Mortuary Music [Release date 02.10.26]

Adam Sweet’s 3rd album ‘Mortuary Blues’ (he’s also released 2 EP’s), is a well crafted roots rock album which straddles classic rock, blues, funk and occasional hints of Nashville.

The album title is not the doomy blues concept you might suppose, but rather a reference to the name of Adam’s converted studio.

He used a similar titular device on his previous ‘Live at Crescent Road’ EP, using the name of the studio he worked in as the title of his recorded work.

This is a well polished, self produced album full of thoughtful songs, rock solid grooves and intuitive band interplay between Adam on guitar, Paddy Blight on bass, Gary Kroll on drums and organist Thomas Hughes.

He treads a careful line between a riff driven rock imperative and the self restraint to be found in the occasional pull of Nashville tinged song-craft.

It’s a tension that infuses the album with enough light and shade and subtle dynamics to retain our interest, from the lyrically strong title track to the laid back soulful book-end of ‘No Way Of Knowing’.

The classic and roots rock divide also gives Adam enough opportunity to show his versatility, even if it sometimes obfuscates his true self, as he tries to be all things to different people.

On the one hand he’s a brusque riff driven rocker, while on the other he is a substantive and reflective singer-songwriter.

The band penned title track is an example of what he does so well, as he fuses contemporary lyrics with some cool organ and guitar interplay, while delivering a meaningful question:

“Don’t sweat it, just spend it, We’ll make this work somehow, you’ll see,

Are we living or surviving?, Cos our time has no guarantee.”

He brings a muscular riff driven approach to the southern rock influenced ‘Full Moon Fight’ (one of 3 co-writes with Jas Scott & Phoebe Little), on which a dreamy fazed middle section and Deep Purple style guitar and organ break finds the band at its best.

But it’s his willingness to explore different facets of rock-blues that gives the album its unique DNA.

The funky groove of ‘Did It For The Money’ for example, owes much to Robert Cray, before it evolves into a Bad Company style riff driven hook.

By contrast, the critically praised single’ Back Stop’ – one of 3 co writes with Hugh Moffatt – is a contemporary Nashville friendly ballad with delicate harmonies, intricate jangling guitar and a drifting Hammond B3.

It’s a rootsy style he later revisits on the more up tempo ‘Fortune Ain’t Free’. The nifty country influenced roots rocker – another Sweet/ Moffatt co-write, plus organist Thomas Hughes – benefits from deft bv’s, a salient hook and a ripping slide break at the 2.08 mark, with supporting organ.

And while the polished production gives the album its sheen, the band’s essential organic feel gives the album some welcome edge.

The shimmering mid-tempo instrumental band composition ‘Eatin’s Cheatin’ is a reminder of their well honed capabilities, but it feels a little lightweight compared to the rest of the songs on the album.

The slow building ‘Ashes & Ice’ is the third Sweet/Moffatt co-write and is a Neil Young influenced groove. It’s a potent example of the constant tension between the band’s laid back style and a natural pull towards a musical resolution.

The track opens with a Southern rock feel and more Young styled distorted guitar tone, which tops and tails a song counterweighted by harmony vocals.

It builds to a big gritty guitar solo, on the kind of number you might imagine them extending live.

There’s a similar influence to ‘Loyalty And Lies’, as a brash shrill toned guitar opening leads us into a riff driven dirgy groove, with a climactic solo and a perfunctory finish.

‘White Lies’ is different again, being a swampy duet with vocalist Alex Hart, who brings a lighter feel to a fluid track with smooth harmonies.

It’s given extra weight by a Steve Stills style gnarly guitar tone and is counterweighted by a call and response vocal leading to a sudden fade.

Sweet’s generous use of sonic motifs also gives the album its consistency, substance and feel. His changing musical styles help illuminate lyrical intent, which facilitates a flow and a sense of anticipation of the next song.

‘Mortuary Blues’ is an excellent showcase of Adam’s Sweet’s own inherent talents and his ability to make the best of his road tested band, while only a lack of a lyric sheet dilutes the overall impact.

The only remaining question is which direction he will pursue in the future to best nail his talents. ****

Review by Pete Feenstra

Featured Artist: JOSH TAERK

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Power Plays w/c 26 October 2026

BLACK RIVER DELTA Shame On You (Despotz Records)
DAYTONA Listen To The Silence (Escape Music)
SUCKERTRAP Sacred Lies (indie)
WOOD BURNT RED Count My Blessings (indie)
BLACKLIST UNION Heavy Is The Crown (indie)

Featured Albums w/c 26 October 2026

09:00-12:00 The Best of 2003 – 2025 (Melodic Rock)
12:00-13:00 The Best of 2003 – 2025 (Melodic Hard Rock)
14:00-16:00 The Best of 2003 – 2025 (Singer Songwriter)

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