The Felice Brothers - Jane Honor - Bethany Ferrie - Louie Short - The Wild Feathers - The Greeting Committee
The Felice Brothers have released “Silverfish,” the third song to be released from their forthcoming album From Dreams To Dust, out on September 17, 2021 via Yep Roc Records. They’ve also shared the official music video for the song, compiling found footage and micro insect video shot by James Felice himself.
“I found all the bugs in this video just walking around where I live or work,” James explains. “I have a lens that I attach to my phone, and I keep a keen eye out. Little in life brings me more joy than seeing a speck of something on a leaf or a sidewalk, getting in close and observing a little life unfolding before my eyes."
Rolling Stone described the album’s first single "Inferno" as “a swirl of blurry adolescent recollection and Nineties pop culture ephemera” and “...a promising taste of what’s to come.” The second single, “Jazz On The Autobahn,” received praise from Consequence of Sound, Cool Hunting, and was featured on NPR Music’s New Music Friday Playlist.
The Felice Brothers have also announced a US tour to celebrate the release of the new album. The tour will kick off on September 16 at New York’s Bowery Ballroom and will make stops in Los Angeles, Chicago, Washington, D.C. and many more. Tickets are on sale now. Find a full list of tour dates below and at TheFeliceBrothers.com.
From Dreams To Dust sees the continuation of the new lineup of The Felice Brothers that debuted with Undress, consisting of Ian Felice, who shares songwriting and vocal duties in the band with his brother James Felice, bassist Jesske Hume (Conor Oberst, Jade Bird) and drummer Will Lawrence. The album was written and produced by The Felice Brothers, and features Bright Eyes’ Nathaniel Walcott on trumpet and Mike Mogis, who mixed the album, on pedal steel.
The 12 songs that make up From Dreams To Dust follow the band’s tradition of opting to record in unconventional spaces, similar to their debut album which was recorded in an old theater in New York and their self-titled, which was recorded in a chicken coop. The Felice Brothers found their new recording home in an 1873 church in upstate New York that Ian renovated himself. Though the church had fallen into disrepair, it was Ian’s dream to acquire the property and renovate the 30x40 one-room church.
Jane Honor - There Won't Be Any Music.
Jane Honor is a 20-year-old singer/songwriter born and raised in New York City. When she was 18 years old, she moved to Los Angeles to pursue a music career and study music industry and songwriting at USC Thornton School of Music.
She has been singing and writing since 8 years old, and has performed at various venues including The Berklee Performance Center, Ashford and Simpson’sSugarbar, Prohibition, and the world-famous Apollo Theater.
Honor writes most of her songs herself, and her music is produced by Jed Elliott of the Struts. She combines modern indie-pop with timeless influences such as Fleetwood Mac and Regina Spektor.
23 year old singer/songwriter from Glasgow, Bethany is back with a brand new single following the release of 'Bones.'
'This Is Where I Leave You' is a song full of raw emotions and honesty. The songwriting and production lend to Ferrie's new sound that holds a maturity first displayed in Bones.
The track is the next single from the artist's upcoming EP yet to be announced.
==========================================================================Louie Short - What Can I Do.
The Toronto/LA-based artist, Louie Short has shared his new single, "What Can I Do" which arrives as a precursor to a full album titled OMW 4ev that is set for release later this year via 444%. Louie has always maintained the quote "the genre is songs" as a mantra for his music and "What Can I Do" and the forthcoming album follow this sentiment, arriving as the second installment of Short's sound trailing his 2019 debut, Cherry, Cherry.
“What Can I Do” has an interesting journey of its own. The song was written by Louie’s father Michael Short and an artist named BJ Cook in late 70s Toronto. It was recorded with the intent of selling it – possibly through BJ’s ex-husband David Foster (Ringo Starr, Mary J Blige) – but nothing came and the tape disappeared. 40 years later, in the process of clearing out the old studio, an engineer who had always liked the recording digitized and emailed it to the writers. His dad played it for him and Louie cut the record shortly thereafter. In Louie's words, he says "a good song never dies!"
Expanding further, Short says: "People are drawn to beginnings and endings, whether it be falling in love and breaking up, or emerging artists and artists passing away. Things in the middle of their life tend to be neglected. I think that this forgotten middle space is exciting and uncharted. It holds a certain poignancy because it doesn’t have the manipulative magnetism of creation and destruction, birth and death, to grab your attention. It just has itself existing."
Short's music arrives as a display of someone obsessed with the craft of songwriting. With a bio that previously stated, "he's not not trying to be Carole King", Louie is someone entirely focused on piecing together the best songs that he's capable of doing. Louie serves as the sole architect of the project, polishing his DIY instincts from songwriting through to mixing and drawing comparisons to Pavement, Alex G and Cass McCombs along the way.
==========================================================================The Wild Feathers - Ain't Lookin'.
The Wild Feathers have signed to New West Records and will release Alvarado on October 8th, 2021. The 12-track set was produced by the band and follows their 2020 career-spanning odds-and-ends collection Medium Rarities. Formed in 2010, The Wild Feathers have released three critically acclaimed studio albums, one live record captured at the historic Ryman Auditorium, and toured with Bob Dylan, Willie Nelson, Bob Seger, and more.
After a major tour with Blackberry Smoke was rescheduled due to the COVID-19 Pandemic last year, the group hunkered down in a small cabin northwest of Nashville in VanLeer, TN. Using the confidence gained from self-producing three new songs found on the Medium Rarities compilation, The Wild Feathers decided to keep things in-house, producing themselves, which was a part of the hard-scrabble work ethic that got them their success in the first place.
For the first time without a fancy studio, the band were confident and calm during the process, which cohesively allowed the sound to be exactly what they felt like instead of having to answer to anyone. Knocking out 14 songs in just four days, they bonded over barbecues and beers and there was a warmness that hadn’t been present since their early days. This relaxed approach is reflected in the laid-back nature of the songs featured on the stellar Alvarado.
The Greeting Committee - Float Away.
Kansas City-based band The Greeting Committee announce the release of new album Dandelion, out September 24th via Harvest Records (BANKS, Donna Missal, Best Coast). Alongside the album announcement, the band release their emotionally revealing new single "Float Away" and its accompanying animated video – offering an up-close and unguarded look at the way depression warps our self-image.
Upcoming album Dandelion was produced by Jennifer Decilveo (MARINA, FLETCHER, Bat for Lashes) and mixed by Dave Fridmann (The Flaming Lips, Tame Impala). Anchored by a gorgeously airy vocal performance from frontwoman Addie Sartino, “Float Away” opens on a candid piece of confession: “Glad it’s raining so I don’t have to go outside and pretend I’m happy just to be alive.” The track unfolds in fuzzed-out riffs, frenetic rhythms, and incandescent textures as Sartino documents her inner turmoil with an intense level of detail.
“There’s a line in the chorus that says, ‘Stale rye, once an apple’s eye,’ which is a way of saying, ‘I used to have so much potential, and now I’m sitting here frozen, and I don’t know what to do with myself,’” she notes.
After slipping into a moment of anti-nostalgia (“Haven’t felt this since/Listening to the 1975 while getting high/In somebody’s basement party”), “Float Away” closes out with another bit of personal revelation: “Treading water’s getting harder/Don’t let me fall another martyr.” But despite its undeniable melancholy, “Float Away” embodies a strangely exhilarating energy thanks to the stormy urgency of The Greeting Committee’s sound and the pure catharsis of its uncompromising honesty.