Frøkedal & Familien - Whiskey Fixx - Ashley Monroe - Portable Radio - Clara Jones - Carley Arrowood
Norway’s Anne Lise Frøkedal announces her third album ‘Flora’ and shares first single, the expansive sun-kissed indie-folk of SØN.
Previously known as simply Frøkedal, the new extended name Frøkedal & Family pays homage to the communal groove of the new album ‘Flora’ which was very much a collective affair. Anne Lise Frøkedal describes it as a record of “nature and awakening,” one that explores the human race’s inherent restlessness and ability to find connections, and through the alchemy of the album’s creation - with Anne Lise and her band playing for 10 days straight in the studio – the connection she desired was met with amazing results. An album full of songs created through the shared passion of playing together – an experience that was magical, organic, and intuitive with human connectivity at its very core. As Anne Lise explains “’Flora’ does not worry about being heartfelt and unfiltered. ‘Flora’ let loneliness and fear, hope and nature grow wild. It is the dream of the connection we all long for.”
Though originally from a small misty village on the west coast of Norway, Anne Lise’s musical background is one of well-crafted indie, she is part of the collective I Was A King and was previously in Harrys Gym. That full-bodied band sound sits alongside deep-rooted folk in ‘Flora’ creating a sonic experience of folk-pop with skyward eyes and insatiable grooves.
The first single SØN nods to Anne Lise indie heritage with its chiming guitar, described by Anne Lise as “a pop-protest” and a song that “turns its back on the light and conventions in pursuit of a new truth.”
Frøkedal has previously released two albums ‘Hold On Dreamer’ (2016) and ‘How We Made It’ (2018) via Propeller Recordings to much critical acclaim across Europe and America, securing fans in the likes of New York Times and Pitchfork. In the UK Frøkedal’s accolades include being named ‘One to Watch’ by the Independent and ‘Breaking Act’ by Sunday Times Culture, with glowing coverage across Uncut, The Line of Best Fit , DIY and CLASH - among many others. At radio Frøkedal has had huge support at BBC 6 Music with fans in Mark Riley and Lauren Laverne (Recommends).
‘Flora’ was written by Anne Lise Frøkedal but fully brought to life by Anne Lise and ‘the Family’– Olav Christer Rossebø, Ingeleiv Berstad, Erlend Ringseth, Elisabeth Mørland Nesset and Olaf Olsen. It was produced by Anne Lise Frøkedal and co-produced by Bård Ingebrigtsen who also recorded and mixed the record at Amper Tone. It was mastered by George Tanderø.
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Detroit Country Rock trio, Whiskey Fixx, have released their fourth single "Broken" premiering yesterday on ProCountryMusic.com, now available on all digital download and streaming platforms. Since the band’s first release in 2018, they have been nominated for Best New Song, Best Country Vocalist, Outstanding Country Artist Group, and Outstanding Country Band at the Detroit Music Awards.
Whiskey Fixx deftly incorporates every aspect of country gold, including a catchy melody, relatable lyrics, and more than a hint of melancholy into their latest single, “Broken.” Though upbeat, the single tackles some rather serious subject matter. The newly released ballad is an antidote for broken hearts stumbling through recovery. The song is a powerful anthem of the struggle to mend one’s heart after it is shattered, regardless of the sentiments about healing that are seldom solicited.
Rather than relying on typical country hallmarks, such as Silverados and star-filled skies, Whiskey Fixx successfully focuses on broken glass, bones, and hearts without utilizing the genre’s typical flair. Lead singer Heather Nicole’s velvet-soft voice is accentuated by strumming acoustic guitars and a decidedly unique set of lyrics.
Like any great, sad country song, Whiskey Fixx’s latest release can accompany a whiskey and Coke, a long drive out of town, or a night staring at the ceiling and questioning the what-if’s that led to the present moment of uncertainty. With mellow banjo, rock-infused guitar, and pitch-perfect harmonies, there's something for every taste. The message conveyed by the lyrics is one that listeners of all walks of life will find relatable.
Lead singer, Heather Nicole, says, "When I was writing this song, I was in a lot of pain. It seemed as if it was the situation I was dealing with was hopeless and broken. I feel that this song really has the potential to hit people. Everyone has heartache for some reason or another. We often hear people say their experiences made them better, but I don't know if people ever wonder why. I think this song digs deeper and makes you take a look at yourself and see the changes."
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The GRAMMY-nominated Nashville star Ashley Monroe announces her fifth studio album Rosegold which will be released on April 30 via Mountainrose Sparrow/Thirty Tigers. Today, Monroe released the video for the album’s first single "Drive," which was co-written with Niko Moon and Mikey Reaves, who co-produced the song with Monroe.
"I had this chorus and idea when I went in to write with Mikey Reaves and Niko Moon on September 10 (my birthday)," explains Monroe. "I told them my dad/other angels always send special songs on my birthday. It didn’t take long into the session until we knew we were on to a special one. I always imagine me singing this while driving on a desert highway."
Written and recorded over the past two years, the record finds Monroe pushing her sound in bold new directions, layering lush vocal harmonies atop dreamy, synthesized soundscapes and sensual, intoxicating beats. Rather than make demos of songs that appear on Rosegold, Monroe tracked and co-produced the album a-song-at-a-time, bringing ideas into writing sessions and inviting her collaborators — Nathan Chapman (Taylor Swift, Lady A), Mikey Reaves (Maren Morris, Needtobreathe), Jake Mitchell (Ashley McBryde, Luke Bryan), Jordan Reynolds (Maddie & Tae, Dan + Shay), Ben West (Maddie & Tae, Lady A), and longtime producer/co-writer Tyler Cain (who co-wrote "Has Anybody Ever Told You" with Ashley) — to help build and produce full tracks in the studio.
"Every move we made was instinctive," says Monroe, "but it was also intentional. I found myself wanting to see how drastic the change from a verse to a chorus could be, or looking for places where the beat could drop out and then give you chills when it comes back in."
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Heady power pop trio Portable Radio announce the release of their debut eponymous LP on March 12th 2021 on Crimson Crow Records. Lead track and first single Hot Toddy, out now, introduces the album with its ethereal brooding pop arrangement...
Hot Toddy is the first single from and first song on Portable Radio’s eponymous debut album. It is a statement of intent for the band, a power pop love song about wanting hope and happiness, which in these crazy times who wouldn’t want to fantasise about? The band wear their influences on their sleeves; Toddy being a reference to Todd Rundgren, whose penchant for melodic hooks and luscious multi-tracked harmonies are present throughout.
The trio - Phil Anderson, Mof Gimmers & Robyn Gibson, released the debut Portable Radio EP (produced by Jim Noir) in 2020 loaded with killer hooks, washes of dreamy harmonies, and just a shrinking of cynicism because no-one is impervious to the all encompassing weirdness of the last couple of years.
Beginning as a duo, Phil had cut his teeth in the Beep Seals and MOf was a DJ and student of pop; the two created a clutch of songs that were filled with uplifting, rich harmonies - stirring power pop inspired by Todd Rundgren, Wings, Carole King, Electric Light Orchestra and, of course, The Beach Boys.
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Clara Jones is a mainstay of the Montreal music scene, having played everything from JazzFest to Osheaga with the indy-trio, Motel Raphael. After nearly a decade of work, including two studio albums and two North American tours with the band, for the first time, Clara Jones is breaking out as a solo artist, with her single Ordinary Person, a deep and emotional examination of the human experience.
Clara Jones’s music asks honest questions about what it means to live in a world in transition. It taps into social anxieties and reckons with the fact that ordinary people are just along for the ride.
Clara Jones provides a space for everybody. Her country-folk background inspires deeper dives into her music’s subject matter, with a focus on lyrical depth. But, most importantly, her songs are fun and energetic.
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One of the most distinctive features of bluegrass is the way that an artist’s vocal prowess is frequently paired with instrumental virtuosity. Carley Arrowood fits comfortably in that mold, for while she’s a compelling singer, she’s also a powerful fiddle player who’s studied generations of bluegrass stylists and forged those influences into a style that’s all her own.
For her first Mountain Home Music Company single of 2021, Arrowood is offering her distinctive take on an enduring classic, “Ducks On The Millpond.” Though it shares its name with an old-time tune, this “Ducks” traces its lineage back to a 1975 recording by Kenny Baker, Bill Monroe’s longest-tenured fiddler and a member of the Bluegrass Hall of Fame. Even so, Arrowood’s version comes from a more recent example.
“I’ve been playing this tune since I was 15 years old,” she says. “Just a green bluegrass fiddler taking lessons with Bryan McDowell. He had my mom order all these albums by different fiddlers for me to listen to and study their different styles, and one of them was Aubrey Haynie’s Bluegrass Fiddle Album — still one of my favorite fiddle albums ever. ‘Ducks on the Millpond’ instantly became a favorite, and I remember trying to learn exactly what Aubrey did. When we recorded it, we made it our own by creating an arrangement of multiple split breaks, and I couldn’t be more excited about it! It’s so much fun, and I hope y’all enjoy our take on this great tune!”
With a stellar group that includes musical partner Daniel Thrailkill on guitar, five-time IBMA Banjo Player of the Year, Kristin Scott Benson, mandolinist Wayne Benson and bass player Paul Watson, Arrowood attacks the tune with a strong bow arm and vibrant tone in classic fiddle-and-banjo style before giving way to an intricate succession of handoffs from one player to the next. The result is a neatly kaleidoscopic unfolding that brings a uniquely elegant energy to one of the most popular tunes in the bluegrass fiddle repertoire. Coming on the heels of Arrowood’s first hit song, “Ducks On The Millpond” is a refreshing reminder that she’s not just a fine singer, but an instrumental force to be reckoned with, too.
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