Pale Blue Eyes - Well Wisher - Poolblood - The Local Honeys

Photo - Sophie Jouvenaar

Pale Blue Eyes - Star Vehicle.

Following the announcement of their debut album Souvenirs, coming out on September 2, Totnes’ Pale Blue Eyes yesterday shared a new track from the record.

“It’s a hopeful and uplifting track,” says PBE singer/guitarist Matt Board. “It’s about daydreaming of the future and riding out difficult times together – kind of fantasizing about somewhere far away. It touches on times at art college, where there was a student bar called The Rat & Emu, out in the middle of the countryside. I remember the stars seemed so bright overhead.”

Souvenirs was recorded in PBE’s own Penquit Mill studio, just south of Dartmoor, the studio having been funded by a bank loan and endless part-time jobs. PBE are the couple Lucy and Matt Board, crucially aided by Motown-mad bassist Aubrey Simpson. Matt (vocals/guitar) and Lucy (drums/electronics) met at Dartington College of Arts in South Devon, a storied establishment that’s been enlivened over the years by people including Igor Stravinksy, Yul Brynner and John Cage.

Lucy’s dissertation was titled “An Investigation into Sheffield's Alternative Music Scene Between 1973 and 1978, with Particular Reference to Cabaret Voltaire.” The PBE album was mixed and mastered by Dean Honer (Eccentronic Research Council, Moonlandingz). Dean has been an integral part of Sheffield's electronic scene and has mixed artists including Róisín Murphy, The Human League and Add N To (X).

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Well Wisher - Need You Around.

Egghunt's brand new signing, NJ Pop-Punks Well Wisher are sharing a video for "Need You Around" - a love song written for lead singer Natalie Newbold's partner which features the band performing in front of fan-submitted photos of things they "need around."

We're not announcing the album quite yet, but you can preview the whole thing below and you're welcome to say there's an LP forthcoming in the fall.

The album is fantastic, a great fusion of the band's punk roots with strong melodic and raw production influences from the Pixies, Elliott Smith, Phoebe Bridgers. Listen to the "alone in a room" acoustic ballad "Emily" which sounds like it was captured almost by mistake, with Natalie left alone in the studio late, or the massive hooks on "Panic" and "Do Better."

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Poolblood - twinkle.

About "twinkie": "A song I wrote about the tenderness of time, time as a source of love, and the way time is the ultimate parent. Starting over is as sweet as a golden sponge cake. My dearest friend Shamir, played guitar and drums and my friend Grant played bass on a rainy day in Fishtown Philadelphia."  - Maryam Said

About the "twinkie" Video: The song "twinkie" is about starting over so it was great timing to have Emma (Cosgrove) and I shoot the video while the flowers were blooming. Emma had some previous footage from a film she was working on about flowers. I've always been a huge fan of Emma's work and her artistic eye, so I was excited to work with her.  It was shot on film on a beautiful spring day after we both had two iced Americanos."

Poolblood, the musical nom-de-plume of Toronto’s Maryam Said, is an ethereal spirit of punk rock, swirling and dancing in the air with a collection of gorgeously orchestrated bedroom pop music. Raised in a religious household at arm’s length from popular music, they nonetheless found themselves drawn in by the music of Yusuf Islam (Cat Stevens), who left an indelible  imprint on Said’s relationship to music and songwriting.

The results of their upbringing–time spent practicing chords in guitar class, learning about hardcore from friends after school and honing their songwriting as an early teen–is a winding path of melody, making stops along the way to dabble in everything from noise rock to lush and gorgeous pop hooks.

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The Local Honeys - Throw Me in the Thicket.

-“Growing up on an orchard was a gift,” says Linda Jean Stokley who, along with Montana Hobbs, makes up one of Kentucky’s most treasured musical acts of this century, The Local Honeys. “I grew up surrounded by plants and animals and people who knew how to care for them.” The orchard Stokley speaks of is the centerpiece of The Local Honeys’ brand new tune, “Throw Me in the Thicket (When I Die),” a beautiful mix of sweet, clawhammer banjo, rock and roll drums, and melodic vocal and fiddle lines fit for such a touching tribute. 

“‘Throw Me In The Thicket’ is somewhat of a love story to my home,” says Stokley. “I never want to leave.” Last Wednesday, The Bluegrass Situation premiered “Throw Me in the Thicket (When I Die).”

“Throw Me in the Thicket (When I Die)” comes from The Local Honeys’ upcoming self-titled LP, out July 15th. Their first release on La Honda Records (Colter Wall, Riddy Arman, Vincent Neil Emerson), The Local Honeys features ten winsome vignettes of rural Kentucky, conjuring 90’s alternatives sounds with hillbilly Radiohead lilts, soaring above layers of deep grooves and rich tones masterfully curated by longtime mentor Jesse Wells, a GRAMMY-nominated producer, musician (currently a member of Tyler Childers’ band The Food Stamps), and Assistant Director at the Kentucky Center for Traditional Music at Morehead State.

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Son Little - Matthew Bailey - Erika Olson - LUKKA

Photo by Cynthia Perez

Son Little - Deeper.

Son Little announces his new album, 'Like Neptune', out September 9th via ANTI-, and in conjunction shares two lead singles, 'deeper' and 'stoned love'. Continuing to revolutionize the modern understanding and expectation of R&B, Son Little delivers an unadulterated transmission of Black American music performed in its praying and pleading mother tongue. Conceived in a cabin overlooking the Delaware River in upstate New York, 'Like Neptune' is an open and vulnerable portrayal of unbridled joy and self-acceptance. In this verdant space of freedom, Son Little transmutes the chronic pain of self-doubt into a beautiful opus about overcoming generational trauma, decorating the altar of the primordial blues and elevating the labour of healing to high art.

"In the beginning of lockdown, I went into a closet full of junk and found a couple of boxes full of my old writing books,” Livingston explained. “There turned out to be 72 books in there. The oldest book I got as a Christmas present when I was 9. In it, I wrote letters to myself about what was happening in my life. One page refers to a neighbor in Queens who abused me sexually around age 5. It was the first and only time I’d ever acknowledge this fact until after my 19th birthday, when I told my mother what had happened. She begged me to go to therapy. I went under protest. My attempt wasn’t sincere. I wasn’t ready. I thought I could just power through it.”

Years of anxiety, depression, panic attacks and existential dread ensued, often dulled or numbed by the effects of alcohol, drugs, or sex. A frightening car crash and arrest finally led him back into therapy in 2017. Aggressively employing progressive methods like EMDR and somatic healing, Livingston, with the help of a trusted therapist, began identifying the roots of his trauma, and where it lives in the body. But the biggest breakthrough came from Internal Family Systems, a methodology that recognizes responses to trauma triggers as distinct entities or ‘parts’ within the person, and requires the patient essentially have conversations with the different traumatized personalities within them.

“One day in therapy I started talking to myself– to that annoying inner voice that criticizes everything when you mess up. I asked them how old they were and they said ‘10’. I asked if they knew who I was, or how old I was and they said ‘no'! Strange as it all seems it’s had some amazing results. I’m able to soothe and comfort my inner…children.”

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Matthew Bailey - Full-Time Hobby.

Matthew Bailey is a Toronto-based singer-songwriter, guitarist, producer and recording engineer. When not producing records or on the road supporting some of Canada’s finest songwriters, he can be found in his home studio composing songs and exploring the spaces between notes. Since moving to Toronto in 2006, Matthew has released original music under the band names The Long Haul, Staycation, Playdate, The Psychological Rangers, ES+MB, as well as albums under his own name.

Matthew has been a major contributor to a number of creative collaborations, including his production work on releases by Sameer Cash and Hiroki Tanaka, his role as guitarist/synthesist with Andy Shauf’s touring band and his film score for Billsville. Referring to his Camargo and Vol I releases, Music Works wrote, “Bailey’s curious mind conjures enthralling animated soundscapes for wired daydreamers,” aptly describing his aesthetic aspirations and devotions of recent years. The Wire described Manitoulin Tapes, a recent release with his duo Playdate, as a “blissed out lo-fi gem.”

Matthew’s music draws equally from ’60s pop and bedroom Casio noodling, attempting to take the familiar and twist it into something peculiar. Often taking cues from the loose and spontaneous production of records like The Beach Boys’ “Smiley Smile” and Arthur Russell’s “Love is Overtaking Me,” he embraces space, human error, and the excitement of a first take.

matthewbaileymusic · Full - Time Hobby

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Erika Olson - I Don't Feel Like Fighting.

Erika Olson just released her indie folk pop single “ I Don’t Feel Like Fighting.” Inspired by a fight she had with her constant fighting with her eldest son after their family moved to England, “I Don’t Feel Like Fighting” took shape. Then the pandemic hit and she felt like she was right back where she started. She says “I started to get those crushing feelings again during the first of several lockdowns. The mantra came back to me amidst the nonstop busyness that accompanied my lockdowns - homeschooling three children, cooking nonstop, cleaning, trying to explain the state of the world. So, when I could snatch a quiet moment I began flushing out more lyrics to the song.”

Erika Olson, an American Expat, raises babies and writes songs in the high weald of East Sussex.  Erika combines vulnerable vocals, contemporary storytelling, and musical influences spanning indie, folk, country, blues, Americana and pop.  When pressed to describe her music, Erika likes to call it “folk with a beat.”

On the verge of self-releasing her debut album, it has taken Erika several iterations of herself to get here.  She’s learned that change is her constant and her power is her ability to start again.

Over the past five and half years, Erika’s babies and her music have grown up side by side.  She used the calm moments in the sea of chaos - to hone her craft, study, practice, record, and perform. She’s amassed a robust catalog of original indie folk material that explores the aching beauty shrouded in the mundane and everyday.

Rooted in the stuff of ordinary life, Erika’s songs bear witness to the glorious and devastating moments that can only be seen when we slow down. She sings to look deeper, see clearer, and know better. Her music is here to wake us up to our precious and unique lives.

Erika Olson · Erika Olson - I Don't Feel Like Fighting - This is How I Pray

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Photo Credit: Jen Meller

LUKKA - Wisdom of the Sun.

Lukka, the brainchild of German-born, New York City-based artist Franzi Szymkowiak, released her latest single + video, “Wisdom of the Sun” today to announce her sophomore album, Something Human, for an August 26. “Wisdom of the Sun” is a yin-yang ode to finding positivity in even the darkest of situations, almost Polyphonic Spree-ish in its triumphant, choral bliss. The video was directed by Simone Brillarelli.

Something Human speaks to both the head and the heart. At once an escapist psychedelic synth-rock odyssey and a timely shot of science-based spirituality, the 10-song LP wraps messages of oneness and self-determination inside multi-layered melodicism, cultured retro-electronica, and tastefully effected guitars. “Transmitting the message of love and oneness through music is very important to me,” stated Szymkowiak.

In essence a solo project supported by a semi-fluid band, Lukka’s sound is rooted in Franzi’s early influences growing up near Dresden, Germany – the Rolling Stones, Pink Floyd, the Beatles, The Who, Led Zeppelin – and, more recently, David Bowie, early Brian Eno, Flaming Lips, and Deerhunter. Extensive busking and performing around the world included four years in Australia, where she embraced that region’s new wave of psychedelic synth rock, including Tame Impala, Pond and Unknown Mortal Orchestra.

Having honed her craft and up-close human connection with just a guitar and loop station in intimate venues in Australia, New Zealand, and Argentina, Franzi relocated to New York City. There, the classically trained pianist joined post-punk quartet Clairaudience, before releasing her more rock-based debut as Lukka, Encounter, in 2018. A truly international affair completed by core members Ashley Gonzalez (bass), from Queens, and Australian-born drummer Simon “SiFi” Fishburn, Lukka’s sound has since evolved into something charmingly tuneful yet draped in swathes of delayed guitar and vintage synths.



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Chroma - The Accidentals & The Kaboom Collective Studio Orchestra - Sara Syms - Lowell

Chroma - Weithiau / Caru. Cyffuriau.

'Weithiau' (Sometimes) is an emotionally powerful song that is one half of Chroma's Double-A single 'Weithiau / Caru Cyffuriau'. This is the group's first release after joining the Libertino label. The songs were recorded live to capture the versatile and energetic sound of the Valleys trio by producer Kris Jenkins (Cate Le Bon, SFA, Gruff Rhys).

“‘Weithiau’ is about ending a relationship with someone that you love deeply. The process of coming to terms with the fact that the relationship doesn’t work, and putting your self first in that situation.” - Katie Hall, Chroma In perfect musical contrast to the sometimes melancholy 'Weithiau', 'Caru Cyffuriau' is a non-stop 'in your face' punk song about being a teenager in the South Wales Valleys.

“Caru Cyfffuriau is a song about being a naughty teenager in the valleys experimenting with drugs and sex because there’s not much else to do. I think there needs to be more stuff going on so young people don’t feel so isolated. We wanted to write a welsh language punk song that reflects young people's lived experience today.” - Katie Hall, Chroma.

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The Accidentals & The Kaboom Collective Studio Orchestra - Lady Of The Lake.

Critically-acclaimed folk pop band The Accidentals, whose founders Sav Buist and Katie Larson met in orchestra class at age 16, have partnered with Cleveland-based student orchestra Kaboom Collective to release an album on July 29 called Reimagined. The first single, "Lady Of The Lake," a whimsical love story, is out tomorrow.

The Kaboom Collective Studio Orchestra (founded/directed by Liza Grossman and Joe Weagraff) is a Hollywood-style studio ensemble made of 40 students between the ages of 15-25, who get hands-on training in scoring, arranging, recording, and more for everything from video game and film soundtracks to accompanying artists on their albums.

It was a no-brainer for The Accidentals, who hold dear the mission of music education, to partner with Kaboom - a while back, they even founded Play It Forward Again and Again, a music education nonprofit. They gave the orchestra 11 of their most popular songs to score and arrange, the band went into the studio with the students, and made an album.

Not only is there an album - The Accidentals are taking the *entire* student orchestra on tour, kicking things off with a performance at the Rock & Roll Hall of Fame on August 3, and making stops at Wrigley Field, the Mile Of Music Festival, and more. It's going to be priceless experience for these students, are are learning that there are many ways to make a career in music.

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Sara Syms - Unknown Road.

This latest track from Sara Syms, “Unknown Road,” brings those haunting vocals and almost outlaw-esque guitar progressions fans have come to expect from much of her work. A steady and constant drum backing is joined with those guitars and hints of organ and other trappings to create a unique and chilling auditory experience. 

There’s an ear-catching effect layered on Syms' voice in some parts of the track that makes it sound as though it’s coming through an old radio; this definitely adds to the track’s ambiance, making it sound older than it actually is, creating the folky ambience that we know and love from Sara Syms.

Syms brings us on a sonic and visual journey, tying the single and music video perfectly. The video visualizes all of the places Sara is describing on this "unknown road," taking us right alongside her as she tells the story.

When Syms sings “I’m here/I’m there/I’m everywhere” she truly means it as her vocals in this track surround you. They are quiet and gentle, but possess a silkiness that tiptoes against your skin. The chill electric guitar that carries the track transports you somewhere else entirely.

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Lowell - Hamptons City Cowboy.

“Lowell is no ordinary pop chanteuse" says The New York Times, which is more than an understatement. In addition to being an artist in her own right with two critically-acclaimed solo albums, and her turn as a screenwriter (her debut Bloodthirsty premiered at Cannes in 2020), Lowell is a go-to songwriter for an eclectic collection of pop stars, including Demi Lovato, Charlie Puth, The Backstreet Boys, Alice Longyu Gao, and most recently, Charli XCX, co-writing the song “Yuck” on her 2022 album Crash.

After focusing on her writing for other artists over the last several years, Lowell is beginning to release new material under her own name, and today has shared the new single "Hamptons City Cowboy".

A follow up to her single “Guess I’m Going To Hell”, Lowell continues to effortlessly fuse classic 60s doo wop sounds with modern pop elements; but in contrast, “Hamptons City Cowboy” gives an upbeat yet mysterious take on the lure of a new relationship: "I wrote this song about a light love, the early stages of a relationship when everything is still all a mystery. Unlike some of my other more introspective songs this is really just a fun and flirty Friday night out."

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Bar Pandora - KiKi Holli - Quasi Qui - Julianna Riolino

Bar Pandora - Vice Vice Vice.

Ahead of the release of her debut self-titled EP on July 5th, Bar Pandora has shared new single 'Vice Vice Vice'. Bar Pandora is the alt-pop project of Coventry based artist Charlie Tophill, who has previously released music under her own name and also plays in York band The Howl & The Hum. The project owes its name to a literary cafe in La Latina, Madrid, where in 2017 she used to hang out with her friends talking literature, life and feminism over red wine and fizzy sweets.

Drawn to the idea of collaborating with a producer who works outside of the musical world she usually inhabits, Tophill began working on her debut EP with jungle producer Simply Dread. The result is deliciously off-kilter yet melodious alt-pop, playfully sewn together from the offcuts of personal experience; field recordings, journal entries and improvised fragments which bop along to a rich undercurrent of harmonic synths, guitars and dynamic beats.

New single ‘Vice Vice Vice’ is an unapologetically catchy pop anthem. “The song is a remonstrance to a neglectful lover. It’s about that push and pull you feel when you’re putting everything into a relationship and still being taken for granted," says Tophill. "It’s a crazy-making situation that I know too well, so it’s fun to be able to sing it out loud along to a pop beat and shout a bit at the end,” she continues.

The songs that make up Bar Pandora’s debut EP are penned with mischievous frankness, delivering confessional composites of personal histories, inner monologues and self-building proclamations which are simultaneously singular and familiar. "My lyrics are made up of my inner voices,” explains Tophill, who regularly uses lines from her diary in her songs.

Bar Pandora · Vice Vice Vice

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KiKi Holli - New High.

Los Angeles indie-pop vocalist KiKi Holli creates stunning and soulful music woven with intricate emotive storytelling for a truly captivating and cathartic listening experience with an eclectic musical aesthetic. Holli draws on inspiration from her rich theatrical background, as well as from iconic artists such as PRINCE, Dusty Springfield, The Cure, Stevie Nicks and Siouxsie and the Banshees.

Crafting a unique sound, KiKi Holli’s music is beautifully vulnerable and nurturing, with themes of connection, healing, personal growth, and living in the moment. If her delivery seems genuine—empathetic even—that’s because it is. She’s been there. “You know, Amor fati — love your fate, love whatever is in front of you and embrace the moment,” she says.

Holli’s debut single was a breathtaking cover of Roxy Music’s “More Than This”, a raw and intimate version of the celebrated 80’s hit. Collaborating with acclaimed producer Ethan Allen (Throwing Muses, Tricky, Black Rebel Motorcycle Club), she was inspired to release her own version of the song in the midst of dealing with intense grief and loss.

Her new release, her first original song, “New High” is a celebration of simple pleasures, finding solace in your happy place and a returning to love after a time of hardship. With soaring vocals singing sunshine-dipped melodies over lush and blissful pop rock soundscapes, “NEW HIGH” is a welcome sonic escape, collaborating again with Allen to create a landscape of music that pulls the listener into the neon glow of a surreal joy ride down the coast of Malibu.

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Quasi Qui - Directorial Debut.

British alt-pop duo Quasi Qui has shared new single ‘Directorial Debut’ via Parisian tastemaker label microqlima records (Isaac Delusion, L’Impératrice, Pepite, Fils Cara). The now Paris-based duo, comprised of acclaimed music producer Yehan Jehan and his sister Zadi, have released two singles so far, both shimmering alt-pop gems and new single ‘Directorial Debut’ continues in the same vein. Quasi Qui describe the composition of these songs as dreams, "collages of cinematic films".

On their new single and video, Quasi Qui say: “‘Directorial Debut’ is a manifestation of hair-pulling frustration. A galloping attempt to escape one's demons (as portrayed by the ominous white sphere). A realisation occurs when the enemy was merely self-inflicted and what was in fact happening, was the ego’s movie script, being witnessed by the true self. Now it may be re-written.”

For years now, Yehan has turned heads with his production nous, making a plethora of bands sound more expansive and technicolour, though he’s more than just a slick producer. Before joining forces with Zadi in Quasi Qui, Yehan released three solo EPs earning him kudos from tastemaker publications like The Guardian, The Sunday Times and Clash as well as radio play from Elton John on his Apple Radio show.

The pair have a knack for taking sophisticated musical ideas and chord progressions and making them accessible. As well as extending the lineage of classic songwriting, drawing inspiration from everything from British synthpop to the great American songbook, Quasi Qui’s influences are modern and eclectic: Zadi loves Frank Ocean, Blood Orange and Sade, while Yehan is a disciple of the great and the good of production: Trevor Horn, William Orbit, Nellee Hooper and Bjork. “Everyone in our family is musical,” says Zadi, “and the list goes way back.”

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Julianna Riolino - Lone Ranger.

Toronto-based artist, Julianna Riolino has just shared her new single, "Lone Ranger" alongside announcing her debut full-length record, All Blue which is out via You've Changed Records on October 14, 2022. While also moonlighting as part of Daniel Romano's The Outfit, Riolino has slowly but surely been building a solo career of her own over the past few years with this debut LP following on from her 2019 EP, J.R. which helped to establish Julianna's musical direction while finding her open for the likes of Julie Doiron, Daniel Romano and Born Ruffians across North America.

Riolino knows how to capture and highlight beauty before it fades. She spent her days running up to the recording of her solo debut album helping restore the stained glass windows at St. Michael’s Cathedral in Toronto. Surrounded by symbols configured in bits of 19th-century French glass, Riolino couldn’t help but reflect on her own past and the memories of pains, healing, and love strewn through it. “It made me think about life as a balancing act, and we're all just trying to do our best to navigate it,” she says. That focus on morality and the stretch of time seeped naturally into Riolino’s Americana-indebted songwriting, resulting in the golden, fluid All Blue.

The true religious fervor both in Riolino’s life and in the LP is directed towards icons like Dolly Parton, Emmylou Harris, and The Band. Inspired by those artists, Riolino asked for a guitar as a child, and began teaching herself how to bring similar life to the melodies in her head. And while she honed her voice by participating in school musicals, songwriting remained a deeply personal venture. “I sang at every opportunity, but I didn’t share my songs with people until I was 18 or 19,” she says. The first song she decided to play for friends was “Lone Ranger”, a reimagining of which now acts as the lead single for her debut solo album ten years later.

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Heavy Gus - Raven Shelley - Josh Rouse - Old Crow Medicine Show

Heavy Gus - Still To Be.

California-based indie/rock trio Heavy Gus have shared their new single “Still to Be” along with the accompanying music video. The latest track to be released from their debut album Notions (out August 5th via BMG Records), the infectious song finds beauty everywhere it looks. The band stated, “‘Still to Be’ is about the roller coaster of falling in love and staying there. It’s an apocalyptic ode to dying hand in hand presented as a summertime love song.”

“Still to Be” follows the release of the high energy single “Weird Sad Symbol,” that Under The Radar called “genuine live-wire indie rock sound.” The long-distance-love-song “Dinner For Breakfast” is also out now along with the group’s psychedelic-tinged debut track “Do We Have To Talk?”

Formed in the high desert town of Bishop, CA, Heavy Gus is led by singer, songwriter, guitarist Dorota Szuta along with multi-instrumentalist Stelth Ulvang of The Lumineers and percussionist Ryan Dobrowski of Blind Pilot. The band took shape during the pandemic when couple Uvlang and Szuta (a marine scientist who also has a background in music playing with Laura Gibson and Gill Landry) took a socially distanced road trip to Nashville — picking up Dobrowski in Colorado along the way — to record at The Creative Workshop. The resulting collection of songs blur the lines between grungy garage band fare, hazy desert surf, and dreamy, sun-soaked indie rock.

Their debut offering calls to mind everything from Meat Puppets and The Breeders to Yo La Tengo and Acetone in its artful balance of hope and fatalism, loneliness and desire, strength and vulnerability. While all three bandmates came to Heavy Gus from very different worlds, they fit together like puzzle pieces, bound by the kind of love and trust that can only grow from years of deep kinship. Notions was engineered and mixed by Parker Cason (Margo Price, All Them Witches, Coin) and mastered by Pete Lyman (Chris Stapleton, Jason Isbell, Brandi Carlile).

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Raven Shelley - Sink In Solitude.

Raven Shelley tells us about herself and her beautiful new song - "I am a singer-songwriter based in Manchester. I write ethereal and poetic alt//indie-folk songs, inspired by a love of literature, poetry and visual mediums. I have a very broad range of influences, from Bob Dylan to Ani DiFranco, and Schiele to Nicolas Roeg.
 

I grew up in a rural part of the south of France, and educated myself in English Literature from a young age by raiding my parents’ bookshelves. Reading in English became my own private world, and I went on to study it at The University of Manchester. This is what impacted my desire to create lyrics that can also be described as poetry. 

I try to be honest in the music that I write; I hope that all the hurt, all the anger, all the love, everything that runs through me can be found somewhere in my songs. 

My first single, ‘Sink in Solitude’ will be released with The Animal Farm on the 24th June. It is heavily influenced by lines from Shakespeare and Shelley, and is about time passing by without achievement."

The Animal Farm Label · Raven Shelley_Sink In Solitude

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Josh Rouse - She's In L.A.

Acclaimed singer/songwriter Josh Rouse shares the summer-ready new single “She’s In L.A.,” from his upcoming album Going Places, out July 29 via Yep Roc Records. Featuring a laid-back groove, the song is accompanied by a camcorder-style music video inspired by Townes Van Zandt. Rouse recently spoke with Magnet Magazine, who called the album “feel-good strumming, off-the-cuff hooks and a mildly exotic groove that should translate perfectly to the live setting.”

"In June of 1993, I dropped out of college, planning on a move to Los Angeles,” explains Rouse. “The idea was to move there and start a band with a few friends, things you do when you're in your early 20's. I went to South Dakota for a few months to save up some money while living with my family. In late July, my bandmates decided not to go to L.A. I moved to Tempe, AZ, interning in a recording studio on an impulsive whim. While it proved to be a fruitful adventure (I also bussed tables at a Scottsdale resort), I moved back to Tennessee and re-enrolled in college six months later. I often wonder what would have happened had I gone to L.A."

Going Places came together over the last two years when Josh Rouse found himself unable to tour and hunkered down with his family in Spain. Together with his Spanish band, he began workshopping new songs in a small local venue owned by a friend, resulting in ten road-ready tracks with a looser, more relaxed vibe than his previous work. Where 2018’s Love in the Modern Age saw him take a left turn to keyboard-based retro-new wave territory, Going Places is steeped in classic guitar melodies, with touches of organ and horns, layers of backing vocals and a distinctive southern twang. Rouse has shared two previous singles, including the guitar-driven “Hollow Moon” and the 1970’s-inspired “Stick Around,” which BrooklynVegan called “a song that's warm, welcoming, unpretentious, and serves as a promising taste of the new LP.”

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Old Crow Medicine Show - Used To Be A Mountain.

Two-time GRAMMY award-winning band Old Crow Medicine Show has shared the music video for “Used To Be A Mountain” off their critically acclaimed new album Paint This Town (ATO Records). A galvanizing meditation on environmental catastrophe, the video shines a light on the impact of mining in the Appalachian region.

Along with the video, the band has announced their partnership with Cumberland River Compact, a non-profit organization dedicated to enhancing water resources through education and cooperation. The partnership serves to bring awareness to the effects of climate change, connecting fans with ways to get involved in the local climate movement through local action. Cumberland River Compact will be present to share more information at the band’s upcoming June 25 performance at The Caverns Amphitheater in Grundy County, TN. 

"I’ve been playing Appalachian music in Appalachia since I was a kid. West Virginia, Kentucky, Southwest Virginia, and East Tennessee are the places I love to play most. When you saw a fiddle in these settings it always feels like a homecoming. But time has dealt a hard hand to the region that gave birth to country music, and 'Used To Be a Mountain' is a song that wrestles with the issues facing Appalachia today,” explains Ketch Secor. 

"I think that the Intrepid spirit of the mountaineers of the coal fields of the Southern Highlands and Appalachia are some of the hardest and most important for bearers of the American dream. I think that when you take away the natural beauty and destroy the ecology of places, you don't have a whole lot left to rebuild with. I know there's a lot of folks that are hurting right now in the communities of the coal fields. This song is there to both reflect that hurt and to ask the question, can we do something better for these folks? Can we do something better for these mountains, these hills, the flora and fauna, for anybody who wants to breathe clean air and drink clean water in Appalachia?"

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The Hooten Hallers - Pearl Diver - Rogue Jones

The Hooten Hallers - Heal It.

The Hooten Hallers forthcoming album Back In Business Again is due out September 9, 2022 and heres the first taste! For the past fifteen years, The Hooten Hallers have been crisscrossing the country as inveterate road warriors, bringing their peculiar vision of Americana–a fiery rock and roll fever dream birthed in Missouri’s fertile musical heartland.

They’ve put so many miles into the road that they’ve burned through multiple tour vans and left twisted metal and frayed rubber strewn across the road behind them. With their aptly named new album, Back In Business Again, the trio roar back on to the international stage with ten incendiary new original songs drawn from their many travels and inspired by the hardships that all touring musicians have faced throughout a seemingly never-ending pandemic.

There’s hope in these new songs, but tinges of madness too, driven by the raw drumming of Andy Rehm, the infernal growl and swirling guitars of John Randall, and the low rolling baritone and bass saxophones of Kellie Everett.

The Hooten Hallers have always been musical colliders, smashing together everything from pre-war jazz to Chicago blues with jaunts around New Orleans and garage rock explorations with hints of anti-racist punk and Oi!. It’s Morphine meets ZZ Top along St. Louis’ Mississippi waterfront. Produced by bassist Dominic Davis (Jack White, Greensky Bluegrass), Back In Business Again takes a match to The Hooten Hallers’ fuse and explodes the renegade power trio to the edge and back again, one vigorous, swinging, perfectly peculiar song at a time.

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Pearl Diver - Look For The Light.

Marking the Summer Solstice yesterday, “Look For The Light” is the radiant new single release by Pearl Diver. The lead single and title-track of what will be the Oxford trio’s debut EP (released 15 July), it's a stately piece of lysergic rock that nods to the classic works of Radiohead, Pink Floyd and The Beatles.

As drifting and dreamy, as it is ethereal and elatory, “Look For The Light” pairs lucid arrangements with lyrics that celebrate the transcendent nature of the human soul and the flame that flickers within all of us.

Written by lead singer and guitarist Matt Sage whilst on retreat in a hut overlooking the North Cornish sea; mesmerised by his shimmering surroundings and at one with the natural world, he found himself in a consummate state of being. As he explains: “I was in a pretty deep and peaceful space within myself, in this beautiful setting, and I wanted to try and capture something of that feeling, and to express the simple truth that we all come from Love.”

An expression of the blissful feelings he felt at that moment, the sunshine-gilded words and melodies of “Look For The Light” fell naturally into place. Just as the Summer solstice opposes winter, day opposes night; the resultant Pearl Diver release finds a band creating a beacon of light and catharsis capable of counteracting the encroaching darkness of recent times.

“It feels to me to be a necessary antidote to all the pain and suffering and woes that we create in the world, out of our separation and forgetting what it is that we really are.” says Matt. “If we can connect to the Peace that is our essential nature, we are more readily able to cherish that in ourselves, and in each other.  I am hoping that this very simple song might serve as a healing reminder of that.”

Chiming with the themes explored within the song, “Look For The Light” arrives with an affecting DIY video shot by Matt during the first lockdown. Simply filmed in his local park in Oxford, it offers a unique document of that surreal period where the balance between mother nature and humanity felt like it was shifting in her favour once more.

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Rogue Jones - Englynion Angylion.

Englynion Angylion (The Poetry of Angels) is an euphoric call to arms with a message of empowerment, liberation and rebellion. It’s Rogue Jones "getting in touch with their inner witch and embracing nature”.

This, the bands first single taken from their sophomore album, started life as a Fiona Apple / Kate Bush brooding piano-led verse before being dragged to The Loft in 70s New York by the ghost of David Mancuso. Like the music that Mancuso loved and played, Englynion Angylion is ‘soulful, rhythmic and impart words of hope and redemption.'

Rogue Jones (Bethan Mai and Ynyr Morgan Ifan) returned to their second creative home of Ty Drwg Studios with longtime producer Frank Naughton to work on the foundations of Englynion Angylion. Llŷr Pari ‘The Melin y Coed Metronome’ was on drums and mixing, Elen Ifan on cello, Mari Morgan on disco violin, recorded in Caernarfon by Gruff Ab Arwel.

The Guardian called Rogue Jones "a charmingly quirky band who deserve a cult following". By the evidence of Englynion Angylion, Rogue Jones are overflowing with charm and wider recognition won’t be far behind. As the band explained, Englynion Angylion "is our attempt at making straight-up 1970s orchestral disco but like everything we do, it comes out a little stranger. Country people trying to make big city music" and succeeding in bringing nature's rainbow palette with them to lighten the darkest of urban streets.

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Kyshona - Cat and The Queen - Rose Ranger - Hackensaw Boys

Photo - Nora Canfield

Kyshona - Rise The Tide.

Nashville-based, critically-acclaimed artist and activist Kyshona has released "Rise The Tide," today. The track is a swampy, foot-stomping anthem about how when one of us is supported and excels, the tide rises for everyone, inspired by her fellow artists, activists, and change-makers.

Of the song, Kyshona says, "Over the past three years, I have seen it all around me from acknowledgment of things that are wrong in the music industry to people lending support, giving space, and making strides. As artists in our community are finally being placed in the spotlight, with each success we have individually, we rise the tide together. This song acknowledges and celebrates that--and is meant as a call of encouragement to keep doing the work that isn’t always easy."

Kyshona's latest album, Listen, was lauded by NPR, Billboard, No Depression, Rolling Stone, Rolling Stone Country, The Bluegrass Situation, and more. Listen came out right as everything shut down, but over the past year, Kyshona has performed at Newport Folk Fest, gone on tour supporting Allison Russell, appeared on late-night television singing with Margo Price, released a song with Adia Victoria, Margo, and Jason Isbell called "You Was Born To Die," and recorded a cover of "Mississippi Goddam" with Adia and Kelsey Waldon. She made her NPR Mountain Stage debut in April, will be featured on PBS twice this year, AND she founded a charitable organization called Your Song which provides music therapy services to marginalized communities (Kyshona is a licensed music therapist and has a degree in Music Therapy from UGA!).

She's a total powerhouse who is tirelessly using her gifts to change the culture to make the world a better and safer place for everyone in it.

 

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Cat and The Queen - Leave Here Tonight.

CATQ is Cat Montgomery, Toronto-based musician and multidisciplinary artist. The keyboard aka The Queen, is Cat’s first friend and has been her primary artistic outlet.

Her musicality, live stage presence and on-camera persona is playful, raw, vibrant; she’s a straight up fire fueled rock ‘n’ roll good time when you see her perform. Her voice and stage antics are reminiscent of art rock turned stadium artists like Grace Slick, David Byrne, Kate Bush and Nina Hagen.

CATQ’s songwriting skills and performance style swim from power ballads to indie art rock to banging pop anthems. With a raw and animal stage like presence, Cat cuts up the stage. She has a powerful vulnerable yet playful and raw interactive style – engaging with audience members – feels somewhere between cabaret and punk rock. Think 70’s style Bette Midler meets raw fire of Kathleen Hanna’s Bikini Kill and the costume action of Gaga. CATQ loves to perform with her backing band THE NEW ROYALS (Graham Mackey on drums, Jess Roveda on bass) – that’s when the party is in full effect.

CATQ has produced 2 LPS (Loba Loca: 2018, I Caught a Fish: 2021) and 3 EPS (Heart For A Ride: 2019, Heart For A Ride Live-Off-The-Floor: 2019, Blizzard on Bear Mountain: 2017). A few of her tracks are featured on acclaimed web series, “Avocado Toast” and “Barbelle”, and recent indie flick, “Discretion”. CATQ and her co-producer Radio Logic Records will be scoring the upcoming feature film “Satisfaction” this coming fall.

Cat is a trained theatre artist (MFA at York University), voice and singing teacher (Centre for Indigenous Theatre) and kids show creator (The Cat in Space Show, currently in post-production). When Cat isn’t hustling gigs, as the indie artist she is, she works in film, cleans houses, takes naps and waters plants in her sweetheart Parkdale apartment.

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Rose Ranger - Confessions (Album).

"I feel that music is the most powerful medium in our culture because it is a universal language. Music has the ability to move us into our heart and out of our fears."

Hailing from Vancouver's North Shore, Rose Ranger's creative process is inextricably linked with the ocean and mountains that are stone's throw away from her front door. Combined with her love of all musical genres and her utmost appreciation for all the creative arts - the blend creates a dynamic vibrancy in her songwriting process. And that sentiment is a testament to her new music. The lush songs are an ode to self-discovery, and to the subtle yet profound moments of life - with the results being unpredictable, vulnerable, strident and sincere. “I was always musical, I didn’t really follow any one type, I absorbed it all. I grew up dancing as a kid: ballet, tap and jazz. And with dancing there is a different style of music for each dance form. With ballet it was classical, tap was mostly Broadway show tunes and jazz dancing had pop and rock. So, I’ve been influenced by a lot of different styles of music and creative art forms.”

Now with six studio albums under her belt (including a Christmas album) the multi-talented artist is thrilled to be releasing new music into the world. This year also marks the 20th anniversary since she released her debut album back in 2002. Rose Ranger’s first single on her new eight-song album Confessions, aptly titled Confession draws on a mix of musical influences from the 1990’s but with a current 2022 era production feel. The falsetto vocals on this track are reminiscent of 90’s era artists like Kate Bush and Prince combined with a catchy piano hook in the vein of Bruce Hornsby and chill lounge pop vibes of Sade. The song is a musical love letter to someone from the past where there was an undeniable chemistry and connection with but couldn’t make it work. “I think most of us have, at some point in our life felt that we weren't ready for a something because we needed more time to get to know ourselves better and figure out what we want,” she says. “Sometimes in the process of doing that we might confuse or hurt people around us because we can’t completely express what we’re feeling because we don’t entirely know either.” The artist has also released an electro pop radio remix of Confession, remixed by Grammy winning Mixer, Phil Larsen of Manhattan Clique who has worked with some of the biggest names in pop and dance music.

Rose explains, “this album similarly titled Confessions - and there are many of them, is about speaking my own truth. It’s about resiliency and learning how to find strength in vulnerability and finding one’s inner hero.” The album was produced by Juno award winner Ryan Stewart and Rose Ranger as co-producer. Together they worked in Stewart’s recording studio last summer through the peak of COVID. She shares, “we had protection glass set up between us and wore masks until we got vaccinated. Then we had the crazy summer heatwave and we were working on the hottest day of the year. At some point into recording my vocals, I started loosing my voice which has only happened to me once before in 2012 after overuse of my voice. I had to stop speaking for the month of August to save my voice for singing, so there was a lot of unpredictable changes going on.”

ROSE RANGER · Confessions

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Hackensaw Boys - Only On The Brightside.

Hackensaw Boys' latest album is out this week. After twenty years together in various forms, their first self-titled is likely their strongest. Americana UK just reviewed and said it "...will probably go down in the band’s history as a watershed moment," and we agree. 

A huge spectrum of American roots music is covered on the eleven song album. Fom indie folk to dive bar country to traditional roots their songs pack a wallop like a young David Sickmen just walked out of Virginia yesterday. 

We have a theory that it's his age, though, his wisdom, his time in the trenches, decades of perpetual touring and even his years of time away with vocal issues that make the songs as strong as they are. Some of these were penned around the time of the formation of the band. 

Steeped into some psychic medicinal tea, this brew of heady, hopeful jams could be the best effort ever from the still-punk, still-diy, still-hot band.

Hackensaw Boys · Only On The Brightside

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Why Bonnie - Thallo - Vök

Why Bonnie - Sailor Mouth / Hot Car.

New-York-by-way-of-Texas transplants Why Bonnie release two tracks, “Sailor Mouth” and “Hot Car,” off of their forthcoming debut album, 90 in November, out August 19th on Keeled Scales. Following the sunny “90 in November” and previously-released single “Galveston,” album opener “Sailor Mouth” crashes into existence with a squeal of feedback and a burst of distorted guitar. The track is “about growing around your memories. Your foundation never changes but your relationship to it is always evolving,” explains Blair Howerton. The hazy “Hot Car” is sweltering, with a hypnotic synth line mimicking the way a mental loop of dormant thoughts that surface in the warm cocoon of a car speeding towards its destination in the dead of night. Howerton elaborates: “We wanted to include a contrast to the sunny disposition of the album. ‘Hot Car’ is meant for those quiet, contemplative, solo night drives.”

90 in November is inspired by fellow Texans Townes Van Zandt, Blaze Foley, alt-rock like the Lemonheads and the Replacements, the eccentric pop of Sparklehorse, and Sheryl Crow. Although its tracks were mostly written in Brooklyn,  where Blair Howerton moved from Austin in 2019, they made the record in Texas in early 2021 with Tommy Read (Lomelda, alexalone).

Often, 90 in November is a trip through Howerton’s inner world, but it’s also a road trip through Texas. Often it is both at once. The songs are full of poetic, cinematic lyrics that flash like colorful scenes glimpsed from the window of a car as it barrels along an interstate highway cutting through the Lone Star State, each one a road stop revealing a different facet of Howerton’s experience. The album is a dynamic introduction to a more raw-edged indie sound from a band who have matured from bedroom dream pop into a sophisticated rock act, their evolving sound a reflection of the journey undertaken by Howerton on this vividly rendered collection of songs.

By looking back on her past with fearlessness and compassion, Howerton propels her songwriting forward into new realms of emotional sincerity and her band to new heights of sonic adventurousness. Yet no matter where the group goes from here, one thing will remain the same. “We’re a Texas band,” says Howerton. “We always will be.”

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Thallo - Carry Me.

Welsh artist Thallo returns with the startlingly beautiful single Carry Me, a mesmerising jazz-infused slice of ethereal alt-pop inspired by Thallo’s personal experience of immobility.

Carry Me is first taster from Thallo’s forthcoming English/Welsh language Crescent EP which follows on 28 October 2022. The EP is themed around Thallo’s own story of chronic pain, which at the time of writing Carry Me left her often unable to stand or walk after suffering unexplainable and debilitating knee pain. As she expands “I wrote ‘Carry On’ in lockdown which was a strange time of losing my work, social life, and then what felt like losing my body to constant pain. I felt completely hopeless and saw a familiar wave of depression approaching. ‘Carry Me’ is about this exact moment of realisation and panic.”

Musically, Carry Me was initially inspired by Thallo wanting to write “a dark ukulele song,” and ended up being improvised due to the pain Thallo was experiencing, making it, as Thallo says, “the fastest song I ever wrote”. The chords, lyrics and vocal melody were done in one take, and the arrangement created after by layering clarinets and synths before sharing the other parts of the instruments in the studio. The effect is a glorious, rich rush of multi-instrumentation and Thallo’s sublime vocal whirling in a jazz-infused dream before it’s emotive crescendo.

Thallo is Elin Edwards, based between her homelands of Gwynedd, North Wales, and London. In 2021 she released three singles, Mêl, Pressed and Preserved and The Water, receiving much early acclaim with an invite to perform at The Great Escape and play SXSW (the latter reschedule for 2023 due to her immobility). At radio she has fans in Sian Eleri (Radio 1 The Chillest Show) and Huw Stephens (BBC 6 Music, Radio Wales), with Thallo also recording a session at Maida Vale; whilst she has garnered press coverage in Wonderland, Noctis, God Is In The TV Zine, When The Horn Blows and many other blogs both UK and Stateside.

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Vök - Illuminating.

Icelandic trio Vök have shared their poignant new single Illuminating, which follows their recent releases Miss Confidence, Lose Control and Stadium and is out now via Nettwerk.

Illuminating was written with the producer Ben Christophers (Bat for Lashes) in London and is an emotive and euphoric ballad with a passionate message about love and how it can make everything shine a little bit brighter. Margrét says;

“I wrote Illuminating a couple years ago and it truly holds a special place in my heart. We did two magical sessions and finally we had a song both of us could cry to. This song is dedicated to my wonderful fiancé and how love can illuminate everything around you, like thousands of fireflies stuck in your eyes.”

Illuminating follows recent singles Miss Confidence, Lose Control and Stadium alongside the tracks Running Wild, No Coffee at the Funeral, Skin and Lost in the Weekend, all of which made up the band’s unique and lushly layered EP Feeding on a Tragedy. Recorded in their Reykjavík studios, the EP was the follow-up to their acclaimed 2019 album In the Dark, which was written and recorded by the band in collaboration with producer James Earp (Bipolar Sunshine, Fickle Friends, Lewis Capaldi).

Vök continue to cement their position as one of the most exciting and forward-thinking alternative bands right now. Following two critically acclaimed albums, Feeding on a Tragedy marked the first new musical moment in an exciting new era for Vök with lots more still to come and a new project announced soon.

Vök · Illuminating

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The Early Mays - Inky Nite - RISO

Photo - Kristi Jan Hoover

The Early Mays - On A Dying Day.

Pittsburgh-based duo The Early Mays announce their forthcoming EP,Prettiest Blue, which will release on July 1, 2022. Composed of artists Emily Pinkerton and Ellen Gozion, the pair sing Appalachian-inspired songs over a lush accompaniment of fiddle, banjo, guitar, and harmonium. Somewhere on the border between old-time music and modern American songwriting, The Early Mays have built a band with harmonies that feel like home. It’s a partnership that has shared slow-burning, perfectly paired vocals for ten years—from NPR’s Mountain Stage to house concerts all over the mid-Atlantic

“I think part of our aesthetic comes from being introspective people,” Gozion reflects, “We don’t have a flashy, fast sound, but if you let the music engulf you, there are lots of layers. Our songs give people a place to slow down.” “The Early Mays rehearsals are restorative for me,” adds Pinkerton. “The hours spent in Ellen’s living room, with coffee and dark chocolate, following the harmonies wherever they take us, laughing and just loving that exploration as much as we love singing for other people. I hope you can hear the joy of the process in Prettiest Blue.” 

From the old-time music community, The Early Mays have absorbed the culture of deep listening that’s central to playing with sensitivity. “Revivalists like us–who didn’t live and breathe Appalachian music growing up–still learn and create by ear for the most part,” Pinkerton explains. “Being able to carry hours of tunes in my head was life-changing. And there is new meaning to uncover each time you return to a field recording or slowly build a relationship with a mentor.” That practice of deep listening–and slow, careful craftsmanship–spills over into every Early Mays performance and production. The duo strives to sculpt a warm, immersive sound. 

"On A Dying Day" was written by Michigan-bred Emily, inspired by her "happy place" on the shores of Lake Michigan, where she would go to make sense of the world when things got hard (which she still does!). It's about finding redemption at the shore; the banjo mimics the waves, along with the verses that roll back and forth, each stanza beginning right as the previous one ends.

 

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Inky Nite - Raya.

Nova Sync are pleased to announce the release of 'Raya' the fourth single released by Brighton husband-wife duo Inky Nite, and the first taken from their debut 3-track EP For Raya following on 15 August. Inky Nite describe Raya as “The most treasured song on our upcoming EP.”

A dazzling concoction of twinkly synths and euphoric 80s tinged hooks á la Chvrches and M83, Raya is named after the duo's daughter and was her entrance music into the world during her birth last year. As they expand “The synths twinkled, and the drums kicked in just as she was lifted through the sunroof and held aloft Simba style for the very first time.”

Raya follows a string of singles, The Canyon, Spectres and Bad Machines released in 2020-21, which picked up support immediately from the likes of Steve Lamacq (BBC Radio 6 Music), the late great Janice Long (BBC Radio Wales), BBC Introducing, Amazing Radio, Mahogany Sessions, and Spotify's editorial team, as well receiving a flurry of coverage across tastemaker UK and international blogs.

Inky Nite began as a lockdown project from the couple’s seaside flat, where a musical cocktail of dreamy alt- pop, melody rich song writing, and 80s tinged Juno synths, shimmering guitars and vintage drum samples emerged. A sonic recipe mixing songwriting greats like Kate Bush and Blondie, with a measure of Metronomy, sprinkled with some Stranger Things soundtrack elements, a twist of Twin Shadow, and finally topped up with smattering of Blood Orange.

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Photo Aubreigh Brunschwig

RISO - New Eyes.

Tucson husband-wife folk duo, RISO, announces the release of the self-titled track, “New Eyes.” It’s off the upcoming album, New Eyes, due out July 15. Written shortly before members Matt Rolland and Rebekah Sandoval Rolland became parents for the first time, the song is a letter to their daughter, encompassing some of the most significant memories and experiences of parents, grandparents, and great-grandparents.

Rebekah says, “We did a bit of free-writing individually to jot down some of the stories that our parents and grandparents have shared that have stuck with us, and we took the best of those and put them into the song.” In the first verse, Matt writes about the stars on his childhood ceiling and rocking their baby to sleep in her room for the first time. In the second verse, Matt writes about his Dad’s memories of coming to Arizona for the first time and being overwhelmed by the smell of orange blossoms, which is very characteristic of Tucson and Phoenix in the spring. A wistful reminder about how weightless the world is when you’re a kid, the final verse is about their childhood memories–Rebekah’s in Montana and Matt’s in Colorado, where they spent summers. That verse reflects how the last two years have forced a continual reckoning with the radical change in how day-to-day lives are conducted and how the earliest memories can be turned into experiences for a sense of comfort and stability.

The lyric “New Eyes” feels like an encapsulation of many of the stories and themes on the record and feels relevant to the fact that the whole world is reemerging from the events of the last two years and entering into a new reality with renewed perspective. This track speaks to that collective experience and the duo’s individual histories. Rebekah says, “We both tend to look back nostalgically, aching for a time when we had the freedom to tour for weeks at a time, spontaneously hop on a plane to a new place, spend a day in the studio without lining up childcare, head out at dawn for a trail run along the bike path near our house. As new parents, life has a different rhythm now, but it’s no less dynamic. It’s just different–the challenges and limitations are different; the pace is different; it’s more stationary and we’ve fallen into more consistent routines, which, ultimately, we really love. We’re adjusting to it, and striving to still find creative inspiration on the day to day.”

Matt says, “Music has always been a social experience for me – bands, jamming, orchestras, teaching, sharing. Becoming a father, that social aspect of music takes on a whole new character. Every rehearsal, every record, and radio playlist on the speakers, and even moments in the studio are something I’m experiencing with a new person. She’s absorbing those experiences and so far, she seems to love it. She’s an audience of one. The world became a more magical place when she learned to clap.”

RISO · New Eyes

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