Wy - Dorothea Paas - Sophia Fracassi - De Arma

Wy - Window.

Wy are a band strongest at their most vulnerable. The Malmö indie duo, Ebba and Michel Gustafsson Ågren, have showcased their musical skills across two albums, 2017’s Okay and 2019’s Softie which gained them recognition from KEXP, Line of Best Fit, NBHAP, Tonspion, CLASH and more as well as tours in Germany, Scandinavia and the UK. But what makes them stand out as a band is the raw, brutal emotion they capture in their music.

A Wy song at their best sounds like opening it all up, and letting the feelings flow where they will, letting the pain, anger, fear, hope and love steer the song. Those emotions are spun into the band’s skyscaping, cinematic sound, and turned into music that has a force behind it, a power that hits you, even when it's at its softest. And that power that illuminates the band’s songs is more present than ever on their new album Marriage which is out on May 7th, Window is the fourth single.

Marriage is the first record since signing to Rama Lama Records (Melby, Steve Buscemi's Dreamy Eyes, Chez Ali etc.) and the  sound of Wy moving forward and backwards at once. Leaving the more produced style of last album Softie behind, it turns to the simpler sound of their earlier work for music that’s rawer and sharper. On both the indie-rock and the pop songs of this album, there’s less between the listener and the heart of the song - this is music that’s very direct, both in theme and sound, with melodies that hit cleanly and leave nothing even trying to hide. It’s the work of a band that have grown into themselves and what they do, and making the strongest songs of their career.

That album, in a way, begins with a wedding. Ebba and Michel have been together since their schooldays, but a couple of years ago they tied the knot. The songs on Marriage have all been made since their wedding, and so in that sense the timing made it a natural title for a record that’s something of a scrapbook from the first two years of that marriage. But there’s also a deeper sense to it. Both in sound and theme, Marriage is more of a conceptual record than their earlier work. Ebba writes the band’s lyrics, and on the previous albums her themes were specific to her. 

But on this album, their relationship is at the heart of the songs. The lyrics have come from the experiences they’ve shared together, which they’ve then worked together into what they want to say, to each other and to everyone else.  “I have always written the lyrics”, says Ebba. “But this time they feel like our lyrics, and not just my diary set to our music. We've talked a lot with each other about what we want to say. About who we are and where we can find our place in the world. The title has been in place since we started, and that was because a lot of the songs revolved around our relationship since we got married. Not so much the relationship between us, but more about the internal conflicts that appear when you’re in a long-term, safe relationship, where you’re really sure about each other, but you’re not sure about yourself”.

The journey to the record has been a difficult one. The band started work on Marriage not intending to make an album. They went into the studio with the idea of making an EP, wrote some songs, but couldn’t quite nail what they were going for - the songs didn’t quite feel right together. So they went into overdrive, wrote a bunch more songs, and suddenly found themselves with over 20, and within those 20 what they realised was an album.

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Dorothea Paas - Container.

Beloved Canadian songwriter, Dorothea Paas is today sharing "Container", the latest single to be taken from her forthcoming debut album, Anything Can't Happen which is set for release via Telephone Explosion Records on May 7, 2021. "Container" follows off the back of the album-titled single which earned praise earlier this month from FLOOD, NPR, The Line of Best Fit (Song of the Day), Exclaim and more. You can listen to the new single here.

For over a decade, Paas has played her unique, prismatic style of folk songcraft for audiences across North America, and lent her talents as a guitarist and vocalist to artists including Jennifer Castle, U.S. Girls, and Badge Époque Ensemble. The songs on this album have been a long time coming, transforming through a near-infinite number of forms whilst being performed at house shows and in sold-out venues. All of this makes Anything Can’t Happen feel far more mature and complex than a debut album. It’s a statement of purpose, the next step in a decade-long process of artistic growth and evolution, and a bridge between the DIY style of Paas’s previous cassette releases and a more refined studio sensibility.

Recorded between Hamilton, ON, and Toronto, and mixed by Max Turnbull (Badge Époque Ensemble and U.S. Girls) and Steve Chahley, these songs bring a diverse range of musical influences into the conversation: inflected with the layered reverberations of Grouper, shot through with the piercing harmonies of the Roches, electrified with the searing energy of Sonic Youth. You can hear Neil Young in its surges of grittiness; Joni Mitchell’s Hejira in the album’s lyrics and Fairport Convention in Paas’s voice. The influence of Stevie Wonder – one of Paas’s greatest musical role models – is present too, in the album’s conceptual foundations.

"I think of many of my songs as "love songs about not being in love"," explains Paas of the warm, intimate new single, "Container", whose melody was inspired by Karen Dalton’s “Something on your Mind". “That song has such a home in the main chord,” she continues. "I wanted my song to have a sense of ‘home’ to continually re-center the stream-of-consciousness lyrics that take the listener around the spiral. The chords and vocal melodies wander, but we always return to the warm C chord to move us possibly toward some conclusion, or maybe ground us as we move further into the question."

"I can drift away from it, but I always have to return.” That coming-home is reflected in the lyrics in an unexpected way: “It’s a love song about anxiety and the lifelong relationship that I have with it. Will it ever evaporate, or is it mine forever? And then: Of course, it’s always going to be mine.”

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Sophia Fracassi - Wish I Never Met You.

Ontario based singer/songwriter Sophia Fracassi makes melodic, emotive and passionate contemporary pop with skill far beyond her years. 

Her music is heavily piano driven with vocals that draw on eleven years of voice training and an impressive mezzo soprano range. Almost as soon as she could speak, Sophia was singing. 

At five years old, she began performing for large audiences, and at nine years old she wrote her first song. Now, at just sixteen, she has the uncanny ability to create music that speaks to the experiences that unite us as human beings. 

Raw, honest and heartfelt, the listener is invited to share in the sentiment of each song and claim it as their own.Currently working in the studio to bring her songs to life, Sophia is on the cusp of promising future in Canadian music.

Sophia Fracassi · Wish I Never Met You

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De Arma - Illusions Of Love.

De Arma have released 'Illusions of Love' as the first single taken from their forthcoming album "Strayed in Shadows", which is slated for release on June 25, 2021. The Swedish goth rockers also reveal cover art, tracklist, and further details of their sophomore full-length.

De Arma comment: "We never had any serious intentions to write a ballad, but I guess that many might want to place this song into that box", remarks Andreas Pettersson. "It is simply a song about being delusional about love and the feeling of being in love with something that is actually not there. The longing for something that you wish for, but that will never appear. It is just love. For good or for worse."

Melancholy is a delicate matter. This haunting emotion can in one moment sting unbearably painful yet at other times even deliver a bittersweet pleasure to the afflicted. Yet there can be no doubt that this feeling permeates all of the songs on DE ARMA's sophomore full-length "Strayed in Shadows" in one way or the other. And while the Swedes shift musically in and out and between melancholic metal, gothic rock, shoegaze, and even post-punk, melancholy remains the duo's anchor point.

Although geography is often overrated in the interpretation of music, there is no denying that long winters' darkness high up North seems to have an effect on artists. Frontman Andreas Pettersson hails from Arvisjaur in the historic Swedish province of Lappland and drummer Johan Marklund lives in the the town of Skellefteå, which lies just across the Gulf of Bothnia to the west of the Finnish town of Oulo – home of such renowned brothers in melancholic spirit as SENTENCED and CHARON. The North is leaving a dark mark on its people.

On "Strayed in Shadows" the line-up has undergone a significant change. In the place of FEN and FELLWARDEN mastermind Frank "The Watcher" Allain, who sang on the album debut "Lost, Alien & Forlorn" (2013), guitarist and bass-player Andreas Pettersson, who founded DE ARMA in 2009, took over vocal duties as he already does in STILLA among other bands. This decision was partly caused by the extremely personal nature of his lyrics for "Strayed in Shadows". Those, who have followed the many bands and projects of this very creative Swede might be surprised by his vocal expression in the album, which is supported by the beautiful guest performance of Maria Oja on the tracks 'Illusions of Love' and 'Days Of Judgement' – a constellation inviting comparison with acts such as ANATHEMA and ANTIMATTER.

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Jesse Roper - Morcheeba - Aibai - FaB (Fitzsimon and Brogan)

Jesse Roper - Horizons.

Canadian rocker Jesse Roper is back with a charismatic, barn-burner of a single, “Horizons,” a first taste from recent sessions with JUNO nominated producer Gus Van Go (Arkells/Sam Roberts Band/The Stills) recorded at his Brooklyn, NY studio.

Van Go pushed Roper in new directions. Discussing he states, “Recording with Gus and Werner F was on a whole new level. They really cared where the songs were headed and that they ended up just right. Everything was broken down to the finest details and nothing was allowed to sit at just ‘ok’. It was all about getting the vibe right.” And right it is.

“Horizons” is an enigmatic track, inspired by a late night looking up at the stars. “I'd been sitting on it for about 3 years before I recorded it knowing I had a cool idea there but was really stuck with how to move forward with it,” Roper shares. “Sometimes these tunes don’t reveal themselves until they’re shouting back at you.”

At the heart of the track is Roper’s soulful, powerhouse vocals, propelled forward by pulsing percussion and undulating guitar. The layered production style lends to a mysterious, almost seductive, edge to Roper’s refrains; it tantalizes and charms, hooking the listener in.

The title of the track is no coincidence. It’s in reference to, “the endless expanse of something unexplained,” Roper explains. And it’s the perfect introduction to this new collection of songs in which Roper looks to stretch his musical legs and broaden his musical horizons.

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Morcheeba - The Moon.

Morcheeba share ‘The Moon’, the third single from upcoming studio album ‘Blackest Blue’ due May 14th 2021. Released on a full moon ‘The Moon’ follows on recently released singles ‘Oh Oh Yeah’ and ‘Sounds Of Blue’; the latter released alongside a striking video, while South London producer, composer and DJ Hector Plimmer took ‘Oh Oh Yeah’ for a deeper, chilled, electronic dive with his remix.

The Moon’ is a cover originally by Irena Žilić, a Croatian singer-songwriter. Ross fell in love with the song when they shared a bill in Zagreb with Irena and asked her permission to cover it. Skye added another verse to it and that is where the album title ‘Blackest Blue’ came from.

Talking about the track, Skye says; “it’s about following the light of the moon and tapping into its powerful luminous energy, harnessing it’s positivity to escape the depression and darkness.”

Pioneers of the British music scene, ‘Blackest Blue’ will be the band's 10th studio album in a discography that spans three decades. 2020 saw Morcheeba unable to tour or perform live, which gave Skye Edwards and Ross Godfrey “time to write songs and really get to hone them,” as Godfrey puts it. “There weren’t so many pressures so we could really take our time getting the songs right,” adds Edwards.

The result of this time is a refined 10 track album that fuses previous incarnations and sound of the band - such as downbeat, chill, electro-pop and soul - into one cohesive record that delves into the soul of the band’s genre-mashing musical heritage. As usual, the band didn’t approach the album with any pre-conceptions, and instead created an organic journey that represents everything great about Morcheeba.

Edwards’ lyrics are primarily focused on positivity and overcoming personal adversity that lies within. ‘Sounds Of Blue’, is a stunning cut that puts Skye Edward's sultry vocals to the forefront, floating high above an ethereal backdrop, and touches upon her recent free diving experience in Thailand and “my new found confidence and love of the ocean above and below,” says Edwards.

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Aibai - Aibai (E.P).

Aibai is a 23-year-old producer based in Minneapolis. Her songs are filled with ambient, cinematic soundscapes that create a daydream-like atmosphere. Originally focusing on making electronic music, the young musician has started to diversify her sound in her recent releases, exploring more of the alternative, indie and R&B realm. Inspired by electronic artists like Odesza and Flume, as well as indie/alt greats such as Clairo, Rex Orange County and Goth Babe, Aibai combines these two worlds, while giving it a unique flair of her own.

Aibai confides, “I decided to combine genres and make an indie electronic EP. This first single “Glow” is a perfect example of that. With the indie vocals of Des who goes by Swims, combined with my ambient music, I was able to produce the indietronica sound I was going for!” Sonically “Glow” is inspired by the outdoors and the feeling you get when you immerse yourself in nature. “Glow” features warm, laid-back vocals which shimmer atop the oscillating synths, while the layered harmonies resonate deep throughout your body. The chilled-out, slow-paced song emits an intoxicating, feel-good vibe that you can’t get enough of. Lyrically, the contemplative song talks about readjusting into single life and wondering what it will be like, now that your love has gone.

Gentle tugs on electric strings lay the mood and tempo, with incoming silky, cooling vocals from Colby Hansen in “More Than Friends”. The track has a laid-back, rippling essence of femininity with an indie/alt glow from the use of analog instruments. This track is a tad less electronic than the rest of the EP, but still contains an electro hint on the vocals and delicate production flutters, putting Aibai’s sonic stamp on it. The track narrates the fear of telling someone you like them more than friends, then suddenly realizing the hard-hitting, heart-breaking reality there is nothing more to the bond than being buddies.

“Feel Again” featuring Mønty C oozes a cinematic, indietronica aura. Along with ambient piano and soft claps are the looping electronic riffs and euphoric synths that enrich the intensity of the emotions. The song has lots of subtle builds, constantly uplifting you with vocal cries flooding the background of the soundscape in an affecting howl, dripping in feeling. The lyrical context written by Mønty C touches on regaining and rebuilding trust in a romantic relationship that is struggling to maintain its closeness.

“Open Up” is a gentle bubbling stream of warmth and radiance. Featuring breezy bass lines, an up-beat, gently bouncing beat, dancing, high vibe guitar and stunning dynamic pauses that carry much emotiveness. Swims opens up on the track about flowing through life, knowing it's ok to start over and that being vulnerable can bring much happiness. Each experience allows you to grow and build resilience, you will learn to understand that “all along you had the key.”

Overall, the EP is a delightful blissful experience. Aibai’s production on each track encompasses the beauty of raw instruments adding an electronic flame over the sound. Her soundscapes are dreamy, feminine and a beautiful escape into heavenly, soft, swirling sounds. The features across the EP all complement the delicacy of the instrumentation and it's clear that each track is emotionally charged and meticulously thought out to ensure the perfect yin and yang combo of indietronica.

Aibai · Aibai

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FaB (Fitzsimon and Brogan) - Dancing Partner.

With their latest album, "This Wicked Pantomime," the UK pop/rock duo of Neil Fitzsimon and Bee Brogan (FaB) have managed to hit the iTunes charts at home and abroad with no less than 3 singles. "A Toy For Juliette," released in late 2020 reached the top of the South Africa iTunes Rock songs chart, while second single, "Persuasion" hit the UK Top 50. With the release of a third single, "Dancing Partner," FaB have their highest charting UK hit at #17. The single features the talents of Elvis Costello's long-time drummer, Pete Thomas.

Neil Fitzsimon describes "Dancing Partner:" "The track is a tribute to all those New York bands like Blondie, The Ramones, and all those bands that played at the CBCG's back in the 1970s. It's about the rites of passage, that everyone goes through in the process of growing up, and that the dance floor can be one of the loneliest places in the world - a ritual that Bee and myself personally found terrifying!"

ABOUT FaB: At the crossroads where Bowie meets the Beatles and Elvis Costello meets The Smiths, you will find UK-based pop duo, FaB (Fitzsimon and Brogan.) Preferring to remain faceless in an industry that holds image in high regard, FaB have gone on to form a songwriting/production partnership that led to placement of their songs in Film and TV, including a USA Sci-Fi Feature Film. They also wrote a musical, Jack Dagger, which was showcased at the Greenwich Theatre, London for the Musical Futures Award. It was also showcased at the Bridewell and the Royal College of Music in London.

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Eivør - Renée Reed - Sweetlove - Deanna Faye

Eivør - Gullspunnin.

Faroese folk electronica artist Eivør has released a music video and new live version of ‘Gulspunnin’, lifted from her latest album ‘Segl’, out now. Produced by Lana Del Rey collaborator Dan Heath, ‘Gulspunnin’ is Copenhagen-based Eivør’s love letter to her childhood home on the remote Faroe Islands. ‘Segl’ - featuring appearances from Ásgeir and Einar Selvik of Wardruna - is the follow-up to Eivør’s widely-praised 2017 UK commercial debut, ‘Slør’, which triggered her debut on Later….With Jools Holland. Eivør soundtracked the latest series of Netflix/BBC flagship The Last Kingdom, and her music has previously been synched on Homeland & Game Of Thrones. The new video for ‘Gulspunnin’ is now streaming from here, with a new live version of the track also included on DSPs here.

With a title that translates from Faroese as ‘cocooned in gold’, the lyrics for ‘Gulspunnin’ were created as a poem written by Faroese poet Marjun Syderbø Kjelnæs. Speaking about the track - which arrives today alongside a music video directed by Icelandic visual artist Anna Maggy - Eivør says; The main inspiration behind 'Gullspunnin' came from a certain feeling I often get when I am back at home on the Faroe Islands. There is something intriguing about the light and foggy landscapes that creates some sort of nostalgic in between state of happiness and sadness -  a longing for something intangible. I wanted to reflect this feeling and a certain timeless state of mind in this song. The poem written by Marjun tells a story about the soul, forever travelling alone but cocooned in shimmering gold. I have been fascinated by Anna Maggy for quite some time. In her work I could sense this same mood that I was in when I created the song. For me she really gave 'Gullspunnin' a visual home. It was a very deep and empowering experience to create this piece alongside these amazingly talented women.

Eivør is an artist perfectly attuned to the savage vicissitudes of nature. Born & raised in Syðrugøta, a tiny community of just over 400 people on one of the northerly Faroe Islands, Eivør grew up surrounded by the windswept landscape of the North Atlantic, a backdrop that has deeply influenced the elemental electronica she creates. ‘Segl’ - Eivør’s ninth album, since releasing her debut at just 17 - builds on these motifs, exploring the journeys we undertake, both metaphorically and physically. The title – meaning ‘sail’ in Faroese – alludes to our desire for growth and direction, and the role of fate.

Eivør immersed herself in music from 13, fronting a trip-hop band after discovering albums by Massive Attack and Portishead. Gigs soon followed, held afloat in rowing boats, in a huge cave on the island of Hestur. At 16 Eivør quit school, moving alone to Reykjavik to release her debut album and pursue classical singing training. She has since won the Icelandic Music Prize, twice - the first non-Icelandic artist to do so. Such itinerant tendencies have bled into her music, ‘Segl’ no exception. “My creative process can be very chaotic and abstract, so I need to find the space to dive deeper into it and sculpt it,” she says. “After sitting on songs for a year or more, I’d go in and edit the melody or the lyrics. Sometimes the production too. The whole album is very much about change, so it’s quite apt.” Working closely again with composer/producer Tróndur Bogason (also her husband), the extra space allowed Eivør to explore programming and production more thoroughly than ever before, focussed on a free flow of ideas, and enriching collaborations.

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Renée Reed - Renée Reed (Album).

Lafayette, Louisiana musician Renée Reed releases her debut album via Keeled Scales. The 12-song album includes the songs "Out Loud" and "Until Tomorrow" that earned her early praise last year from Gorilla vs. Bear and The Wild Honey Pie, as well as recent singles "Neboj" and "I Saw A Ghost" and the gentle psych of the French single "Où est la fée."

The songs on Renée’s self-titled debut album chronicle a three-year period. These are songs about toxic relationships, seeing ghosts, ancestral baggage and blessings, and daydreaming about love. Renée describes her music as dream-fi folk from the Cajun prairies, and this, her album, as “a whole document of me coming to terms with myself and embracing who I am without reserve.”

There is a timelessness throughout these songs, a through-line to the past, and a deep mixing of influences into something hopeful and new:

for our bones, they belong to the country
and marigolds, we will hold in our hands
and we won't know what they don't understand

Renée grew up on the accordion-bending knee of her grandfather Harry Trahan, in the middle of countless jam sessions at the one-stop Cajun shop owned by her parents Lisa Trahan and Mitch Reed, and soaked in the storytelling of her great uncle, the folklorist Revon Reed and his infamous brothers from Mamou. She was surrounded by a litany of Cajun and Creole music legends, both backstage at the many festivals of Southwest Louisiana, and on the porch of her family home.

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Sweetlove - Goodnight, Lover (E.P).

Born out of a tsunami of grief and pain, Sweetlove's Goodnight, Lover is a portrait of an artist coming into her own.

In late 2017, Sweetlove was beginning to work on new material when she was faced with three devastating losses - her oldest friend, Matt, her long-time love, David, and her cousin, Teddy, all passed away within one year of each other. She funneled her grief into collaborations with writers such as Jay Stolar (Selena Gomez, Trevor Daniel, Aloe Blacc, G-Eazy, Demi Lovato), Evangelina, Zach Berkman/The Heart Of (Ron Pope), Garen Gueyikian, and Adam Tressler, resulting in a collection of songs about “grappling with loss, coming to terms with it, missing someone, wishing you had known you weren’t going to have more time, and how to find joy again.”

Sweetlove has found her own refuge in songwriting after years of helping others showcase theirs. She sang backup vocals for GRAMMY-nominated and Tony award-winning artists, paying dues on huge stages. The daughter of a preacher and a teacher, she grew up in California’s Simi Valley and experienced music as a natural part of life –– not as a pursuit or a practice, but an extension of just being. Now, after living in West Hollywood for the last 15 years, Sweetlove has drawn from her time sharing stages with superstars and that resonant voice that readied worshippers for interpreting tongues to create something that is entirely, beautifully hers.

Produced by Justin Glasco (The Lone Bellow), Goodnight, Lover puts Sweetlove’s twin devotions to her earthy pop and the people she loves on magnificent display. Written with Stolar, the title track nods to the bluesy swagger of Shelby Lynne as Sweetlove sings to a new lover, from a distance.

Sweetlove · Goodnight, Lover

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Deanna Faye - Reassure.

Metaphorically Potent & Engaging, Folk Singer/Songwriter DEANNA FAYE's “Reassure” Bears the Weight Behind Hardships of Love. Toronto-based indie folk singer-songwriter Deanna Faye poetically contrasts the light side of love and its inherent pressure with this, her new video for “Reassure.”

That latest to land from her breakthrough EP, Good To You, the song grapples with the concept of love — and how difficult it can be to grasp.

While the word, in and of itself, denotes feelings of joy and happiness, the reality behind such an emotion is that of balance; with balance comes weight, and “Reassure” exemplifies the beauty in the struggle in such a reflective way.

The instrumentation within the single instills a disheartening sensation, as the twang and reverb of the guitar march along with the pensive beat of the drums. This appropriately sets the tone of “Reassure,” as it’s a reflection of the stress and pain love can bear. Deanna Faye’s mellow and articulate vocals carry the metaphoric weight of her lyrics with innocence and conviction.

In terms of metaphors, the single is representative of Faye’s thoughts on the cycles of relationships, as well as the impulsivity of rushing into a romantic connection. She compares these experiences to pillars, in the sense that two people can pull apart yet still be close together by way of the weight they both share.

The weight, she describes, is structured around the intertwining of boundaries and desires.

“I'd been walking around the city and on hiking trails aimlessly,” she shares. “I noticed these tagged pillars that always stood out to me as being a cool piece of architecture. This is a song that illustrates the ebbs and flows. Ultimately, in a healthy relationship, the pillars still stand strong but they are always just the perfect distance apart to keep the structure sound.”

It’s been a reflective time for the emerging singer-songwriter, and the poignancy of “Reassure,” in its entirety, holds nothing short of that.

The video itself is vibrant. It revolves around a still of Faye’s face as it’s surrounded and augmented by soulful imagery that relates and reflects the song’s message. Interspersed throughout the video are live action cuts featuring the musician performing the song.

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SLUGS - Gunke - Gawain and the Green Knight - Shannon Dooks - This Is The Deep

SLUGS - I Could Do Better.

SLUGS is a four-piece alt-rock outfit out of Los Angeles comprised of singer/songwriter/guitarist Marissa Longstreet, Sarsten Noice (bass/vocals), Josh Beavers (lead guitar) and Dash Hutton (drums). Their influences range from Linda Perhacs with their melodic harmonies and tenderness to Thee Oh Sees with their high energy, spitfire performances.

SLUGS latest tune “I Could Do Better” got its title after enduring a flight from a poor choice of airline when the idea of I could do better humorously arose. Later working with a friend the song was written and developed at a time when exploring the journey of sobriety, where the lyrics took a deeper dive into the meaning. The song narrates wanting to find a way back to the blissful naivety of being a child, as well as the wonderful and complicated revelations and the highs and lows during the process of grounding. Longstreet shares, “I compared my carefree attitude as a child, finger painting an image of nothing, to the “I don’t care” attitude of my 20’s. I wrote this song as if it were an intervention on myself, and I was playing both sides. I wanted to find my way back to carefree innocence coming from a place of sinister repetition and complacency.”

“I Could Do Better” emits a reflective and experimental sonic appeal through its trippy, psychedelic feel. Somewhat woozy and chill, the song has subtle peaks and falls with wavering vocal melodies that metaphorically pronounce the verified range of emotions. Through jingling high-hats, rocking, rich electric riffs, twangy guitars and a range of percussion that has a softer, tropical sound, “I Could Do Better” is truly transcending. The vocals are soft and restrained, yet clear and powerful, adding to the juxtaposition of the feelings around the journey of going sober. Longstreet explains, “I think the theme is a voyage of floating in space, the big chaotic crash down and every small step after in getting grounded.”

SLUGS have been on tours with LP & The Districts and have opened for Jessica Lea Mayfield, Joywave, Lets Eat Grandma & The Mattson II. Having garnered acclaim from the likes of Refinery29, Live Nation’s Ones to Watch, American Songwriter and Earmilk, SLUGS are certainly an artist to watch in 2021.

SLUGS · I Could Do Better

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Gunke - Football.

‘Football’ is the raw, explosive second single from Glasgow based solo artist Gunke that discusses the anxieties of not fitting channelling that into a churning slice of head nodding energy and a chant along chorus that will resonate with so many that have felt socially outcast ("Football? Softball? I don't know the difference”).

It’s a passionate piece of punk fuelled indie rock that vibes on abrasive 90s alt-rock and early 00's guitar band sounds, creating a powerful energetic tone to counteract the disparate isolation behind the lyrics.

Gunke is the solo creative efforts of Luc Grindle (Dutch Wine, HEYUP, Moonsoup), which aims to bring out the brighter, more optimistic side of punk rock.

Taking strong influence from the likes of The Cribs, Yuck and early Bombay Bicycle Club hits, this is one sure to be left humming their tunes for days to come.

“‘Football' took a long time to mature as a song; four years of recordings in fact!

“I didn't really engage in sports growing up, so often felt out of my depth when conversing with friends who would talk about last night's game or whatever; I made the chorus with football chants in mind as way to a kind of counteract that notion.

“I took a lot of inspiration from The Cribs during the writing process, a lot of their fans are football lads, despite the band having no interest in the sport, I found that quite fitting to pay some kind of homage to.”

‘Football’ was written by Luc Grindle, Melissa Brisbane and Jack Boyle. Performed, recorded and mastered by Luc Grindle. Mixed by Melissa Brisbane. Video was filmed by Christopher Devine. Edited by Luc Grindle.

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Gawain and the Green Knight - In My Dreams, a Perfect Chair.

With the release of “In My Dreams, a Perfect Chair,” Gawain and the Green Knight announce their upcoming EP, A Sleeping Place, out June 11, 2021. The new single exemplifies the duo’s “literary folk” stylings, filled with allegory and inspired by mythology, or, as they put it, “folk for people who like to listen to music while pacing mournfully yet poignantly through the streets, pretending they’re the protagonist in a very beautiful film.” Listen HERE.

“In My Dreams, a Perfect Chair” offers a deep dive on insecurities, centering around a woodworker’s apprentice who feels inadequate because they can’t make anything good enough. Vocalist/guitarist, Alexia Antoniou, wrote the song as a metaphor for her own writer’s block, and multi-instrumentalist bandmate, Mike O’Malley, and the EP’s drummer, Derek Swink, created woodshop inspired sounds to immerse the listener in the story, mimicking sandpaper and hammers. “It’s strange to think of artists in the past being full of doubt, anxiety, self-loathing. Because the art remains but the process is so rarely documented,” Antoniou observes. “But of course, those emotions had to be all tangled in the artistic process, no matter what time we’re talking about… right? I think anyone who has ever sat down to make a thing can relate.”

Partners in life as well as in music, Antoniou and O’Malley were due to be married in the fall of 2020. Like everyone, their plans were waylaid by the COVID-19 pandemic. Finding themselves isolated, surrounded by insecurity and fear, they felt an urgent need to capture these songs that felt of the moment. “Even before all of last year happened, the fact of our own mortality always felt present, impossible to get away from, really. I think there must be something biologically in human brains that tries to make you forget it so you can function, and the part of you that remembers your mortality and the part that makes you forget are always going at one another,” says Antoniou.

Inspired by the etymology of the Greek word for cemetery, which simply means “a sleeping place,” the duo created a collection of songs that sits comfortably in the deep, sometimes dark, parts of the subconscious, arranged in such a way that you remember why life can be so joyful in the first place, its tempo anything but sad. “I think of this EP as a love letter, full of desperate affection, to anyone who has ever been alive and been scared to die,” Antoniou continues. “Death is loud, but it doesn’t mean you were never heard.”

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Shannon Dooks - Doubts.

Ahead of the release of her new album, Do It Again, Shannon Dooks, lends her supple voice to its earnest and heartfelt lead single, “Doubts” — available now!

When a once-thriving connection turns dubious, acknowledging the signs can be a tough experience — and “Doubts” says it all. Everything from the innocent piano intro to the mellow rhythm sections that follow, the arrangements send the notion of a fond farewell wrapped in a melodic package.

The message within is signed, sealed and delivered by Shannon Dooks’s harmonious and smooth vocal style. As light as the single sounds, the weight within the lyrics denotes a tipping point in a crumbling relationship. According to the Toronto-based artist, “it’s that feeling of constantly putting in effort into the relationship and each broken promise is that much more devastating as it goes on and then you finally reach a breaking point.”

The introductory lyrics in the first verse of “Doubts” perfectly summarizes the singer’s insight: “Don't write, don't text, don’t call, don't do anything at all.” Further reinforcing the message are the closing lyrics of the first verse: “You tell me go, you tell me stay, you tell me leave, but don't tell me what I should believe.”

While Shannon Dooks is known for writing her own songs, “Doubts” was penned by Toronto-based internationally-renowned songwriter, Rosanne Baker Thornley. The single was intended to be a submission for film and television spots, however the voice of Shannon Dooks was found to be a perfect vessel for the tone of the single.

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This Is The Deep - Glass.

East London 7-piece psych pop collective This Is The Deep have released their new single "Glass", along with the announcement of their debut EP 'The Best Is Yet To Come (Part 1)' - out May 21st via B3SCI Records.

Over the last two years This Is The Deep have quietly established a cult live following through support slots with HMLTD, PVA, and Family Time, as well as their own sold out cross-over events at venues such as Windmill Brixton, Moth Club and The Shacklewell Arms, combining immersive art and video installations with live performances from acts including Sinead O'Brien, Opus Kink and Baby Vanga.

Debut EP 'The Best Is Yet To Come (Part 1)' out May 21st is a stunning 7-track introduction, with new single "Glass" an inarguably captivating invitation into This Is The Deep's mysterious world. Utilising a sample of a dramatic reading of Humpty Dumpty, the track brings together a cacophony of horns, pounding drums and squelching synths - all written, recorded and produced by the band at 'The Sauna', their HQ in Hackney Wick.

Speaking on the themes at play on "Glass", the band said: "The song is about the idea of falling and the feeling of something foreboding happening as the result of over-reaching. There are different ways to interpret the lyrics; they can apply to the excesses of late capitalism, our unbalanced position with the natural world, as well as a relationship between two people.The focus on falling and impact could also be seen to be a metaphor for a human position of being in some way always falling towards something, some conclusion or unknown destination. Maybe ultimately the fall is part of what we are, as Buzz Lightyear says maybe we're not flying but ‘falling with style’."

The track's engrossing video was directed and animated by the band themselves, and follows a muscled action-man in a dystopian CGI city who gets sucked into another world through his TV.

"It's kind of a retelling of Humpty Dumpty but instead of an egg there's this bald muscly action-man figure and instead of falling and cracking he gets sucked into another world through his TV", the band nonchalantly explain, going on to say..."He falls into a plasticine Loony-Toons inspired landscape haunted by a mysterious cowboy with pop-corn eyes where pop-corn clouds hang in the sky. We're interested in working with the tropes of visual media and popular culture and how they affect the way we perceive and ultimately construct the world. David Greaber's quote that 'The ultimate hidden truth of the world is it is something we make and could just as easily make differently sums this up for us pretty well."

What started out as late night recording sessions between flatmates Ranald Macdonald, David Bardon and Oscar Robertson - quickly spiralled into This Is The Deep’s carnivalesque troupe of seven musicians. Drawing as much from artists such as Suicide, Death Grips, and the scores of David Lynch and Ennio Morricone, as from the glittery pop-disco of the Scissor Sisters, This Is The Deep consists of post-punk royalty Susie Honeyman (Mekons) on fiddle, Sammy Silue on guitar and vocals, Ranald Macdonald on synth and vocals, Hannah Tilson on trombone and vocals, David Bardon and Oscar Robertson on bass and drums, with electronic drums and percussion from Liam Toon.

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Braids - Lazerine - Third Lung - Sam Lapro - Loretta Querceto - Matilda Lindell

Braids - Slayer Moon.

Fresh off the heels of the release of DJ Python’s “Young Buck” remix, which saw support by Pitchfork, BBC 6Music and more, Braids is thrilled to reveal today two brand new songs titled “Slayer Moon” and “2020.” Recorded during the sessions of their last album Shadow Offering.

The band shares their inspiration behind the songs: “'Slayer Moon' is inspired by a Sailor Moon phone case I bought in Tokyo, at 3am while on tour in Japan. Growing up I was obsessed with Sailor Moon, particularly with the ability to magically transform from a normal girl into a full-on mystical and powerful Sailor Scout, battle-ready to combat the evil forces of the world.”

“What a deal, legs with more potential than my life”

“Sailor Scouts have the longest legs ever drawn - so long that I drew a parallel between their immaculate legs, and our frenetic modern minds, lost in the ego abyss of the infinite scroll.”

“I can’t figure out my life blood, what should I prescribe to?”

“‘2020’ was written sometime in 2017, after a long period of being alone – in an abstract sense of the word – while reaching for fleeting physical closeness. I was with friends, but my heart was lonely and longing for companionship, my body confused with the unfamiliarity of new and shallow encounters. I had been meditating a lot during this time 'tracing a line through the centre of my body' – a process of inward-looking that I veer towards when I take the time to sit. I titled the song ‘2020,’ in 2020. Revisiting the song's lyrics through the eyes of our present reality struck a chord with me. I felt as close to the song as when I had first written it. I find that I am asking myself similar questions while in this pandemic, without my friends, my family, my familiar structures.”

“I am of all things, love and hate. Placing the pieces of myself, hopefully, without judgment, without bitterness. To not knowing, who I am entirely. Who am I, without them? Who am I, without you, in my life?”

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Lazerine - I Felt Fine Today

Lazerine is a London based song recording project based around some ideas of mine that have been coalescing for awhile. Our new single, I Felt Fine Today, is due for release on 26 March 2021 via FUGA. Our previous releases are available on all Major Platforms.

Lazerine are: Sean Dempsey Vocals, Keyboards, David Kraft Drums, Bass, Rhythm Guitar, Viola, Violin, Vocals, Chris Evenett Guitar, Bass

I think I should say for avoidance of confusion, including my own, that Gene Lazerine is not real but he has a purpose. When these songs started to come along I could feel that they were from somewhere I'd never spent much time in. I also felt I couldn't ignore them.

Since the songs come from another place, I've attributed them to a distinct "other". It's a bit of mental trickery on myself as much as anything to keep things focused. For as long as it's happening.

So now, thanks to the talents of my co-creators, we of Lazerine invite you to tune in and sooth your weary soul.

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Third Lung - I a Fire.

Third Lung. Emotive, Evocative, Enchanting. Pensive, Powerful and Passionate. Their music continues to capture and inspire, gathering increasing support from Fans and Critic alike. With past praise and compliments flowing from the likes of The Steve Lamacq BBC 6 Radio show, Amazing Radio and The BBC Introducing Team. Always memorable Live. 

Third Lung have performed across the UK. With some notable highlights such as THE GREAT ESCAPE FESTIVAL and CAMDEN ROCKS FESTIVAL.The 4 Piece Power House from Reading, UK long to earn your ears and charge your minds in this exciting new chapter.Third Lung are Sam Waugh - Drums, Rob Jacques - Bass, Cams Jurasek - Lead Guitar/Backing Vox, Tom Farrelly - Lead Vox/Guitar. Each Member with a distinctive Musical heritage, the band draws from a wide variety of influences. 

“It wasn't always Indie Rock music that interested me” says Cams, “My Dad, Austrian born, had a passion for Jazz music. Jacques Loussier trio and Eugen Cicero were just a few of the vinyl she would play late at night while he sunk into his thoughts over a Whiskey” 

Sam’s fascination with Groove. “I started playing drums when I was 12. I had a heavy dose of Motown and blues when growing up, and my love for funk has had a massive impact on the way I play. My favourite recording artist is Chaka Khan and My most influential drummer is Dave Garibaldi from Tower of Power.”

Rob remembers, “My first encounter with my mind being blown musically was when I was 6”. “Mr Angel came into our assembly and tore up cello, pretty much shredded on it. I then spent 2 years learning the cello but the classical music wasn’t cutting it anymore. Especially when you’re 8 and listening to Led zeppelin and Queen.”

For Tom, “There was always music in the house. Mum loves Music. Bruce Springsteen, Fleetwood Mac, ABBA, QUEEN, Simon and Garfunkel, ELO, Bob Dylan, Eva Cassidy and on and on...Dad Loved music too. Luke Kelly, Johnny Cash, Elvis Presley, Glen Campbell, The Fureys, The Chieftains, Charlie Pride, The Dubliners. My parents actively shared their love of music and favourite artists with us”

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Sam Lapro - You Still Need Me.

Sam Lapro (she/her) is a Toronto-based singer-songwriter that knows how to string together the right words to draw the emotion out of and connect with her listeners.

Her soul writing gives the listener an opportunity to know her on an intimate level as her songs represent experiences she has had throughout her life so far.

SAM LAPRO · You Still Need Me

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Loretta Querceto - Eternal Sun.

Sun is the essence of human existence. Without it, we are nothing. To me, "Eternal Sun" means an infinite presence that will carry me throughout this life.

My new song is an affirmation to myself stating that I am self sufficient. I have reached a place in my life where I can confidently say that I have developed a love within myself that can carry me throughout the rest of my life.

I was in a very dark place for the duration of my adolescent and adult life. Now I know that in this moment, I am out of that place and entering a new chapter.

Born and raised in Johnston, Rhode Island, minutes outside of Providence, Loretta Querceto is a 20-year-old student at Berklee College Of Music where she is studying music business and production.

Loretta has been independently writing, recording, producing, and releasing original music since April of 2020. Her released work to date has centreed around the genres of indie and alternative rock with jazz and lo-fi influences. Loretta is a multi-instrumentalist with a primary focus in guitar, self taught from the age of 10.

Loretta Querceto · Eternal Sun

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Matilda Lindell - Dancing Queen.

Matilda Lindell has released her idyllic cover of ABBA’s classic hit, “Dancing Queen.” The experienced singer puts her twist on the legendary disco track by adding vulnerability and a fragile sound. “Dancing Queen” is being released in honor of Women’s History Month and is now available to download and stream on digital platforms worldwide.

Matilda Lindell’s rendition of “Dancing Queen” goes beyond the happy lyrics and upbeat groove. “My version is about female empowerment and encouragement,” Lindell says. “Through the struggles, we need to believe in ourselves and also support each other. A celebration to women!” The track is a perfect complement to Women’s History Month and International Women’s Day. Lindell creates an almost filmic tone allowing listeners to set their minds free and embrace a new experience. 

“The familiar melodies are discovered in a new way,” she adds. “The essence of the original song is there, but I have created a new perspective, and I hope, a new emotional journey for the listener.” Powerful vocals intertwined with an emotional effort to capture the listener pose a level of relatability in “Dancing Queen.” It’s raw and genuine. Lindell created the updated arrangement for the single, while she co-created the string arrangement alongside Erik Arvinder, whose father played violin on the ABBA original. The song was co-produced and mixed by Andrew Lipke at The Studio Lounge in Philadelphia, PA. A music video for “Dancing Queen” will be released later this month.

Matilda Lindell was born and raised in Stockholm, Sweden. It was singing that made her most happy early on in life. “I have been singing since before I could talk,” Lindell admits. “I have always expressed myself through music, singing, and performance. I have never had anything else than a singer in mind for a profession.” At the age of 26, Lindell began touring the United States as one of the principal singers in the tribute act “ABBA THE CONCERT.” 

She has performed at various venues, including The Hollywood Bowl in Los Angeles and Wolf Trap Performing Arts Centre just outside of Washington D.C. She’s also had one of her original songs nominated for CARA (the A cappella world’s Grammy equivalent). Lindell’s time on tour sparked the desire to create something personal for herself as the classic songs became such a monumental part of her life. Her upcoming EP is a fascinating deep dive into ABBA, and includes interpretations of a selection of ABBA songs that have brought special meaning to her over the years. With a solo EP, It Should Be Easier (2017), and a handful of original singles already under her belt, Lindell continues on her journey as a solo artist.

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Charlotte Spiral - The Weeping Willows - Renée Reed - Natalie D-Napoleon

Charlotte Spiral - Out Of Here.

Dark-alt pop duo Charlotte Spiral impressed with their debut EP Ideal Life in February 2020, garnering widespread critical acclaim, a Union Chapel show in support of Alice Boman, a Rough Trade Recommends showcase, and support from BBC 6 Music. A year later, they’ve teamed up with Speedy Wunderground’s Dan Carey (Kae Tempest, Bat For Lashes, Sia) once more for their evocative new EP, New Light. Confronting and examining loss, escapism, dissatisfaction and comparing oneself, the EP will be released on April 9th.

Today, the duo share a new track ‘Out Of Here’ which was co-produced with Dan Carey over Zoom during the first lockdown. The song addresses a recurring situation that breeds a longing for escape - “There is something about doing things over and over again in a monotonous way that makes a situation feel worse than it is, and I wanted to portray this throughout the song,” explains lead singer Amy Spencer. Sombre piano and laidback rhythms surround luscious vocals which build towards the track's powerful chorus. Here, the song’s ultimate message becomes clear as the decision is made to break an unhappy cycle and focus on taking control of one’s own destiny.

Charlotte Spiral is a collaboration between Amy Spencer and Avi Barath; two musicians that have been involved in multiple projects respectively before coming together to form the duo. Having met at Goldsmiths, the pair connected due to their mutual love of artists such as Rufus Wainwright, Julia Holter, Moses Sumney, Yann Tiersen and Beach House, and their inherent desire to write music that is lyrically driven and built upon organic piano melodies.

The group’s debut EP Ideal Life confronted themes of self-hood, self-doubt, yet ultimately self-belief. The lead track, ‘Wide Eyed’, was produced by Charlotte Spiral and Dan Carey, evincing vocals that are lush and nostalgic, soaring above ethereal piano and polished production. The release garnered widespread praise from the likes of The Sunday Times, The Line of Best Fit, Music Week and BBC 6 Music, amongst others.

Charlotte Spiral · Out Of Here

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The Weeping Willows - Black Crow.

Fresh from the red carpet of Tamworth’s CMAA Awards, where The Weeping Willows took home the 2021 Golden Guitar for Instrumental of the Year (for previous outing ‘Prelude’), partners in life, love, and song Andrew Wrigglesworth and Laura Coates delve into darkness once again with brooding new single “Black Crow”. Encroaching doom never sounded so sweet.

Shivering with misgiving, “Black Crow” finds its murderous protagonist inescapably fixed by the penetrating gaze of the titular bird – harbinger of his inevitable fate at the end of a rope. Bleakly arresting, it’s yet another unmissable taste of The Weeping Willows’ long-awaited third studio album.

About the song, The Weeping Willows said, “We’ve always been drawn to the more sinister, ‘Gothic’ side of Americana music that harks back to early blues, as well as Bluegrass and ‘mountain music’ traditions. Writing Black Crow allowed us to delve deeper into this sub-genre”.

Rooted in ageless country-folk tradition, “Black Crow” deploys the most urgently up-tempo picking in The Weeping Willows catalogue to date: acoustic and slide guitar rippling like the surface of an inky tarn disturbed by a smoking gun or bloodied knife. It’s also eloquent proof that Andrew and Laura’s celebrated vocal harmony is as exquisitely suited to fatalistic tales of murder as it is to a delicate love song.

Recorded, engineered and mixed by Ryan Freeland (Justin Townes Earle, Tift Merritt, Bonnie Raitt) at Los Angeles’ storied Stampede Origin Studio,“Black Crow” thrills with all the dark storytelling majesty of The Weeping Willows’ critically acclaimed second album Before Darkness Comes A-Callin'. That album netted the duo four-star reviews from Rolling Stone, The Australian, and The Music, and confirmed The Weeping Willows as Australia’s foremost vivisectors of the human condition and the shadowy forces that bind us to the earth.

The Weeping Willows · Black Crow

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Renée Reed - I Saw A Ghost.

Lafayette, Louisiana musician Renée Reed shares the video for "I Saw A Ghost" from her self-titled debut album out this Friday, March 26, 2021 via Keeled Scales. The dark stop-motion video was painstakingly created by Joseph Howard and Emily Curran.

About the video, Renée says: "I’ve always had a fascination with stop-motion animation and puppetry. I’ve also long-admired Joseph Howard’s work, so I was thrilled when he took up the task of bringing this video to life. The lyrics of the song dance a thin, blurry line between literal and figurative, and Joseph and his partner Emily captured the essence of that beautifully with this video. It’s so evocative. Each time I watch it I see something new."

About the song: "The song is on one hand a story about seeing a ghost, but the 'ghost' also refers to myself dealing with disappointment and sadness from a multitude of sources, and learning about myself as I get through it."

"I Saw A Ghost" follows the intricately finger-picked folk of "Neboj," the hazy psych French single "Où est la fée," and the spell-binding earworm "Fast One."

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Natalie D-Napoleon - Thunder Rumor.

For an Australian singer-songwriter entrenched in the traditions of folk/rock and Americana music, not only did writing her latest album on the front porch of her 100-year old California cottage give Natalie D-Napoleon the time and space to create You Wanted to Be the Shore but Instead You Were the Sea (due out March 26, 2021) but also the passing world served as a poignant muse.

“I sat there and wrote and wrote and wrote,” explained Natalie. “Sometimes people stopped and listened to me playing, mainly parents with kids. Guys walked up and asked what guitar I was playing. But mostly folks ignored me and kept walking. I really liked watching the world go by, offering up song ideas, while I plugged away on my instrument and sang.”

The view from her porch also gave Natalie a new perspective. “All my life I've written ‘personal’ songs.” Natalie continues. “I’ve tucked myself away and poured my emotional life into music, yet I discovered after a while it burnt me out. It wasn't always a well that was nourishing, but one that began to drain me emotionally.

“As the songs began to flow, a theme emerged — I was telling stories of women that passed me by. But these were stories that aren’t commonly told in song. Women have long been the muse in song-writing but it’s been a very one-dimensional view. Rarely have our complexities been portrayed — I wanted to change that.

“Second Time Around” is a song about the wisdom that comes with starting over and “No Longer Mine” enthusiastically celebrates the resulting liberty from ending a relationship while “Wildflowers” is a rustic front-porch song. “The songs did not come without work,” Natalie is quick to add. “But this time I decided to feed the songbird within me. I gave her water and seeds as you do to any living creature you want to keep coming back to visit.”

It wasn’t always easy going. A songwriting session in Taos, N.M. with American folk icons Eliza Gilkyson and Mary Gauthier ended in tears when Gauthier pushed Natalie to her creative and emotional breaking point.

“Mary suggested a song I played wasn’t personal enough and that I was skirting around telling the story,” she recalled. “I broke down as 25 years of grief and disappointment came to the surface. That night I howled as loud as the coyotes outside our cabin in the New Mexico desert until the early morning. I had decided I was finished with songwriting, but the next morning I picked myself up and went back to the workshop. I had dedicated too much of my life to the craft of songwriting for me to give up now.  Later that same day I wrote ‘Mother of Exiles,’ a song inspired by Emma Lazarus’ poem at the foot of the Statue of Liberty celebrating America’s embrace of immigrants — immigrants just like me.”

Through that experience Natalie found a poignant poetry in the face of adversity, which she channelled into her writing. “Thunder Rumor” is a haunting exploration of one of the most dangerous times in many women’s lives — when they decide to break free from an abusive relationship; “Reasons” explores the emotional rollercoaster of losing an unborn child; and the album’s title track is an exploration of childhood trauma and the lifelong scars it can leave.

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Jiants - Aaron Burdett - Career Boy - The Rose Petals

Jiants - Some Kind of Loser.

Learning to let go of internal and external pressures is a continuous learning process. Our new track, "Some Kind of Loser," was born out of a rough day in the studio that was followed by some upcoming shows falling apart in advance.

I was half joking around thinking about how much time and energy I was spending obsessing over music stuff and feeling like a bit of a dork. I think everyone can relate to that in some way. But that's when it dawned on me that sometimes you might just have to learn to enjoy the rollercoaster because I knew that I was always going to continue making and sharing music, regardless of the results.

This is a song that lets our pop freak flag fly. Committing to the addition of strings with the help of Drew Jurecka took the song to another level. Truth told we both know we're in the wrong.

As much as "Some Kind of Loser" is about charting your own path, these lyrics reflect on how it would ultimately be beneficial learning to work together and respect each other’s paths.

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Aaron Burdett - Arlo.

If Aaron Burdett’s last single, “Loser’s Bracket,” was a bluegrass-friendly slice of wry wit, his new Organic Records release serves notice that the western North Carolina singer/songwriter has as fine a touch with a more sombre portrait, too — this time of an aging factory worker looking back over his life.

“Arlo” is a well-crafted, emotionally convincing piece of collage sourced, says Burdett, from real life conversations that have taken place over a decade or more. “Years ago, I used to drive down to play the open mic night at a place called Eddie's Attic in Georgia,” he recalls. “It was a weekly event, and I'd go down every 6 weeks or so. I'd work on my chops and mingle with other writers in one of the premier songwriter venues in the southeast. Among the semi-regular performers those evenings was a songwriter named Arlo, and although we haven't seen each other in person for probably 15 years we've kept in touch and still talk every week or so. We wax poetic about music and songs and audio gear and guitars or any number of other oddball subjects. He's not exactly the character in this song but he is a character in his own right.”

“Almost every line in the song, ‘Arlo,’ is something he said to me directly, verbatim,” Burdett continues. “I've twisted the meaning and implications of the phrases to suit my vision for the narrator in the song, but the words more or less came from real life, from a real live Arlo, over the past 10 years. We'd talk, and afterwards some sentence he said would stick with me so I'd write it down on the ‘Arlo’ sheet. Eventually this song fell out of that collection of phrases and snippets of conversations. Goes to show that you should be careful when you're being clever around a songwriter, you may hear something you recognize in the next draft.”

“Wish I could go back and do it again without the stress, just the happiness” is this Arlo’s desire, with gentle yet insistent backing from Burdett’s regular trio members Daniel Ullom (mandolin) and Kim France (upright bass, harmony vocals) and empathetic fiddle work from Mountain Home Music’s Carley Arrowood — and by the time Burdett’s stoic, resigned voice finishes this closing refrain, it’s likely to have inspired a similar wish among its listeners, too.

Syntax Creative · Aaron Burdett - "Arlo"

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Career Boy - Scam Jam.

Influenced by artists such as Sleaford Mods, Dry Cleaning, Fontaines D.C., Shopping, Viagra Boys and Bodega to name a few, Career Boy brings to life a unique vision and sound that is strongly their own.

Thematically your ears will find some parallels between the group and seasoned acts such as the Beastie Boys and Cake. Tonally, they will remind you of more contemporary bands like Bodega, Beastie Boys and Viagra Boys. Career Boy's sound is driving and sweaty; imagine yourself in a mosh pit on a tiny venue in the Lower East Side of Manhattan with the adrenaline rush of a late Friday night. Their music is both self-aware and light-hearted bringing in the best of both worlds.

When it comes to the lyrical inspiration for their songs, it's often based on their rejection of what they see as the "traditional job-oriented approach to life" that the modern-day U.S. prescribes. Overall their musical philosophy is grounded in the belief that less is more. "The songs are written with a focus on drums and bass with guitar coming in mostly as an accent. The goal of the instrumentation is to take traditional rock tropes (guitar riffs, excessive soloing, etc.) and either remove them completely or use them ironically, usually to underline a thematic or lyrical point within the song," shares the group.

Career Boy's sound came about because the group wanted to express specific feelings about society and the way they were living their lives. This goal helped to form their instrumentation and songwriting. From there they were able to really hone in on what they wanted their music to sound like....and you'll be eager to hear more.

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The Rose Petals - Military Man.

American Grenadine (April 23rd, 2021), the debut record from Los Angeles post-Americana band The Rose Petals, has been over a dozen years and thousands of miles in the making.

The Rose Petals is fronted by songwriting partners Peter Donovan and Elijah Ocean, who first met in 2008 when Donovan moved from L.A. to Portland, Maine, where Ocean was living at the time. The pair bonded over their shared love of Bob Dylan and The Beatles, and they quickly set to work writing songs and emulating their shared role models of Lennon and McCartney, with Donovan on lyrics and Ocean on music.

What emerged between the duo, though, was less Beatle-esque and more like a continuation of the thread of jangly guitar-pop created by The Byrds and carried on by the likes of R.E.M., Gin Blossoms and Band of Horses — uniquely modern American music infused with tinges of the past.

While Donovan and Ocean spent countless hours writing together, it wasn’t until 2016, when, after a few more cross-country moves, Donovan added another 3,000 miles to the bill when he embarked on a road trip with the goal of visiting every U.S. President’s gravesite. Originally having set out to write a book, Donovan instead found himself with pages of lyrics. On the road without a guitar, he sent the lyrics to Ocean, who had since moved to Los Angeles.

“I’d be holed up in some cheap motel in Buffalo, New York or Abilene, Kansas writing about dead presidents,” said Donovan. “Meanwhile, Elijah was in sunny California, taking my words and turning them into these wonderful pop songs.”

By the time the trip was finished, the duo had a whole new set of tunes. After 12 years and thousands of miles, it was finally time to make a record.
Donovan — who has worked with members of Death Cab for Cutie and Portugal. The Man through his Seattle-based Americana project, All the Real Girls — and Ocean — whose 2018 single, “Down This Road,” made Rolling Stone’s list of the top 10 best country and Americana songs of the week, alongside the likes of Miranda Lambert and Nathaniel Rateliff — rounded up bassist Zach Jones (The Everyday Visuals, SPOSE) and drummer Curran McDowell (Jamie Wyatt, Jade Castrinos) and headed into the studio.

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