The Accidentals, an indie folk-pop, rock trio, announce the October 1 release of their new album Vessel, co-produced by John Congleton (St. Vincent, Lana Del Rey) and Tucker Martine (Decemberists, First Aid Kit). Following their critically acclaimed release Time Out Session 1, the new album blasts through the isolation of the last eighteen months with a shot of alt-rock muscle. “Go Getter,” the first single off the album, has a catchy-as-hell melody with a much-needed message – “Shake off the pressure, sometimes you’ve gotta burn it down to build it better.”
While the accompanying music video for “Go Getter” features Goonies-era cinematography and a relentless search for the elusive “goat," the song’s lyrics compel the listener to keep moving forward even as life gets heavy.
“‘Go Getter’ is all about not getting bogged down in the details,” the band explains. “Each single art on the Vessel album is a piece of the final album art. When the album comes out the whole picture is revealed.” They continue, “The Vessel album is about letting go of the small stuff and keeping an eye on the wider perspective. ‘Go Getter’ just feels like it embodies the spirit of the album; it says, “we’ve got this.’”
New single Glow & Ignite by Katherine Aly has just been been officially released. Despite being a relative newcomer, Edinburgh-based Katherine Aly is generating a significant buzz.
The new single Glow & Ignite received it's first spin via BBC Introducing. Phoebe I-H & Shereen Cutkelvin enthused, "..that hook is So catchy, we’ll be singing it for sure. Katherine is definitely reeling us in with those ear worms.."
Featured in Vogue Italia, Artist of the Week in The Scotsman, she’s been championed by The Skinny, Tenement TV and airplay courtesy of BBC RAPAL, Amazing Radio, as well as stations across the USA, Canada, France, and as far afield as Australia. Katherine Aly has performed at Edinburgh Festival Fringe, Hidden Door, Tenement Trail, Kelburn Garden Party and legendary venues such as The Dublin Castle (London) and King Tuts Wah Wah Hut (Glasgow).
Anya Hinkle is making her debut as a solo artist with Eden And Her Borderlands, an album that's roots music in its most modern form now available from Organic Records. The album — which includes six critically acclaimed singles— further cements Hinkle's reputation as an artist with vivid storytelling, vibrant musicianship and arresting honesty, which in the past have led her to win the MerleFest Chris Austin Songwriting Competition and be a finalist in the Hazel Dickens Song Contest for her song “Ballad of Zona Abston,” featured on her former band Tellico’s 2018 release Woven Waters which had a #1 single, #1 band and #2 album ranking on the Folk DJ charts in November 2018.
Of Eden and Her Borderlands, Hinkle says, “Eden represents the essence of life, the wholeness, innocence and perfection that is our birthright, those things that seem to get stripped away from us along our journey. The past year isolated us and, despite the hardships of the pandemic, I had an opportunity to view myself and my circumstances differently. Living in uncertainty, I cancelled all my plans and lived more in the moment. I became more grateful for what surrounds me: my home, my pets, my family, my neighbors, my community. I gained a deeper appreciation for those that support us: mail carriers, medical workers, grocery store clerks, the guys on the garbage trucks. I began to feel unexpectedly open and curious, like I was moving ever closer toward Eden by breaking open my heart and mind.”
“This album is an expedition through the great pandemic experiment, with songs that touch on the many facets of a life in isolation. ‘Lady Luck’ asks, ‘Will you hold the line for me?’ asking the existential questions that surfaced: Am I doing what I am meant to do with my life? Is it time to make a change? ‘Road of the Winds’ searches for Eden, for the Motherland, beseeching the winds to ‘lift me up, take my hand, fill my sails and guide me on again.’ There were storms, like the one described in ‘Hills of Swannanoa’ — ‘then it rained, Lord it rained, oh the tears came pouring down like rain.’ There were benevolent spirits like ‘My Faithful Sparrow’ who ‘at the dawn from the sky, you spread your wings and fly on down to me.’ And there were times when there were no words, like the far-ranging instrumental ‘Meditation: Beyond the Shores of Darkness.’”
The indie art-pop band, Hush, forges dynamic and ethereal songs that bring together a multitude of different instruments and talents.
Their songs touch your heart with beautifully expressive lyrics while entrancing your ears with genre-bending sounds.
The duo was formed by singer/songwriter Jessica Deutsch of the Toronto chamber-folk group Ozere, and multi-instrumentalist music producer Tyler Emond, who performed under the moniker Tennis Partner.
Together they’re bringing a fresh new wave of music to listeners around the globe.
Chicago based synth/indie/pop group Course released today their brand new single "Nick Of Time." The track is the latest peak at their forthcoming debut album A Late Hour, out on May 21, which also features a collection of nine short stories written by singer/guitarist Jessica Robbins to accompany each song on the record. Robbins stated "'Nick Of Time' is about being in a toxic relationship and the freedom and realization of being in a happy/safe place because you acted and got out in time. This song, paired with the short story, is a progression from pain to liberation and self-worth."
"Nick Of Time" follows the release of Course's previous single "Sixteen," which Consequence embraced with "optimistic synths that dance with anticipation." The nostalgic track debuted along with an advanced preview of the song's accompanying short story. Lead single "Give It All Away" is also out now, which Under The Radar called "a lush dream pop tapestry."
Comprised of veteran musicians Robbins, Chris Dye (drums), Dan Ingenthron (synth/keys), Mikey Russell (guitar), and Brian Weekly (bass), Course blends diverse aspects of dream-pop, 90's new-wave, alternative, electronic, and indie rock. Drawing on Robbins' indie-folk roots, Course incorporates polished, modern production and lush electronic instrumentation to create songs with a characteristic ethereal-industrial sheen.
Course recorded the bulk of A Late Hour in the desert town of Dripping Springs, TX with producer Dan Duszynski (of Subpop group Loma), who's studio is set up among a series of airstream trailers. Bright but with depth, the album offers a collection of elegantly upbeat reflections on life and love - though not without somber moments. It's an album filled with intricate and sweeping stories - literally. At one point while writing lyrics, Robbins found herself stuck, so she devised another way into the songs: She wrote narrative fictional short stories to accompany and elaborate each track. The stories will be released in a Chapbook along with the record.
Cheesy love stories really do happen. Our frontman, Phillip Vonesh, wrote our new single for his brother Mickey and sister-in-law Jamie's wedding.
She's from Vancouver and was studying to be an urban planner at York University. They met on OkCupid and fell for each other hard. Jamie moved in within two weeks and the rest is history.
Dance, kiss, love and take it all in this summer. "Life Moves Fast" is taken from our upcoming album, Infatuation, out on June 4th.
It is a collection of songs inspired by a two year period of being single in our mid twenties – trips to Austin and New Orleans, Tinder dates, hook-ups, crushes, late nights and embarrassing mornings. Infatuation is a meditation on unrequited, new, and true love.
For songwriters, any phrase, experience and observation can find its way into their next song. And often, it’s those details from life that make the music relatable, that make the music something people hear and say, “Oh, I know that feeling.” Organic Records artist Anya Hinkle’s new release, “Why Women Need Wine,” does just that, relating stories of situations and attitudes that women deal with day to day and reminding them with a little humor, a lot of friendship — and maybe an eye roll — they can shake it off and move on with their lives.
The phrase “Why Women Need Wine” came to Hinkle when she was feeling down and reached out to a friend who said “Come over, I’ve got a great bottle of wine, let’s talk.”
“I spilled it all out, just said every ridiculous thing and we laughed, I cried, and on my way home I just felt so much better,” says Hinkle. “Everything seemed possible again, I got a grip, and this line popped into my head: This is why women need wine.”
That thought spurred another for Hinkle, and she began to list all the ridiculous things that drive women crazy, from “My skirts are all too long or short, my shirts too loose or tight” and “I swear what do I do with my hair” to “Cause girls can do anything, but women must do everything” and “Nobody wants to hear you whine / Grow up, but not over thirty-nine.”
As Hinkle sings these lines, the songs gently swinging country blues binds the ideas in a way that gives its subtext of struggle a light-hearted groove. Women will nod, smirk and laugh with the recognition that they feel these things, too — and they’re not alone.
In the first few seconds of The High Hawks’ debut single, a flurry of pulsing electric piano, kick drum, and Townshend-esque guitar strums give way to a flat out J.J. Cale groove just in time for the first line to be sung: “If we could just find a highway...might even find a way to make it home.” And thus, The High Hawks take flight. That tune, “Heroes & Highways,” is an appropriate first taste of music from the long-time-coming, feel-good Americana cooperative, naturally expressing the range of which the bands’ members can reach.
With close to 150 years of collective experience as professional touring musicians, The High Hawks—Vince Herman (Leftover Salmon), Tim Carbone (Railroad Earth), Chad Staehly (Hard Working Americans),Adam Greuel (Horseshoes & Hand Grenades), Brian Adams (DeadPhish Orchestra) and Will Trask (Great American Taxi)—have maintained a generation-spanning presence at the forefront of the roots music scene for over two decades. On June 11th, their debut album The High Hawks will be released via LoHi Records.
Yesterday, Live for Live Music premiered the music video for the aforementioned “Heroes & Highways,” a song the band calls “a nod to the ever-present tension of the thrills and experiences of ‘the highway’ and the comfort and pleasures of home sweet home.” Live for Live music echoed that sentiment, calling the tune “a much-needed reflection on the way of the road.”
Marco Dalla Villa - Wonderful days (feat. Leanna Gage).
Marco Dalla Villa is a London based DJ and producer originally from Italy. Having studied music theory and composition from a very young age, Marco uses his theoretical knowledge in an experimental way. Instead of following a structure, his songs are simply a flow of real emotions which follow a strong, hypnotic beat. Marco doesn’t take himself too seriously and hopes his listeners will do the same. With the ultimate goal of making music to share emotions and encouraging others to dance and feel happy, Marco provides a healthy dose of positivity throughout his intoxicating soundscapes.
His latest release “Wonderful Days” is a modern take on the 1971 song “Help (Get me some Help)” by Tony Ronald. Telling the tale of longing for love after experiencing heartbreak, the melancholy lyrics are a juxtaposition to the uplifting melodies. Marco took the melody from a football chant from his local football team, deciding to put a fresh spin on the tune and combining it with the 1971 hit. This unusual amalgamation of songs delivers a feel-good anthem that’ll be stuck in your head all day long.
Leanna Gage provided the vocals for the track, adding a mellow, chilled-out vibe to the sun-soaked song. The song features zesty, tropical drums, silky, sunny synths and an upbeat tempo which blurs the lines with bouncy indie guitar riffs and loops radiating both warmth and sorrow. The production captures the hopefulness and surrender to the fear of love.
Marco Dalla Villa is here to brighten your day with “Wonderful Days” currently available worldwide.
A true creative chameleon and seasoned traveler, Marie-Clo is a born performer who ropes her audiences into a feverish pitch in both official languages; thanks to “hooked on phonics”. Singer-songwriter and dancer, her eclectic indie pop tackles current themes & conscious lyrics, but also conjures a colourful and enchanted world.
Marie-Clo began her artistic career on stages worldwide performing in musicals, but honed in soon thereafter on her true passion project, music. She is currently promoting the first of three EP’s which will make up her full-length english album entitled Shell(e). A conceptual feminist narrative, it is slated to be fully released in 2021, produced by Polaris shortlisted drummer/ producer Olivier Fairfield (Fet Nat, Timber Timbre, Leif Vollebek), with the support of the Ontario Arts Council, the Canada Council for the Arts, and FACTOR.
In 2017, Marie-Clo won TFO’s pan-Canadian tv search for francophone artists Planète BRBR and was given carte blanche to participate at the Granby International Song Festival 2018, as well as at the Petite- Vallée Song Festival 2018. Following these, Aero chocolates bought her song “Sablier” for a 52-week run national commercial in which she stars.
She celebrated the independent release of her debut EP Faune which has since been playing on numerous radio stations across Canada, on Sirius xm, and joined numerous editorial playlists on Spotify. Radio-Canada named her Ontario’s number one artist to discover in 2018 as part of a 13-artist list, Canada wide, for each province & territory. Her latest single Red Flag topped CBC (#2) & Sirius XM’ (#4) top 10 charts for many consecutive months & was featured as a Sirius XM exclusive single. She recently had the pleasure of playing Ottawa’s Bluesfest, the National Arts Center, Place des arts in Montréal & opening for Ariane Moffatt.
Three-piece experimental indie-rock band Thee More Shallows released three albums and a few EPs back in the early 00’s, garnering critical acclaim and a cult following before the band disbanded. Each of the members moved into new phases of their lives. Now, frontman Dee has emerged from the wilderness working under the Thee More Shallows moniker again with the help of some previous band members and some new musicians. New album ‘Dad Jams’ is the first Thee More Shallows offering in fourteen years and comes out this May 28th on Monotreme Records.
‘Dad Jams’ is a retrospective look at life’s trajectory and the personal and creative choices that shape its convoluted path. Musically, it retains the adventurous, experimental edge of previous Thee More Shallows albums, but is also rooted in a stronger pop sensibility, with plenty of bouncy, hooky melodies that burrow into the mind for days.
Speaking on his intervening years between Thee More Shallows’ last album ‘Book Of Bad Breaks’ and ‘Dad Jams’, Dee said, “For me, that meant raising kids, making music for TV and film, and incrementally earning some hard-won peace of mind. My body has (to quote my doctor sister) sclerosed, and my impulses have slowed down enough to do a weak impersonation of wisdom, but I still feel like the same person who helped make those old records.”
‘Dad Jams’ is an indie-pop ode to waking up middle aged with kids. First single ‘Ancient Baby’ rockets the album open with an invigorating blast of psychedelic hippy-infused pop, its weaving flute refrain becoming more and more embedded in the mind with each return. ‘Boogie Woogie’ builds around a restrained synth groove that surprises and delights with crystalline harmonies in the sort of way bands like Foster The People and The Temper Trap combine sensitive emotive themes in a tightly packed indie formula.
On creating the new album Dee explains, “So when I finally found time to eke out another collection of songs - in the thick of my 'dad' years - I asked Brian, Jason, and Tadas if I could use our old band name. They graciously said yes. Jason flew out and was able to contribute wonderful drums, Cosmos Lee visited and played violin - and as usual I did my level best to describe how I felt. There are also new characters - my friends Eddie and Laura Burke sing on a song, Silviolini Graciani makes his debut, phoning in all the way from Sicily - and you get to hear the voice of Rayel, an epic talent deserving of world-renown.”
Anya Hinkle - Meditation: Beyond the Shores of Darkness.
Celebrating the arrival of springtime has long been a favored pastime of poets and songwriters, and especially in this year, as we emerge not just from winter, but also from deeply trying times, the theme of renewal, whether in the natural or spiritual realm, is especially resonant. With the lengthening of the days, the warm light of the sun becomes ever more present, and the hardship and self-reflection engendered by the isolation winter brings — especially during a world-wide pandemic — give way to more tranquil and even uplifting moods. For Anya Hinkle, capturing the mood of this unique season needed no words, and so her latest single for Organic Records, “Meditation: Beyond the Shores of Darkness” wound up being an instrumental composition, one that nevertheless says all that needs to be said.
“The past year has been unprecedented in its darkness,” the singer/songwriter confesses. “The uncertainty eats away at the fiercest sense of discipline, at any sense of purpose; it’s felt very difficult to continue moving forward at times. When I wrote this song, I planned to write words. But there weren’t any. I was living beyond language. Tears rolled down my face onto my guitar as I explored the fingerboard for chords that revealed new facets of this journey inside.”
“Each one of us is feeling our way through,” she adds. “Sitting in the isolation of our being, journeying to new places we never took the time to see before. This song sits with pain, boredom, anxiety, and after awhile we tire of that; our mind flits elsewhere, curious, open, childlike.”
With the assistance of cousins Julian Pinelli (fiddle) and Duncan Wickel (cello), “Meditation” traverses its three and a half minutes with almost somber restraint, opening with a statement of the main melody via Hinkle’s fingerpicked guitar before entering a darker, almost mysterious middle passage that introduces hushed, atmospheric notes from Pinelli and Wickel. A pause leaves the listener suspended before the trio returns to the original melody, voiced now by guitar and fiddle, with cello joining in just before one last passage recontextualizes the melody’s air of hope with the moodiness of the middle passage in an ultimately satisfying resolution.
A notable change of pace from her usual lyric-driven songcraft, Anya Hinkle’s “Meditation: Beyond The Shores Of Darkness” is an evocative composition, echoing an internal transformation that many listeners will recognize in themselves through its redemptive sonic journey from darkness to light.
Milwaukee-based singer-songwriter, Trapper Schoepp, has announced the release of his upcoming album, May Day, out 5/21/2021 via Grand Phony Records, with the release of the single, “River Called Disaster.” The accompanying video finds Schoepp lighting his piano on fire in a river, which he says felt ceremonial and therapeutic, symbolic of both the song and year we’ve all endured.
“River Called Disaster,” is about feeling broken down by the compulsion for more. “The river is an apt metaphor for the way we can get swept up in our destructive desires. This past year, social isolation has exacerbated these kinds of feelings and challenged the way we cope. Many of us are bottoming out and trying to make our way back to the surface,” Schoepp says. “On May Day, I use the natural world as a motif because I feel a strong connection to it. Nature is something real that I can feel, see, smell and touch, and it's a place where I've found comfort in these times.”
This is the follow-up to Primetime Illusion, Schoepp’s acclaimed 2019 album produced by Wilco’s Patrick Sansone, which featured a serendipitous co-write with none other than Bob Dylan. On the day Dylan entered Columbia Studios in 1961 to begin recording his first studio album, he wrote a song about Wisconsin. The lyric sheet sat unseen with a former roommate, and was later unearthed and put up for auction. Schoepp saw the story and seized the opportunity to set music to words, and was granted Dylan’s approval to jointly publish the song, entitled “On Wisconsin,” leading to features in Rolling Stone and Billboard, as well as nearly a hundred international tour dates.
When asked what headline he’d like to see 12 months from now, Jesse Marchant jokingly replied, “Jesse Marchant paints his masterpiece.”
Marchant himself may be humble. For the rest of us, though, it isn’t the least bit farfetched to think that – 12 months from now – Marchant’s imagined headline will actually grace the pages of industry publications. And that’s because we’ve heard his new stuff.
Marchant’s stunning new single “Go Lightly” premiered with American Songwriter, and is officially out everywhere now. “Go Lightly,” which Marchant describes as “living in the realm of Radiohead, Pink Floyd, and recent Nick Cave” is the first track from his much-anticipated new album, Antelope Running. Look out for Antelope Running later this summer.“ ’Go Lightly’ was one of those songs that almost fell by the wayside” shares Marchant.
“I had the piano part for quite some time but struggled to find the vocal melody, imagery and words. The falsetto notes that open the song came to me one morning when I was playing the chords, but I lacked confidence in that range for my voice, as it was somewhat new to me. Over time my confidence with it deepened and the song began to bloom, later to become one of the pillar tracks of the record. I am proud of how it moves through different sections seamlessly, like a stream that flows and forms into pools before continuing on to do so again and again.”
Featuring Marchant’s longtime bandmate Jason Lawrence on drums; Logan Coale (Taylor Swift, The National, Now Ensemble) on electric bass, and D. James Goodwin on guitar and synth, “Go Lightly” was recorded, mixed, and mastered at Isokon Studio in Woodstock NY.
“Although I began writing the lyrics in Feb 2020 just before the pandemic began, I was working on it throughout and believe that the forced isolation of that period played a significant role in where it ended up,” shares Marchant. “To me the song is about being forced to take stock of the life you’ve chosen for yourself, or have arrived to, when you remove all of its peripheral elements - for better or worse.”
Previously known as JBM, Marchant likely doesn’t get credit where credit is due. The Canadian singer and songwriter is a classically trained guitarist who also produces all of his own albums. Antelope Running is his fifth album.
"Having recently returned to attention’s radar with the singles Good Times, & Not In My Name, UK rockers The Mojo Slide now keep ears focused with their latest single from the album 'Manic Panic'
With their first album, Twist Your Bones, an extremely well received 2015 encounter springing a host of eagerly played singles on radio shows and stations worldwide anticipation for its successor has been patient if eager. It is a release which looks like following suit with its lead single already luring great support the way of the band and we only expect Not In My Name to do the same.
Ridiculously infectious and skilfully flirtatious in its grooves and hooks, Not In My Name instantly entangles ears with a great juicy melody, its wire of temptation escaping the guitar of Mike Fennaand soon joined by the melodic lures of fellow guitarist Matt Legg alongside the rhythmic swing of bassist Dan Savage and drummer Michael Graham. Amidst it all vocalist Mark Wilks adds his only creative infection, his voice almost dancing on the strands of sound making up the contagion.
Increasingly manipulative by rousing verse and anthemic chorus, Good Msn Down is one of those songs which just gets under the skin, for us eclipsing its predecessor and ensuring the release of new full-length, Manic Panic cannot come soon enough, an encounter you can also soon find us exploring on The RR.." - Pluggin' Baby - The Ringmaster Review
Formed in 2011, they released their debut album 'Twist Your Bones' in November 2015 on DO IT Records. The album features a contemporary mixture of classic rock 'n' roll, and blues rooted alternative rock. They have had radio play on BBC, Absolute and Planet Rock, amongst others, and have since signed with Nub Records.
Kalbells—the collaborative art-pop project of Kalmia Traver, Angelica Bess, Sarah Pedinotti, and Zoë Brecher—today shared their new single “Pickles,” a fun and buoyant track featuring multimedia artist/rapper Miss Eaves off the upcoming full-length, Max Heart, releasing March 26 via NNA Tapes.
The sophomore album from Kalbells, illustrates the formidable love Kalmia Traver (Rubblebucket) discovered with her touring band turned bandmates. Together, Angelica Bess (Giraffage, Body Language), Zoë Becher (Hushpuppy, Sad13), Sarah Pedinotti (Okkervil River, LipTalk) and Traver, practice both listening and accountability, rejoicing in their queerness, and promoting each other to be their most genuine selves.
The result is Max Heart—ten vibrant and subtly layered tracks of mesmerizing psychedelic synth-pop. Common groove language is a rare medicine to happen across, which is why, as a group, playing together has been not only exciting, but healing. Max Heart harnesses this magnetic power for a collection of songs that are packed with inspired tension and daring surreality. Read the full bio here.
Max Heart is available to pre-order on standard black & "Salty Pickle" green vinyl, as well as on compact disc and digital formats here. The album will be available on "Red Marker" red vinyl exclusively from local indie record stores.
Reality Anonymous - The Ghost Host, Vol 1 (Album).
Reality Anonymous is the brainchild of Lyn Vaus and the debut album The Ghost Host, Vol. 1 features contributions from Rob Myers (Thievery Corporation), Alex Rowney (Soft Candy), and Kenthany Redmond (Kenthany Redmond's Infrared Quintet).
Basic tracks, helmed by Joe Tessone, were cut with Blase Settecase at Mystery Street Studios. The album was mixed by Philip Stevenson at Rat City in Chicago and mastered by the legendary Bob Olhsson in Nashville.
Lyn Vaus is now based in Chicago and is a veteran of the Boston post-punk band Carnal Garage, who had a song featured in the hit SCI-FI movie The Lawnmower Man. After the band dissolved, Vaus moved to LA and got a job as a story editor at a film production company. Bouncing back and forth between LA and Boston for several years, his subsequent film credits include The Darien Gap, Next Stop Wonderland, and the micro-budgeted Temptation, starring Annette O’ Toole and Elisabeth Moss.
That film rekindled his interest in playing music and he began writing the psychedelic songs that eventually appeared on his first solo record The Floating Celebration, which was recorded in Washington D.C. with musician/producer/Night World label head, Philip Stevenson.
Parisian psyche-pop band La Femme released the video for their new single “Le Jardin,” taken from their highly anticipated third album Paradigmes (out April 2nd via the band’s label Disque Pointu, distributed worldwide by IDOL). Shot in the south of Spain between Granada and Sevilla, the “Le Jardin” video is an excerpt from the band’s forthcoming full-length feature film, which will be released in conjunction with Paradigmes.
Released in time for Valentine’s Day, “Le Jardin” is a tender melancholic ballad, and La Femme’s first song in Spanish. “The lyrics were written during a trip to Spain a few years ago,” the band explains. “This is kind of an old-school slow dance which underlines how fate can be random and fragile. The moments we go through, sometimes very sudden, from shadows to light, and vice-versa. All of this, in a Romanesque scenery of the historic city of Sevilla, where the Holy Virgins are omnipresent on the walls, overlooking at mankind and its madness.”
The two main songwriters who started the band together, Sacha Got and Marlon Magnée, are the traditional heart of La Femme, and their vision is consolidated on stage by the masterful rhythm section of Sam Lefevre and Noé Delmas (bass and drums, respectively), and sublimated by the vocal talents of female singers like Alma Jodorowsky, Clara Luciani, Clémence Quélennec, Grâce Hartzel and Jane Peynot. Within this album of beautifully-curated electropop you will hear everything from coldwave to yéyé, Kraftwerk to the Velvet Underground, all distilled and sequenced and psychedelicized so that it sounds uniquely La Femme.
Anya Hinkle - What's It Gonna Take (feat. Graham Sharp).
For as long as people have written songs, they’ve written songs that respond to and reflect on events in the world around them. And so, when Organic Records’ Anya Hinkle and her neighbor, Graham Sharp (Steep Canyon Rangers) got together to write on the day that news broke of the death of George Floyd at the hands of police officers, it was almost inevitable that what would emerge was a meditation on the gulf between American aspirations and American reality.
“In fraught moments, you usually write what you need to write, to process what's going and find the words to move forward,” says Sharp. “This was the case with ‘What's It Gonna Take.’ My first instinct as we were writing was to look inside myself and what I could do. It was a very raw moment to see the pain of George Floyd and the Black community and know that I needed to account for myself in that moment.”
“Writing was the only way to really open up to things we often keep locked inside, things that aren’t pretty to examine, that are scary in fact,” Hinkle adds. “It helped us get honest about that, to push through some kind of strange fear of admitting how clearly some of us benefit from the system and others just lose over and over again. I don’t think the song does anything except to invite people to take a look at this sparkling mess and admit it’s there and needs to be reckoned with.”
As events continued to unfold, the pair worked to complete the song, and when it was finished, Hinkle began to think about how to record it. With Sharp’s participation an obvious ingredient, she reached out to a couple of other western North Carolinians and invited them in. “When we went into the studio to cut the single,” she recounts, “we asked a master of the sacred steel guitar, DaShawn Hickman, and gospel singer Wendy Hickman to join us in asking ‘what’s it gonna take?’ Bringing in their voices was an important part of processing the difficult summer, building trust and beauty through song. Only by listening to Black voices are we going to know what it’s gonna take.”
Hailey Whitters - How Far Can It Go? (feat. Trisha Yearwood)
Rising Country star Hailey Whitters releases “How Far Can It Go?” (feat. Trisha Yearwood) from LIVING THE DREAM, a deluxe edition of her critically-acclaimed breakthrough album THE DREAM that will be released on February 26 via Pigasus Records / Big Loud Records / Songs & Daughters. The deluxe album finds Whitters moving from fantasizing about “the dream” to actually living it, calling upon her close friends and collaborators Brent Cobb, Jordan Davis, Hillary Lindsey, Little Big Town, Lori McKenna and Trisha Yearwood to contribute vocals to the fresh tracks.
"When I wrote this song with Nicolle Galyon and Hillary Lindsey, we were drawing inspiration from all of the '90s female powerhouses I grew up listening to on Country radio,” explains Whitters. “This song reminds me of something I would've been singing along to on the radio, driving my old truck back in high school. We all know that young couple back in our hometowns with 'forever in their eyes,' and the feeling of wondering if they'll be able to make it work when they go off to college. Those story songs in Country music were relatable to me then (and now), and I hope there's a generation of Country music fans that still find them just as relatable today.”
“How Far Can It Go?” (feat. Trisha Yearwood) follows Whitters’ current single “Fillin’ My Cup” (feat. Little Big Town), which has racked up more than 4 million streams globally since its debut and was just named SiriusXM’s Highway Find. Watch Whitters chat with SiriusXM The Highway’s Storme Warren and MC Callahan HERE. Whitters also recently released “Glad To Be Here” (feat. Brent Cobb) and “The Ride” (feat. Jordan Davis) from LIVING THE DREAM.
“All of the artists featured on this project are responsible for me being able to hang up the apron strings and make music full-time,” says Whitters about LIVING THE DREAM. “The royalties from Little Big Town’s cut on ‘Happy People’ helped pay for part of THE DREAM, Brent Cobb and Jordan Davis were two of the first artists to take me on tour, Lori McKenna and Hillary Lindsey are my two songwriting idols and favorite co-creators, and Trisha Yearwood is one of the first artists that got me excited about moving to Nashville and pursuing Country music. I wanted to show fans full circle what ‘living the dream’ looks like for me – from where I started with ‘Ten Year Town’ to the bucket list moments that have resulted since I released my record, THE DREAM. I felt it was important to show them what can happen when you don't give up on yourself.”
Kate Koenig is a very hungry experimental-folk caterpillar that eats Fleet Foxes’ progressivism and Kate Bush’s iconoclasticism and Jeff Buckley’s zeal and Leonard Cohen’s disenchantment, and is still eating while you read this bio.
She is also a fierce advocate for mental health awareness, which comes out in the deeply personal, introspective theater of her music.
Based in Brooklyn, she’s played at NYC’s Bowery Ballroom, Pete’s Candy Store, Pianos, Niagara, and Under St. Mark’s Theatre.
In June of 2019, she released her debut album, Haircuts for Barbers, which can be found on all streaming platforms. On January 31st she will be releasing her sophomore album Etemenanki.
Sometimes even the most determinedly original artist finds a song from another source that speaks to her circumstances so powerfully that she must find a way to make it her own. For Organic Records’ Anya Hinkle, the passage of time and events has only made her new single, “I Belong To The Band,” even more meaningful, and there’s no one better equipped to tell its story than the singer/guitarist herself.
“I discovered ‘I Belong To The Band’ thanks to my friend and clawhammer banjo master John Herrmann, who gave me a recording of it by their old-time band, The Ruglifters,” she says. “The song resonated so deeply with me for its simplicity, its inclusiveness, and the sense of gratitude it imparts. It was written by Rev. Gary Davis and originally recorded with his signature fingerstyle blues guitar and powerful voice.
“When the personnel in my band Tellico turned over early in 2019, I began transitioning to performing under my own name. But I still had a full calendar of band shows I was scheduled to perform, including a European tour and official showcases at IBMA.
“I wasn’t exactly sure how I would pull it all off,” Hinkle continues, “but I somehow managed to find a group of musicians that showed up for me in every possible way that I needed. They allowed me to experience music with more gratitude than I have ever felt, making the best music I’ve ever made in my life, and the best I’ve ever felt making it. We performed this song at every show that we played.
“When Billy Cardine and I sat down to arrange it for the studio, Billy laid down a dobro lick that emanated from his joyful and fun-loving spirit. When we added Julian Pinelli (fiddle), Thomas Cassell (mandolin), Johnny Calamari (bass), and a 3-part gospel chorus of Mary Lucey, Julian Pinelli and myself, it intuitively had a swingy, playful, joyful New Orleans string band sound that really captures the feeling we discovered playing together last year. I sang 'Hallelujah, I belong to the band!' with all my heart when we walked into Crossroads Studio to record it with help from Jon Weisberger (producer) and Van Atkins (engineer).
“We have had so much and so many taken from us this year by COVID-19,” Hinkle concludes, “and our gratitude for those that have stood by us and been there for us during this difficult time is deeper than ever. We are grateful to those that have been essential workers and health care workers, and we acknowledge all of those that are struggling so hard to keep things together every way that they possibly can. We are going to get through this.
Tamara Williamson has released seven albums in Canada and Europe. She produced, wrote and performed in the award winning production The Break-Up Diet and published a memoir of her life. She currently lives north of Toronto, Ontario.
Blame is on birds
Blame it on bats and pigs and humming bees
Hands and touch overseas
Blame it on Love, Blame it on rights and freedoms hold hands
Helping giving understanding
Blame it on trust, Blame it on truth and lies and giving up
Trying our best and holding up
Blame it on flue
Blame it on Antibodies viral load plazma R0 overload
Blame it on them, Blame it on leaders we elected in
People who are paid to keep quiet
Blame it on God, Blame it on your religion and not mine
Second coming and our health care
Blame it on Sex, Blame it on gender power netflicks crap
Entitled children and the bachelorette
Blame it on wealth, Blame it on greed and hate and my big kitchen
Being thin and a long erection
Blame it on fear , Blame it on winning and not earning stuff
Melic Moon released their album 'Natural Thing' a little while back however it's to good to ignore, as the featured title track I feel confirms. The bands multi genre music is both stylish and in a word - wonderful. === Mt Doubt have just released 'Dark Slopes Away' one of eleven songs on their upcoming album 'Doubtlands' and a fine indicator of what to expect with their creative and darker shade of indie rock. === Anya Hinkle shares her beautiful new Americana track 'Hills of Swannanoa' where Bluegrass and folk come together in a gorgeous way. === As it's our fourth feature for Carmanah this year I reckon that speaks volumes in itself, so check out 'Mountain Woman'. === Alex Little and Suspicious Minds brand of Garage Pop & Rock is on top form with the rather frisky and addictive 'Broken Bones'.
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Melic Moon - Natural Thing.
From the band - We’ve taken timeless, sultry jazz standards and have combined that sweet sound with R&B/Soul, and a twist of pop/rock. We released our debut album Natural Thing late May and the response has been incredible! We have just been nominated for Best New Artist and Female Vocalist of the Year for the 2020 Limelight Music Awards, and we have hit 25K monthly listeners on our Spotify!
We wrote and played every song on the album of course, but we are especially proud because before we did that we built our very own recording studio from the ground up, Underground Recording Co. located in Sagamore Beach. We recorded, produced, mixed, and mastered the entire album ourselves and are just over the moon from everyone’s response so far.
We are in the midst of making a music video with New England Emmy Award winner Darby Lyons expected to release next month, and in October we are releasing the next single off our second album.
We were going to start a East Coast tour back in March starting at Rockwood Music Hall in NYC. That came to a quick halt for obvious reasons. We plan on touring once everyone is safe and healthy. Until then we are going to keep recording, releasing, and be as creative as we can.
Dark moody indie rock outfit Mt. Doubt debuts new first single "Dark Slopes Away" off their upcoming LP 'Doubtlands' on Last Night From Glasgow.
Built up around the songwriting and vision of band-leader Leo Bargery, Mt. Doubt has been a shifting mass of musical output since the band’s genesis, which saw the release of their debut album ‘My Past is a Quiet Beast’ in 2015.
Ever-active, Bargery quickly went on to release sophomore record ‘In Awe of Nothing’ in 2016 (on Scottish Fiction Records) before releasing three EPs, ‘The Loneliness of the TV Watchers’, ‘Moon Landings’ and ‘This Must Mean Something Awful’, throughout 2017 and 2018. Taking cues from Bargery’s musical and literary influences, Mt. Doubt deal in the darker side of things, often dipping a limb in the atmospheric while remaining lyrically-driven and unflinchingly personal.
Four years in, and Mt. Doubt have performed across the country: from Inverness to Brighton, from the Isle of Skye to Cardiff, and a whole lot of places in between. Including appearances alongside the likes of Idlewild, White Lies + We Were Promised Jetpacks. In late 2019, the band signed to Last Night From Glasgow in advance of releasing their third album – slotted for September 2020
Those who have spent time in the mountains of southern Appalachia know of their mystical qualities, and if there is an artist who can capture their spirit and embody it in a song, it’s Anya Hinkle. Seasoned by her years in the Bluegrass/folk outfits of Deliah Low and Tellico, her songs reflect the authentic and soulful musical tradition of her western North Carolina home — so much so that one earned her 1st place in the prestigious 2019 Chris Austin Songwriting Contest. For her second single for Organic Records, Hinkle has chosen the darkly powerful “Hills of Swannanoa.” Co-written with noted musician and ceramics artist Akira Satake, it’s based on a true story of an early 20th century flood that took place in the heart of the region.
“‘Hills of Swannanoa’ is the story of the Great Flood of 1916,” the singer-songwriter says. “The unusually heavy mid-summer rains that year, coming in addition to heavy logging in the Carolina mountains, caused severe flooding of the Swannanoa and French Broad Rivers and heavy damage in the Asheville area. My friend, Akira, had written an instrumental tune called ‘Swannanoa’ after moving to nearby Black Mountain almost 20 years ago to start a ceramics studio, and he asked me if I might want to write some lyrics. I let my mind wander to the beautiful Swannanoa Valley, where I spent a lot of time with my daughter when she was very small. There is a mystical feeling there: vibrations from the ancient Cherokee, heavy mists that shroud the hills, generous green that carpets the valleys. It feels sacred, sad and beautiful.”
Inspired by the tune and her own feel for the area, Hinkle wrote a chilling story that weaves tragic vignettes from the flood’s history into a compelling saga built around a father and daughter.
“The modal scale of the tune, somewhere in between a major and minor key, naturally gives the listener a feeling of both beauty and tragedy,” she explains. “I began to read about the flood and let the story develop from there, creating my own song that knits together seamlessly with Akira’s instrumental melody. The story is fictional but based on true events: prisoners really did drown in their cells, all of Asheville’s bridges were washed away, hundreds of houses were destroyed, dozens of people were killed.”
Like the rain forests from which their name derives, the steady beat of the west coast can be found within the sound of Carmanah. From muddy blues-funk to light soaring melodies, Carmanah creates music that curves and tumbles through valleys and over peaks guiding the listener on a celebratory sonic journey.
Recognizing Carmanah’s passion for their home and the ways it influences their music, renown producer Gus Van Go (The Arkells, Sam Roberts, Wintersleep) coined the term “West Coast Soul” to describe their unique sound. The band’s first album, Speak in Rhythms produced two #1 CBC Music tracks, the effervescent ‘Roots’ and shimmering, brooding ‘Nightmare’, setting the tone for this new west coast sound.
With one album behind them and one ahead, Carmanah is crafting a musical niche of their very own, a vintage blend of the intuitive and the technical; a blend that lies somewhere among roots, rock and blues — all seamlessly woven together by Laura Mina Mitic’s soulfully luminous vocals.
Iris, their forthcoming album is a natural evolution and a moody counterpoint to their debut. Recorded between the wild forests of B.C. and the concrete high rises of Brooklyn, Iris is a heartfelt offering, a tapestry of thoughtful stories for our time. Undulating rhythms and bountiful instrumentation create a rich sonic backdrop for driving melodies and potent lyricism. The first track ‘Mountain Woman’ shows rousing vocals layered atop of propulsive rhythms, a joyful assertion of feminine energy and natural power. Lead single ‘As I See You’ is one of the gentler songs on the album, a sultry composition that speaks of friendship and holding up the people you love while valuing what they love in you. It’s a track that carries a compassionate message; “By embracing those who love us, within ourselves we can find a sense of home and belonging in our own skin”, says Mitic, “By caring for the environment around us, we also care for ourselves.”
“My best songs are written when I’m having the worst time,” says Alex Little with a wry laugh. “There’s no songs about feeling good. It’s about connecting to that deep dark part of myself, which is the reason why I make music.”
This blunt emotional honesty is the driving force behind Vancouver’s Alex Little & the Suspicious Minds, whose scorching garage-pop songs unflinchingly tackle drug addiction, mental health and heartbreak. And yet, despite the heavy subject matter, the group’s soaring choruses and loud guitars mean that the mood is cathartic rather than heavy.
Little previously played in bands as a drummer, and when she picked up a guitar, she reached out to her friend Andy Bishop (White Ash Falls, Twin River) to teach her a few tricks. “She already knew the basic chords, so I just showed her a couple of new things,” remembers Andy. “The next time we jammed, she showed up with a great melody she had been working on.”
Songs began pouring out of them, and drummer Cody Hiles (The Zolas) and bassist Mike Rosen got involved. Together, they honed a sound that blends searing distortion with aching pop hooks and a psychedelic wash of reverb. “It’s got that late 1970s, early 1980s New York kind of vibe,” Andy reflects. “Just stripped-down rock and roll.”
These songs come from a place of darkness, but the lasting impression is one of four friends cranking their amps and moving past the pain through a shared love of music. “The world is crippling and hard,” Alex says frankly. “I feel very lucky that I have this band as an outlet for all the emotions and turmoil.”
Francine Honey has shared two versions of 'I Carry On' the second one includes Robert Gray who co-wrote the song, both are beautiful heartfelt tracks. === From Anya Hinkle we have a new video for 'Road of the Winds' which is a mixture of exquisite country and bluegrass. === Commonwealth Choir have released 'Light' accompanied by a cracking video as the band serve up some energised hook filled indie rock. === Three months after we featured 'Falling'Snake are back with 'Lost Girl' last time we described their song as "one feisty and fabulous rocker" and the new one is just as potent. === Charlotte Rose Benjamin shares 'Autopilot' along with a self made video (due to Covid lockdown) and both are captivating as she continues to gain trans-Atlantic interest.
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Francine Honey - I Carry On.
“I Carry On ” is a testament to the human spirit and its ability to overcome the challenges that life throws our way. Where does this courage come from? When the path through is unclear, there are unexpected heroes that appear with help. Whether it is a partner, a caregiver, a parent, a child, a friend, or one’s faith in something larger than life, this song expresses gratitude to those that light our world and help us through. There is nothing like seeing the light of love beaming from someone’s eyes when we need it most.
“I Carry On ” is the second single being released in anticipation of her upcoming fifth project entitled 2020 Vision; a chronicle of her life story so far in song, as a double album due out later this year. It follows the single “Red Sky ” released in Oct 2019 and a full-length Holiday album entitled Take Me To The North Pole released in December 2019.
“I Carry On” was co- written with song writing friend and neighbour, Robert Gray. Honey says “I have had my share of challenges in life struggling to make ends meet as the sole provider for my two children and somehow I always knew I’d get through them. Robert and I were outside chatting one day as neighbours do and he told me he was going through a major health challenge with cancer. We bonded over our mutual feeling about overcoming challenges with the help of a positive attitude, gratitude, love and song writing! We talked about how others have inspired us in the past. We wrote about how people are there for you when you need them and the strength that we as humans find to survive and overcome our challenges. You just do what you have to do to get through it.”
It took the duo a few months to find the time to sit down to write this song that they had talked about writing. When they did finally meet, it came together pretty quickly. In fact, Honey was headed down to Nashville to record her recently released Holiday album, Take Me To The North Pole. She loved the song so much that she asked producer Neilson Hubbard if they could record the song for release in 2020. So, Honey invited Gray to Nashville to be there if he wanted to see the song being recorded. After recording the song, Francine asked if Robert wanted to take a stab at singing the song himself in the studio. Luckily, he agreed and found his way to the vocal booth and sang the song. It became clear that a duet brings new meaning to the song. For this reason, there are two versions of “I Carry On ” being released together. The solo more country version with Honey’s vocals and a duet featuring Robert Gray which adds another dimension to the song.
Anya Hinkle has released a video for "Road Of The Winds". The song is the first single under her own name, and it captures the raw honesty of her personal songwriting.
Alternating moody verses with a singable chorus, “Road Of The Winds” expresses a longing for motion that defines both an end and a beginning for the song’s narrator.
Throughout, Hinkle’s distinctive voice is framed by a hand-picked group of musicians drawn from the rich musical community around western North Carolina: fiddler Julian Pinnelli, mandolinist Thomas Cassell (Circus No. 9), renowned resonator guitarist Billy Cardine, bass player Johnny Calamari, and harmony singer Mary Lucey. Produced by Jon Weisberger, the single is an auspicious start to the new stage of Hinkle’s career.
About Anya Hinkle - With vivid storytelling, vibrant musicianship and arresting honesty, Anya Hinkle explores the beauty of song craft through the lens of the Appalachian string band tradition. Originally from the mountains of Virginia, Anya’s music is steeped in the tones of folk and bluegrass and seasoned by travels across the world. A founding member of Asheville-based bands Dehlia Low (Rebel Records) and Tellico (Organic Records), Anya will release tracks from her first full-length album under her own name this year on Organic Records.
Philadelphia’s Commonwealth Choir is constantly searching for the space between light & dark... somewhere to crack a smile while the storm rages on.
What began as a folk rock project loosely stemming from the likes of AA Bondy & Rocky Votolato, rough iPhone demos quickly attracted a mountain of influences as the band’s lineup took shape in late 2011. Pop-punk influences like Saves The Day & Brand New collided with formative behemoths such as Elvis Costello & Tom Petty - all while holding the power of simple storytelling above all else.
After relocating from Doylestown, PA to Philadelphia in 2012, the band began connecting with musicians near & far. Attracting the attention of WXPN, the band found success with their first single “Rest” & soon found themselves collaborating with producer Dan Pawlovich (Mosey, Valencia, Illinois, Panic! At The Disco) for their subsequent releases. The following years included countless shows & collaborations (including their short-lived cassette label Philly Tapes Philly). After supporting the release of 2015’s “Palace”, the group slowed their live schedule as they began to explore what was to come next. Multiple lineup changes & countless demos later, they found themselves recording what came to be their upcoming EP No End. No End will be out June 19, 2020 via Know Hope Records.
Four years after their debut album ”Cradle of Snake” was released Snake is now back and their new single ”Lost Girl”.
Snakes music consists of brilliant and explosive indierock characterized by what happens when Tess De La Cour, Madeleine Frankie and Mia Maria Johansson play together in a room. With strong vocals, screaming guitar and and a steady beat this single is the second glimpse of on album recorded with Stefan Brändström in the Dustward Studio, which will be released in the fall of 2020.
A lot happened for Snake around their debut album - gigs all over the Sweden and in Europe, support gig to Refused and also awarded the "Rock of the Year" award at the Swedish Indie-awards: Manifestgalan. Shortly thereafter, a natural break occurred, which then became a few year break
However, The members have been constantly moving on with other interesting projects - Mia Maria Johansson has released an album with Majvor and earlier this winter a new single with her self-titled solo project, Tess De La Cour has been acclaimed internationally for her dark project Memoria and Madeleine Frankie have, In addition to playing live with Memoria, has released music including Night Terror. Both Tess and Madeleine have also participated in the prestigious Riot Grrrl Sessions.
NYC singer-songwriter Charlotte Rose Benjamin announces her new single, “Autopilot”, taken from the Neon Gold Records / Moshi Moshi released Party City EP. Stuck in isolation, along with the rest of the world, Charlotte set about making a video for “Autopilot” at home, primarily using PhotoBooth.
It’s latest cut from her sterling debut Party City EP, which has already garnered attention on both sides of the Atlantic with support from CLASH, Huw Stephens and BBC Radio 1, BBC 6 Music, Radio X, and Spotify's global New Music Friday.
Charlotte says: "I've always had a hard time controlling my emotional compass and tend to inwardly dwell. I kept having this dream, which I hear is common when living in a tiny New York City apartment, where I discover a whole new room in my home through a door in the closet or someplace unexpected and realize I have so much more space than I ever thought. When I wrote it I was sort of caught between fantasizing about being totally alone, pushing people away and then feeling super lonely and reaching out to anyone I knew who might give me attention. Someone told me to "just go on autopilot" as if there was a switch I could flip somewhere inside me that would make me function normally. I told them I wasn't f***ing flying a plane.
So, making a music video for "Autopilot" alone in a room on Photo Booth during the COVID-19 crisis kinda made sense. I think a lot of people are struggling with feeling desperately lonely right now. Little creative projects like this have been saving me from losing my mind." Charlotte, who starred in the video for Gus Dapperton’s breakout hit “I’m Just Snacking” and counts The Flaming Lips’ Wayne Coyne as a fan, is certainly One To Watch for 2020.
