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| Photograph by Magnolia Ellenburg |
The Wildmans will release Longtime Friend on July 11, 2025 via New West Records. The 12-song set was produced by Nicholas Falk (Hiss Golden Messenger, Dori Freeman) and recorded by Chris Bittner at Applehead Recording in Woodstock, NY. Longtime Friend’s sound itself is at the sonic crossroads of Americana, Alt-Country, Bluegrass, and Folk with the brother-sister duo of Aila and Elisha Wildman being joined by Dori Freeman, Jeff Hill, Sam Leslie, Sam Fribush, Redd Volkaert, and Nicholas Falk as well.
Not far from the tiny town of Floyd, Virginia, surrounded by the Blue Ridge Mountains, is the childhood home The Wildmans. A veritable hotbed of bluegrass, old-time, and mountain music, Aila and Elisha Wildman have been immersed in the rich, vibrant music scenes surrounding them for as long as they can remember. As kids, Elisha picked up the guitar and mandolin, while Aila reached for the fiddle. They became enamored with their instruments, which parlayed itself into a presence at regional festivals and also winning numerous renowned competitions around Southern Appalachia. Both recent graduates of the prestigious Berklee School of Music in Boston, Massachusetts, The Wildmans’ Longtime Friend showcases both their musical virtuosity and the interlacing harmonies which are specifically unique to siblings. The sound itself takes the essence of their intricate musicality in the bluegrass and old-time realms and slides that into more contemporary tomes of Americana and indie-folk.
One of the albums highlight is “Autumn 1941.” The Wildmans said, “We first heard the song when co-writers Roger Brown, former Berklee College of Music President, and Mark Simos, Berklee songwriting professor, brought it to us. They thought we would connect to the story being from our region and this being a part of Appalachian history not often told. It immediately sparked interest. Different versions of this story of eugenics prove to be true across Appalachian regions and more largely other minorities throughout American early-mid 20th century history. Our good friend, Dori Freeman, who is singing the background vocals on this track, told us she had read a book about this same movement in Virginia and communities like Floyd, our hometown. We felt we could take this song and make it our own. Once we got into the studio with it, the song just flowed and out came a haunting authenticity we hadn’t yet discovered in our music.”
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| Photo - Sophia Schrank |
21-year-old Washington State-based artist Mollie Elizabeth reveals her third track “Until We Meet Again” via Neon Gold / Virgin Music. Mollie Elizabeth notes: “I think we all have people that we only truly get to visit in our dreams- whether it’s ones we’ve lost through life or love. I find it beautifully devastating to know that our minds will continue to hold them in our hearts and in our souls, even if only a silhouette.”
“Until We Meet Again” is produced by Dean Reid (Lana Del Rey, Marina) and co-written with Reid and GRAMMY-nominated Casey Smith (Olivia Rodrigo, Ashe, Benson Boone). The dusky amour of “Until We Meet Again” is Old Hollywood glamour through and through. Mollie perfumes her music with a rare kind of chic, one that comes with a winking self-assurance and a genuine sweetness.
In January, she first introduced herself with her first viral song, “Vegas Venetian”. Elizabeth adds: “To me, every melody is a tiny world that invites you in—an invitation to be both fierce and delicate, and to celebrate who you are, who you have been, and who you are becoming. My music isn’t just for listening—it’s for wandering, for imagining, and for finding a piece of yourself in a place you’d forgotten.”
Last month, she revealed her second track and a perfectly matching music video (dir. Maya Sassoon) for “Dinner For One”, produced by Dean Reid (Lana Del Rey, Marina) and co-written with Reid and GRAMMY-nominated Casey Smith (Olivia Rodrigo, Ashe, Benson Boone).
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| Photo - Jim Tannock |
Flying Nun Records are very pleased to welcome noir folk artist Jazmine Mary to the whānau! Their album, 'I Want To Rock And Roll' is out digitally and on black vinyl LP on 13th June.
'I Want To Rock And Roll' is Jazmine Mary's third album, following on from the critically acclaimed, 'Dog' (2021) and the award-winning 'The Licking of a Tangerine' (2021). Recorded at Tāmaki Makaurau's Roundhead Studios by De Stevens, the upcoming self-produced album features musical contributions from some of Aotearoa's greats: Louisa Nicklin, Cass Basil (Tiny Ruins), Cello Forrester (Womb), Dave Khan (Marlon Williams) and Arahi.
Possessing one of the country's most esteemed and idiosyncratic folk voices, Jazmine Mary's new single 'My Brilliance' showcases their crystal clear vocal abilities that sit atop their signature rhythmic changes; a wonderfully bright, folk gem. Flying Nun Records couldn't be more stoked to have Jazmine aboard our train.
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| Photo - Maggie Geis |
Unapologetically genuine, wry and soft-hearted, Mariel Buckley has planted her flag firmly as a songwriter who’s in it for the long haul. Never one for following the rules, she aims to find herself squarely on the fringes and exactly where she belongs: writing songs for the underdogs. Raised in the heart of Canada’s rodeo and country music scenes, she was destined to challenge the boundaries around her, both in life and in song. With a fearless spirit that’s consistently broken through both genre and personal barriers, Buckley’s unique blend of angst-driven alt-folk has made her a standout artist, offering a fresh and dynamic perspective on modern Americana music.
Her latest single, “Vending Machines”, marks the beginning of a new sonic and individual chapter. While familiar, darker instrumentation and themes are sprinkled throughout. She shares: “I was itching to try something a little heavier than my previous stuff. I wanted to move away from synths and keys in general, citing references from indie rock, pop music, and alt-country.” An avid admirer of his work, Mariel connected with Nashville based alt-Americana producer, Jarrad K (Ruston Kelly, Lucie Silvas, Fancy Hagood, Goo Goo Dolls) for the new single.
Despite having grittier undertones, the writing is intentionally vulnerable and specific, resulting in something inviting and universal. “Vending Machines” explores themes of self-doubt, uncertainty, and questioning one's path. It beautifully captures the feeling of restlessness and being in a constant, seemingly cyclical state of transition, unsure of where things are headed, and trying to find a way forward. Buckley confides, “I was genuinely questioning my career, personal life as a result of that career, my distant-feeling relationships with family and friends, and how I could restart after yet another big change. It should feel looping, liminal and never ending, like an endless travel day.”
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