Sometimes the best music is like a photograph. Anthony D’Amato's songs feel like Polaroids, brushed with golden-hued vintage tones of heavy-hearted folk and electric streaks of rock and roll. Like snapshots, they capture specific moments in time, moments of enlightenment and resolution, elation and despair, darkness and light. They're inextricably tied to the spaces in which they sparked to life and reveal raw portraits of their subjects, unvarnished and intimate.
For his New West debut, The Shipwreck From The Shore, D’Amato veered away from the homemade DIY production style that marked his early work, a pair of self-recorded albums cut in a Princeton University dorm room and a New York City apartment that NPR called "a modern folk gem" and Paste hailed as "unforgettable." In the fall of 2013, he traveled to rural Maine to collaborate with a producer for the first time, seeking out Sam Kassirer at the Great North Sound Society.
The Shipwreck From The Shore is D’Amato’s label and studio debut, and it's his most realized work yet, revealing intricate harmonies powered by uplifting, often ecstatic rhythms. Throughout, he preaches his epiphanies, relishing the breakdowns and the strength to build it all back up again. “There's that old saying ‘Let go or be dragged,’ and I think that's the heart of this album," he says. "When the storm hits, it's the trees that can bend that live to see the next day.”