Alexander is the solo project of guitarist and multi-instrumentalist David Shapiro (Kath Bloom, Headroom, Center). Under the Alexander moniker he plays fingerstyle acoustic guitar and banjo music. Drawing from a wide variety of guitar traditions, Shapiro has arrived at a style and vocabulary of his own. His albums have drawn comparisons to John Fahey and Robbie Basho who he cites as influences on his playing. Elizabeth Cotten, Frantz Casseus, and Frank Proffitt are other major influences. As Alexander he has toured extensively across the U.S. and abroad. He has shared bills with Mdou Moctar, Loren Connors, Susan Alcorn, and many more. His self-titled LP is distributed by Forced Exposure and he has additional releases on C/Site Recordings.

With his debut record Imitation Fields, composer-guitarist Ben Garnett makes a distinct and vibrant entry as a solo artist into the world of American acoustic music. Blending the traditions of string band, jazz, electronica, classical, and avant-garde, Garnett forges a sonic tapestry all his own.

Produced by Chris Eldridge (Punch Brothers/Chris Eldridge & Julian Lage) and featuring fiddlers Brittany Haas and Billy Contreras, bassist Paul Kowert (Punch Brothers), banjoist Matthew Davis, and mandolinist Dominick Leslie (as well as a string quintet and additional guitar by Eldridge), Imitation Fields unites some of the acoustic scene’s most exciting and inventive players in service of a new musical vision.

Meadownoise is the pseudonym of Matt Glassmeyer, though he'd rather you not know that. Since he started recording under that name, Glassmeyer--a veteran of many collectives--set his mind to writing, recording, and, at least initially, playing music as a wholly solo endeavor, though it was never an exercise in ego. Following his debut LP It’s 4:00 (2013) and it’s serialized follow-up, Dark Digest (2014), Glassmeyer would don a beige suit and tie for live performance, both as a show of church-like respect to anyone who cared to show up in person, and as an admission that he's just another ordinary person playing music. Hiding in front of the band, Glassmeyer subconsciously asked the viewer to pay attention to the music not the man. Regardless of interactive stage sculptures and unorthodox instrumentation, it could have been anyone in a suit banging away at a Wurlitzer