Guitarist /former bassist of NYC rock outfit "Supple" and guitarist and singer in NYC indie quartet "Automatic Children" - (both below in my friends list), this is my solo shite
NEWS
In 2008 I was involved in the Rock Musical, "Attorney for the Damned." I played guitar and tambourine in the show's onstage "Damn Band" at the Kraine Theatre in NYC from March 13 to June 20th, 2008. The NY Times called it "What musical theatre, at it's best, can still be." (NO I wasn't really nominated for best rock tambourine in an off-broadway musical, damnit!)...
Click here for photos, synopsis, music, and more press
I am currently playing in and writing songs with my band Automatic Children. Our debut EP "It's not me, It's you" from 2007 got great reviews and airplay, and we are almost finished with the full length follow up.For the second year in a row, we were chosen by fans and music critics as one of NYC music zine/blog The Deli's "Top Emerging Bands" and are in the current April issue.
On May 19, we will be performing at Arlene's Grocery and releasing a stop-gap "double" of two album tracks on limited edition vinyl 7". These will be available for sale on our myspace page (below). We also have a show 4/29 at Coco66 in Greenpoint.I am currently not writing or performing as a solo artist, though occasionally sit in on guitar or bass for a friend's project and offer my own style.Come check out Automatic Children. We play almost every month in NYC's top rock venues.
REVIEWS
Reviews of "Fool's Gold":
PASTE Magazine, Issue31, May 07
Adam Lippman - Fool's Gold (Papa Tone)
"Fool's Gold" is Supple bassist Adam Lippman's first solo venture (actually its my second, but who cares) , brimming with competent pop/rock and subtle experimentation. From warm, Jesus and Mary Chain drone ("Broke my Heart") to straight-up gleeful melody ("Anyway"), Lippman happily chases his muse wherever it leads.
Reviews of "Lo-fi, High Maintenance":
MUSIC CONNECTION Magazine, March 12, 2001
Adam Lippman - Lo-Fi, High Maintenance
(this was actually a six-song unfinished version of the album-to-be)
Adam Lippman, who has had group/band efforts appear on a couple of indie flick soundtracks, offers a solo demo here that gets our attention immediately with vaguely catchy songs delivered in an edgy, lo-fi work. Not unlike Robyn Hitchcock or Joseph Arthur's trippy, experimental art-pop, Lippman's music (especially "Maybe," with its luxurious synth textures) shows him to be am artist who has the goods and should continue to develop his uniqueness.
SPLENDID eZINE, July 30, 2001
Adam Lippman - Lo-Fi, High Maintenance
(same here)
While taking a break from his main gig as the bassist for Supple, Lippman retreated to his home studio and produced this EP. The six songs here reveal a musician madly in love with music; they're well crafted and engrossing, with simple melodies and unaffected honesty. Even sad tracks like "Maybe" feel good because the joy Lippman clearly gets from creating music shines through. Sure, the disc sounds like it was recorded on an eight-track, but that doesn't diminish the pleasure of the playing. Unadorned keyboards, thoughtful lyrics and understated guitar make up the pieces, but it is clear that Lippman's, and the listener's, greatest gratification comes in hearing them all together as a whole. - rd
JERSEY BEAT Magazine, Issue72, Sept. 18, 2002
Adam Lippman - Lo-Fi, High Maintenance
This lad started playing music about 21 years ago and has spent time in a number of bands in Connecticut and NY. The band NAKED JENNIFER has an intriguing title; he was bassist for that alt-rock group. He also did a solo synth project & has played rhythm guitarist for awhile and bassist for NY band SUPPLE. This solo project shows signs of all that history. I hated this one at first; the first few tracks and some others have some sort of synthetic, futuristic instrumental material which had me wondering where the hell Mick Hale's old techno-danse music column went to. However, the album evolved into some very damned good rock-type music which is great to listen to and is infectious: I find myself trying (unsuccessfully of course) to sing some of these songs. Personally, if he had stuck to traditional rock instrumentation, I would have called this a great album and would have listened to it 100 times instead of the 40 or so I have listened to it so far. Mind you, I expect to listen to it again someday. The weird noises are not enough to detract from the richness of Adam's voice and the fine songs. Hell, perhaps they add to it. Check it out.
- Rodney Leighton
