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| Photo - Daniel Silbert |
Between July 2020 and July 2021, more than 1.2 million people left the nation's urban centers and moved to the suburbs – one of those people was actor/director/musician Adam Goldberg who moved from LA to upstate New York. Now, under his moniker The Goldberg Sisters, he’s releasing his new single “The Great Resignation” and its accompanying music video that chronicles that experience.
The warm psych-rock track features background vocals from Abigail and Lily Chapin of The Chapin Sisters and comes from his upcoming LP When the Ships of My Dreams Return, releasing on February 20. Already, Atwood Magazine praised the “eerie, Beatles-tinged new single” as “...a sharply observed portrait of American unease still unfolding in real time,” saying, “There’s a lilting, McCartney-esque ease to its melody, paired with a high, delicate vocal that recalls the lush intimacy of John Lennon’s solo work in the ‘70s.”
“This is one of those rare songs wherein the idea for the song came to me before any of the musical elements,” shares Goldberg. “While our fleeing from Los Angeles to the Hudson Valley in New York, where my wife grew up, was more a byproduct of my work, we did opt for living outside of the city in part because of Covid and because I may have overidealized the concept of a simpler life. What I didn’t expect was the culture clash that awaited us in our particular neck of the woods.”
He continues: “It seemed fitting to ask our friends Abigail and Lily Chapin of The Chapin Sisters who also moved back to their hometown, to add some vocals. It was Lily, in fact, whose house and incredible vintage recording studio we visited years before we had any inkling about leaving LA, that got me thinking: Hmm…”.
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| Photo - Simon Weller |
Danny George Wilson will release his new album 'Arcade' on 20th March via Loose Music. 'Distant Seasons', the first single to be taken from the album, is released this week. "It’s a song about an imagined return. There’s a wonderfully melancholic string section and arrangement (by producer Hamish Benjamin), which is something of a theme throughout the album. As is the case with the new album, it’s about losing people, time & place. Sonically, it’s both rootsy and experimental…a kind of altered earthiness”.
'Arcade' finds Danny George Wilson returning to Hamish Benjamin’s studio in East Sussex - five years on from his startling, post-lockdown solo album Another Place – to construct its sequel. With Lewes-based Benjamin and right-hand man Henry Garratt, again given free rein, 'Arcade' presents a fresh collection of sonically inventive, deeply romantic songs, with atmosphere taking primacy over meaning, and narrative dissolving. As Wilson tells it:
“The songs are about the ways we deal with losing people, time, place, or don’t deal with it… Looking back, we discover what was always there, or things that are just easier to ignore - different and contradictory perspectives. And I wanted a chance to work with Hamish and Henry again, and this seemed like their thing, and it was”.
Traditional instrumentation meets technology; the majority of tracks feature a string quartet, while Benjamin and Garratt employ synthesiser and mellotron along with a plethora of guitars. Gerry Love again provides backing vocals with cameos from Emma Tricca and Annie Dressner. Fragile, tender, full of uncertainty, ultimately 'Arcade' is a song-cycle in which the premise of each track subverts the previous, and demonstrates most assuredly, we still move in doubt.
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| Photo - M. Coleman |
Jont's first single of 2026, "The One I've Never Met Who I Long For," arrives as a contemplative, gently defiant song about longing, inner peace, and the stories we tell ourselves about love. Wry, passionate, and deeply human, the track examines the myths we inherit and the freedom that comes from stepping outside them. It accompanies Jont's announcement of his forthcoming new album, Walk Right Through, set for release on May 15th, 2026.
The song opens like a classic love story: vivid imagery, a magnetic gaze, the familiar promise of romantic rescue. But Jont upends the narrative in one soft but devastating line – Do you see this picture that I love to draw… of the one I've never met who I long for? What follows is a meditation on the myth of "the one," the cultural conditioning that keeps us searching outward for completion.
"We carry a myth of love around with us. It's so handy (no responsibility!) and so utterly false and disempowering yet we believe it," Jont reflects. "True happiness lies outside of me. Repeat that. Let it sink like the deepest ink into your soul so that it can never be rinsed out. That is what lifetimes of conditioning have done. That is what we hand down to each other and is the lie we gorge on each day."
Instead, the song points to a quieter, more grounded kind of wholeness: the bliss of being settled in yourself, the strange joy of lying awake and feeling fully alive, the satisfaction that asks nothing and proves no one is missing. Is the narrator singing about the contentment of self-discovery or about a more mysterious, spiritual connection? "Is there a double meaning?" Jont asks. "Is he actually happily staring at the ceiling feeling connected to something so much more because he has actually finally met and returned home with 'The One I’ve Never Met Who I Long For'? I'll leave it to you to decide."
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