weathered and innocent. You think, this is new but it's almost familiar, like,is this the new jazz or something? But it's always out of reach because the influences are digested like grits in a Monet salad and this is a new authentic sound sprouting out of D-town, last stop on the R5, bastard child of Philadelphia. The deal: Aderbat is a new sound and Matt Taylor is a new song writer and singer and this is a good band. The songs are all spiked out at times, some good angular notes happening from the contorting lead guitarist, jazzy hip and crazy, some unexpected chordal body meshes gracing the stage on the left in front. The girls generally stare at the bassist, he's trying real hard to tell you he's not a rock star. The
drummer seems to have this Bill Murray hipster affect and seems to understand that Ringo had a real cool style. You expect it to resolve into simplicity but Aderbat keeps it complex within basic structure and the ensemble style is definitive.

Aderbat is essentially giving us a romanticized vision of the world, vision tempered through the cusp of adult awakening. A classically tinged romanticism. There is a sense of America here, you know, the one you really want to know about, strong and intelligent, complex and diffused. Like all good art, Aderbat's is tinged with the stain of reality and this is why they sound like they do: smart and beautiful.

Rabbits and Rocks was recorded and produced by Aderbat over a 9 month period at
six living room locations on a laptop computer, handed off to Andrew Weiss (ween) for mixing, additional production, and mastering, and independently released in May of 2004.

copyright 2004 Charles Landy