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| Photo - Justin Hammond |
Rising country artist Will Morton has released the official music video for his latest single, “Good Ol’ Boys Don’t Cry.” Directed and filmed by Justin Hammond, the visually striking video was shot in a Nashville hotel room at night, capturing the song’s emotional weight through its introspective aesthetic.
Morton explained the meaning behind the music video, saying “We shot inside a hotel room in front of the big picture glass overlooking Nashville because I am often gone for work and miss my family. This song is so true and close to me, being about growing up tough, being raised by a single mother, trying to always be strong for her, and knowing how it feels to keep all of that inside. With the birth of my son and raising him, seeing how much love and kindness is in his heart, I just want him to know it’s okay to have and share emotions.”
Set against the glowing city lights of Nashville, the music video features Morton in moments of quiet reflection, looking out over the city, walking along Broadway, and writing lyrics on a notepad. The raw authenticity of the video further amplifies the track’s powerful message, making for a visual experience that resonates deeply with audiences.
Produced by Mark McKee and written by McKee, Morton, and Chris Ayer, “Good Ol’ Boys Don’t Cry” serves as the lead single from Morton’s forthcoming full-length album The Long Way, set for release later this year.
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| Photo - Sel Maclean |
Newcastle indie-folk singer-songwriter Ruth Lyon has just announced her debut album 'Poems & Non-Fiction', out 13th June on Pink Lane Records. Out now is new single 'Books', the second taste of the album following the previously released single 'Wickerman'.
Weaving deeply evocative narratives and potent meditations, with an artistry that balances delicacy and strength, 'Poems & Non-Fiction' is a major waymark for Ruth Lyon. Forged by her experiences as a disabled woman and a life-long sense of otherness, she explores the beautiful mess of existence, challenges social norms and ignites a journey towards self-acceptance, empowerment and perhaps most importantly, hope. “I have surprised myself with the raw honesty in these songs and I hope these stories inspire healing and growth,” Ruth says.
Working with acclaimed producer John Parish (PJ Harvey, Aldous Harding) and influenced by artists like Adrienne Lenker, Fiona Apple and Moondog, the songs are rich with poetic nuance and the unconventional insight of a young life lived to capacity—a mesmerising blend of analogue and angular indie-folk that gives as much attention to silence as sound, with understated yet muscular grooves. Shimmering between the abstract, the archetypal and the naked truth, meaning lingers just beneath the surface, daring listeners to both reach out and dig deep; to give emotion a solid, tangible shape.
New single 'Books' is released today alongside a video directed by Sel Maclean. Stop-start strings, plucked and bowed make holes in the texture like a typewriter on paper, weaving in and out of driving piano, bedded by lazy rhythm falling away and returning, all glued together with vocal calls to the echo of a page. Lyon turns a cosmic reckoning on herself “Weigh me today and weigh me in again tomorrow / rocks in my socks, balloons tied round my elbows” that perhaps can be heard as a plea to the fates, wedded with Lyon’s typical Dali-esque imagery.
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| Photo - Nicole Cecile Holland |
You might be familiar with Penelope Stevens from her role as bass and keys shredder and sometime vocalist in Canadian avant-rock trio Motherhood (whose 5th LP Thunder Perfect Mind just came out recently and was described as "wildly entertaining" on Bandcamp Daily and "a welcome, alien presence in today’s musical landscape" on Post-Trash). Here, she is sharing a new single as Penny & The Pits, with Motherhood forming the backing band: "Montenegro On Ice"
Quote from Penelope Stevens: Montenegro on Ice explores memory and the ways in which the past can seep out of its box and drown your present and future. I was feeling the temptation to stew in past pain, choosing to really live in it, y’know? It’s so easy to stick your fingers in your own wounds. So I wanted to make a song that had a jaunty little limp, an endearing disfigurement, that could illustrate the way I was feeling at the time - wounded, absolutely, but sort of enjoying the ride.
The song is part of a larger mythology I’m working out in my songwriting - the allegory of the Liquid Compactor. Water has been an important force in my life, as an emotional cleanser and physical rehab. I’ve been imagining a sentient underwater machine to which I can feed my rage, my ethical malaise, my skewed memories, and allow it to compress these unsavoury bits into little building blocks.
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| Photo - Nicolas Patault |
Before heading out on their North American tour, Caravan Palace (a 6-piece live band and a trio in the studio) are giving the standout track “City Cook” a fresh moment in the spotlight with a brand-new single release. Originally part of Gangbusters Melody Club (Le Plan Recordings), the song now comes in a tighter, punchier edit, perfect for those who like their tunes with a bit more bite. To top it off, the band has teamed up once again with directing duo Double Ninja - who previously brought “Lone Digger”, “Miracle”, “Moonshine” and “Wonderland” to life—for a music video that’s as delightfully offbeat as you’d expect.
About the “City Cook” music video, the band adds: “Once every seven days, a ritual takes place—a ceremony as old as the civilization itself, whether it be ancient or alien. They are bound to a single sense: sight. Their deity, by contrast, perceives all. And so, in fear of what they cannot match, they seal its eyes, stripping it of the only power they themselves possess. From the bowels of the earth, they extract their offering—flesh of beast, flesh of root—feeding a cycle neither questioned nor broken. And with each offering comes a spectacle to behold, a feast for sight alone—pleasure twisted into ritual, excess into sustenance.
What is this but the order of men, subjugating the feminine, binding its body to hunger, to control, to torment without end? Or is it humankind itself, ransacking the world for instant reward, for pleasure stripped of meaning, for wealth that devours all? The deity endures, plundered yet inexhaustible. The cycle turns once more. Meaning shifts in the eye of the beholder. The question remains.”
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