Showing posts with label The Catenary Wires. Show all posts
Showing posts with label The Catenary Wires. Show all posts

Friday, 3 September 2021

The Ninth Wave - The Catenary Wires - Adna - Yes

The Ninth Wave - Piece and Pound Coins.

Glasgow's The Ninth Wave release new single "Piece and Pound Coins", a new taster of their next full length body of work, due 2022.

A compelling piece, "Piece and Pound Coins" was produced by the band themselves and mixed by Max Heyes (Massive Attack, Doves, Lucia & The Best Boys, Primal Scream). Amidst a distinctly chilling atmosphere, rolling piano lines weave their way through chugging percussion with the track standing as a stark examination of grief and loss.

Speaking on the release of "Piece and Pound Coins", singer Haydn Park-Patterson said: "I wrote this song about a friend who passed away a number of years ago. I’ve never really felt like I wanted to/could write about him for a number of reasons, but I guess the main one was because that for a long time, I wouldn’t have known what to write. Writing about death is a world away from writing about heartache/love/friendships because there’s nobody to listen to the song and wonder “is that about me?”. It’s a strange feeling, to write a song about someone that you know can’t ever hear it. 

The song also touches on the thought of wondering what he’d be up to now, 5 years on in his life, and how weird a thought it is that we’ve all continued on with our lives but his had a start and end point, and that’s it. No more memories to be made. The song also lets out a bit of confused anger that I felt not long after he passed, as I watched how a few people reacted to his death and the way in which they talked about it. That’s the meaning behind the line 'death makes some people sad and some people ugly / and some people took your name for their own sake'. I like to think that he’d like the song, as he was one of the most supportive and positive-minded people I’ve ever had the pleasure of knowing."

The track is released alongside a stunning video directed by Rianne White. She commented: "I feel completely in awe of this song and Haydn’s ability to frame such an immense feeling. Embraced by the catharsis of nature, the heights of grief and identity are expressed through a journey of Haydn’s internal growth accompanied by a symbolically poignant lone wolf. I like to think of Hayden and the wolf as one, both finding their way back to their truest states of being with wild untamed hearts of companionship and eternal loyalty. "

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The Catenary Wires - Always On My Mind.

Taken from their acclaimed album Birling Gap, The Catenary Wires’ new single is accompanied by a brand-new video. The Catenary Wires combine Amelia Fletcher and Rob Pursey (both ex-Heavenly, Talulah Gosh) with Fay Hallam (Makin’ Time) Andy Lewis (The Paul Weller Group, Pimlico) and Ian Button (Death in Vegas, Papernut Cambridge).

'Always On My Mind' is a track for late summer.   It’s a love song full of warmth and emotion.  An old photograph taken on a late summer holiday transports us back to a perfect moment when a relationship first started.  But there’s bittersweet regret in there too.   In the photograph, the sun’s rays were still warm, but they were getting longer; the colder Autumn evenings weren’t far away.  Did the relationship survive the winter?  And now, is it that person in the photo the one we are still in love with, or are they long gone – leaving us with just a memory embedded in a faded old picture?

The song and the video are celebrations of the fact that The Catenary Wires have evolved from a duo into a five-piece band, where everyone contributes to the rich instrumentation and the blissful vocal harmonies.  The video was filmed by all five members of the band, taking it in turns in the practice room – the first time they’d all been together since the start of lockdown.

 

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Adna - Darkness Born in Youth.

Following on from the release of her stunning 2017 full-length ‘Closure’, an album which was lauded across numerous outlets, Swedish-born but Berlin-based singer songwriter Adna has now unveiled the details behind her next LP ‘Black Water’ with the release of her latest single ‘Darkness Born In Youth’.

Much like her work to date, ‘Black Water’ sees her channel a rich and ambient direction, filled with warm and textured aesthetics. With her smooth and seductive voice layered over a heady mix of bright and enticing production, her latest collection looks set to become one of her most praised to date.

Adna’s latest offering follows on from the unfiltered emotion of ‘Don’t Know’, giving us a clear insight into the understated balladry that we can expect on this forthcoming full-length. Conjuring up more of the raw and poignant direction she is known for, ‘Darkness Born In Youth’ spotlights her soulful presence. Recorded in one-take, the track is accented by softly plucked guitar and her trademark soaring vocal.

Speaking about the new release, she says, “It’s hard not to sound pretentious about it, but this is really just a very honest improvisation that I recorded for my own memory in case I would forget about it. The title refers to the sensitivity I often find myself thinking of as a burden… I guess most people have had to end relationships, wishing it could have been with someone else instead.”

To date, Adna has made three beautifully woeful albums; 2014’s ‘Night’, 2015’s’ Run, Lucifer’ and the album ‘Closure’ in 2017. Supporting ‘Closure’, Adna played a packed Eurosonic showcase in 2017 and toured throughout Germany, UK, France and Scandinavia in the months since its release. Adna’s music has had more than 50 million streams on the large DSPs, and has had her melancholic, lo-fi work compared to the likes of Bon Iver and Daughter.

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Yes - Dare To Know.

Yes, who are Steve Howe, Alan White, Geoff Downes, Jon Davison and Billy Sherwood, recently announced they will release their new studio album The Quest on InsideOutMusic/Sony Music on 1st October 2021. 

The album was produced by Steve Howe. "Much of the music was written in late 2019 with the rest in 2020. We commissioned several orchestrations to augment and enhance the overall sound of these fresh new recordings, hoping that our emphasis on melody, coupled with some expansive instrumental solo breaks, keeps up the momentum for our listeners,” said Steve.

Steve Howe comments: “Dare To Know presents a guitar theme played within many different arrangements, with different chord structures and altered textures. The 'idea' mentioned in the first verse gets described later as an awakening to the subtle goings on within our bodies and mind, all geared to nature's scheme of things, all fluctuating and rearranging according to the principles of life, as we know it. The centrepiece leaves the orchestra alone to elaborate and develop the way the theme is heard, then augments the closing minutes of the song as it rests, with an acoustic guitar cadenza.”

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Friday, 4 June 2021

Samantha Margret - SYBS - Jessiquoi - Sweet Crude - The Catenary Wires - Roscoe Roscoe

Samantha Margret - The Party.

Singer-songwriter Samantha Margret has released her spirited and carefree new single “The Party.” Mirroring old Hollywood glamour with a flirtatious demeanor, the track rings of seductive musicality. With subtle chirps of saxophone combined with hoppy lyrics, Margret delivers a playfully canny and sophisticated piece of music with a music video soon to follow. “The Party'' is now available to stream and download on digital music platforms worldwide.

“It’s so easy to get drawn into what everyone else thinks is cool or trendy, but that’s not really how we find joy,” says Samantha Margret. Finding affirmation on her own, “The Party” was written after Margret feared losing her voice and writing music for others instead of her own creative joy. Feeling a similar pressure, writer Juliette Reilly joined Margret in their first session, and “The Party” became a song about finding their own power and enjoying it even in the face of the judgement of others. “I don’t have to go to the party; I AM the party,” she states.

Produced by Samantha Margret and John Caviness, the song is all about doing your own thing in the face of expectation. The horns were recorded live to create a striking twist, and the song’s synth energy and gripping effects on the background vocals bring it to life. Originally jam-packed with tongue clicks and unusual percussion, Caviness took Reilly and Margret’s vision for a slow bridge and turned it into a unique, synth-horn lovechild. A product of her own vocal production, the arrangement and effects for “The Party” originated in Margret’s home studio. Once in production, the artistic touch of mixing engineer, Yang Tan, created the sparkle the single needed. The lead vocal overlaid with spoken words on each chorus makes for beautiful chaos where the spoken vocals overlap and split off from the descending melody. “Where the lyrics and sound collide, the vocals communicate a feeling and communicate power, joy, and fun,” says Margret.

Hailing from San Francisco, Samantha Margret is a songwriter, artist, and producer. Her music seeks creativity and originality while delivering authentic storytelling. Margret’s soulful ballads showcase the inspirational power of the female voice, with gripping lyrics about mental health, acceptance, and love. Her upbeat pop songs don’t shy away from a good time, and the diversity in singles shows her unique and captivating sound. Reminiscent of artists like Julia Michaels, Marian Hill, Sara Bareilles, and Andra Day, Samantha Margret blends unparalleled production with raw and intimate lyrics creating a fresh, fun, and original style.

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SYBS - Llygaid.

‘Llygaid’ is an exhilarating change of pace for a band whose adrenaline fulled anthems have made them one of Wales’ most exciting acts. Here Osian (Singer / Guitarist) and the band take us down a more reflective, jangly and at times bucolic and beautifully melancholic road.....plus it has Tubular Bells on it, an EXTRA reason to love it unconditionally!!

Osian explains the background to ‘Llygaid’: “I wrote this song during my first year of Uni, and was definitely a change of pace for me writing wise. A lot of the songs I was writing at the time where very dancey and energetic so it felt good to do a song that was more inward looking, and the lyrics definitely reflect this and generally encapsulate those last few weeks of my first year in uni.

It’s really weird listening back to this one because we recorded the final bits and bobs literally a day before I went home for lock down, a little over a year ago, which makes it even more nostalgic to me. Hopefully I’ll get to make some more memories playing this song live very soon!”


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Jessiquoi - Popstar.

Somebody help me ‘cos I wanna be a pop star! - With an unusual mix of satirical lyrics, pop-production and dark sound design on her new single Popstar, Jessiquoi examines the tribulations of all musicians willing to do whatever it takes to make it big in the music business.

"I wanted to slow down and remind myself not to take everything too seriously" says the artist. The result is a catchy and humorous take on fame-culture.

Jessiquoi is not exactly what you’d expect to emerge out of Switzerland’s underground. An Australian/Swiss producer, composer and performer, her live set looks and sounds like it belongs in futuristic Shanghai ca. 2048. Combining raw, physical energy and dance-driven beats colliding with audacious rap and resonant vocals, Jessiquoi won Demo of Year and Best Electronic at M4Music Festival, Zürich 2018. After well received performances at Gurten Festival and Zürich Openair, she progressed to international showcases in New York and mainland Europe and released her first album in October 2019, which included the award winning single The Sentry.

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Sweet Crude - Saint Patrick Park / Vertige.

New Orleans-based sextet Sweet Crude have shared two songs as part of the second installment of the band’s Dualité series. The series features double A-side singles - one in English the other in Louisiana French - released as a pair. The second installment includes “Saint Patrick Park” and “Vertige.”

“This song is named after the greenspace and baseball field in Mid-City, New Orleans,” says singer Sam Craft on “Saint Patrick Park,” “which has served as an outdoor escape from confinement for so many in the neighborhood over the last year and change. With a nod to 60's and 70's orchestral pop, Saint Patrick Park deals with the so-close-but-so-far-ness of COVID and is entirely in English. Alexis leads you in with ‘Is it just me or is there a wall where a window should be?’ and takes you on a bittersweet journey from there.”

“Vertige is French for 'vertigo' or 'dizziness', as in what happens to you when you are blindsided by crimes of passion,” explains Craft. “ In the chorus, I sing: ‘C'est pas ma faute, c'est bien la vot' si je vous garroche dans le bayou’ which is a little bit of local vernacular French for ‘It's not my fault, it's yours, if I toss you in the bayou.’ Vertige is a gritty, minor-key rhapsody and has a home in a Bond film based in Louisiana.”

“Tours? Nope. Money? Broke. Launch a blitz of bilingual bangers in 2021 because we can? Putain ouais (hell yeah, and pardon our Louisiana French),” says Craft on the origins of the Dualité series. “Through confinement and a lack of gigs, we’ve steadily built up a loyal Patreon following with whom we’ve been streaming and chatting on a regular basis. They’ve been inspiring us to keep going and to write like crazy. We show them brand new ideas, they give us feedback, and we are now self-producing and self-recording a whole new body of work for approximately zero dollars. Dualité is the result, or really the start, of this new frontier. We remain dedicated as ever to creating new avenues to celebrate our Louisiana roots.”


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The Catenary Wires - Face On The Rail Line.

A bit about the track / video from the band: "Face on the Rail Line" is set in a world where virtual connection is increasingly replacing physical connection. But where, all too often, the signal is unreliable.

It’s a love song at heart. The ‘face on the rail line’ is one of those icons on location apps – in this case an app tracking someone you desperately want to see. The icon inches its way along the line on the screen, but then disappears as phone reception is lost.

When we first played the song to the rest of the band, everyone started singing harmonies. It was impulsive, and very moving. We’ve tried to capture that feeling in the recording.

The video was made by Rob and Amelia.   It’s a kind of collage: quite abstract and mostly about shapes and textures. But there are phones and rail lines, and if you look closely, you can see Birling Gap in the background!

Indie pop comes of age. The Catenary Wires feature Amelia Fletcher and Rob Pursey, once of Heavenly and Talulah Gosh. These early bands, once denigrated for being ‘fey’ or ’twee’: the wrong kind of female, have been re-evaluated in recent years. Their songs, apparently sweet and fizzy, were always smarter and darker than they seemed, while the band were radically independent, and an influential part of the movement that became riot grrrl.



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Roscoe Roscoe - Jacobs Ladder.

With their explosive debut single, “Brain Retrieve” released during the height of 2020’s pandemic-tarnished summer, East London based five-piece Roscoe Roscoe return with their dreamy new single “Jacob’s Ladder,” out on Slow Dance / Missing Piece Records. MXDWN said the song “astutely mixes synth-driven modern indie pop with classic psychedelia.”

Psychedelic music has existed in many iterations, and Roscoe Roscoe are the latest to emerge from the prolific UK capital, initially noticed by many for their BBC televised performance at Glastonbury in 2019 despite having no released music. Guitarist Jacob Muna wrote the music for “Jacob’s Ladder,” “in a matter of minutes while I was playing around on the guitar watching TV. It almost wrote itself.” The simplicity and natural flow of the track is a merging of influences - the melody recalls The Beatles, updated with hazy dream pop and glimmering shoegaze. When frontman Charlie Read Clarke added lyrics and verses to the arrangement, it became apparent that there was something special there.

“The process between the very first idea and final form was a lot quicker than normal,” and the track is somewhere between a lullaby and an anthem, as celestial as the title implies. It was the obvious choice for following their debut, showcasing the band’s spectrum of sonic capabilities and serving almost as a counterpart to the heavy burst of “Brain Retrieve.” With warm, floating synths, feather-soft vocals and glowing guitars, Jacob’s Ladder reaches out like a caress, pulling us from lockdown and into a summer of love. It connects immediately.

The band met at The Brit School (following in the footsteps of Black Midi, who also formed there) and came together through a shared love of 60s counterculture and psychedelia. Rather than sheerly revivalist, however, their music comes from being part of a generation who have been able to take non-specific and widely drawn sources via the infinite bank of the internet. Other influences the band have cited include avant-pop groups Stereolab and Broadcast and there are evident echoes of Wand, Tame Impala, and Crumb in their music too.

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Saturday, 17 April 2021

Gillian Stone - Robinson Kirby - The Catenary Wires - The Highway Women - Ashley Monroe

Gillian Stone - Shelf.

Gillian Stone is a Toronto-based multi-instrumentalist whose work has been described as “a mix of Black Mountain, PJ Harvey and Weyes Blood” (PhotogMusic). Her songwriting draws from post-rock, art-rock, folk, minimalism, and ambience. Born and raised on Vancouver Island with Icelandic heritage, Stone channels the influence of outer landscapes in her inner lyrical worlds and soundscapes. Her music is often the product of processing her darkest emotions, particularly those related to shame, depression, addiction, self-doubt, and loss. She juxtaposes these themes with textures that range from tender to explosive in order to produce a singular sonic environment.

Stone’s debut release, “Bridges,” was described as “a dark and beautiful song; a song of many textures” (Monolith Cocktail) and “achingly vulnerable” (The Joy of Violent Movement). Her new single, “Shelf,” co-produced with experimental cellist Michael Peter Olsen (Arcade Fire, Haim, The Hidden Cameras), is a droning lullaby that explores feelings of alienation and dissociation after a trauma. The video for “Shelf” is Stone’s directorial debut, filmed in collaboration with Toronto filmmaker John M. Hall.

Stone holds a BFA in Jazz Studies from Vancouver Island University and an MA in Ethnomusicology from the University of Toronto. Her vocals and playing have been featured on projects by Alli Sunshine (FORCES), The Fern Tips (Beams, Ace of Wands), Völur (Blood Ceremony), and Althea Thauberger. She has performed in several notable festivals, including NXNE, Canadian Music Week, Open Ears Festival, In the Soil Arts Festival, and the Victoria International Jazz Festival.

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Robinson Kirby - Find a Way.

Breezy Canadian folk-rock duo Robinson Kirby are off to “Find A Way” when it comes to lost affections in this, their heartwarming love-quest of a new single and video. Freshly pressed from their 2021 seven-track album offering, Little Dreams, the rhythm section of “Find A Way” instills a sense of beautiful calm, reminiscent of a gentle stream while the satiny vocal tones send the listener floating through the song with a feeling of warming assurance.

The song features a graceful, echoey twang of the electric guitar, and its solo, along with the slide of the lap steel, tie the instrumentation together seamlessly. These elements combined create a serene audible flow that contrasts the turbulence surrounding the song’s theme based on the uncertainty of lasting love. Love may be blind, but we can always find our way through. These sentiments are suggested by the lyrics: ‘I don’t look at you the same, since we played the losing game, but I will try and find my way.’

With that in mind, “Find A Way” is a song about revelation, and what we uncover both about ourselves as well as our loved ones during times of uncertainty amidst emotional strife. The overall message is relatable, as those who have felt love dwindle in the past have oftentimes found themselves questioning who they are, what they could’ve done differently and, perhaps, making peace with the circumstance by accepting that their counterparts' hearts may no longer be aligned with mutual perception of love.

‘Lay me down beside what happened here, wasn’t my love bigger than your fear,’ brings about the suggestion that it may come time for one to accept that, despite their best efforts, the love given may not always be the saving grace we’d like it to be. When it comes to the single, as well as the Toronto-based band’s Little Dreams EP, Robinson Kirby describes the songs therein by saying, “They reflect a time of growth and change in our lives. Conceptually, the songs are about love, searching for connection, and finding your place in the world.”

The Little Dreams EP, which hosts the lead single, was written between studying at the Berklee College of Music in Boston and while living in Los Angeles. They cite their musical influence as being the spirit of singer-songwriters from the genre’s heyday in the 70s, but with a fresh, modern approach. Robinson Kirby consists of lead singer-songwriters, Luke Robinson (vocals, guitar, percussion) and Madelyn Kirby (vocal, guitar), as well as Jonathan Elyashiv (bass) and Ross Hodgkinson (drums, percussion). “Find A Way” is backed by the talents of Paul Phelan (lap steel) and Harrison Lenz (backing vocals).

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The Catenary Wires - The Overview Effect.

The new single "The Overview Effect" off the upcoming Catenary Wires album 'Birling Gap' has been released. I would try to string together some sentences to help sell this track/album/band, but I mean it's Rob & Amelia of Heavenly / Talulah Gosh / Swansea Sound / the list goes on. This single, this album, this band is pretty much indiepop essential listening. Indie pop comes of age.

The Catenary Wires feature Amelia Fletcher and Rob Pursey, once of Heavenly and Talulah Gosh. These early bands, once denigrated for being ‘fey’ or ’twee’: the wrong kind of female, have been re-evaluated in recent years. Their songs, apparently sweet and fizzy, were always smarter and darker than they seemed, while the band were radically independent, and an influential part of the movement that became riot grrrl.

In the Catenary Wires, Amelia and Rob are still in love with making pop songs with complex messages. This, their third, album is full of melody, and rich with backing vocal harmonies – but now the tunes are vehicles for startlingly honest adult concerns: the fractured relationships, anxieties, passions and politics of people who live on an island that’s turning in on itself. The Catenary Wires know that pop music is just as good at conveying dark, difficult emotions as it is at celebrating teenage love. The Go-Betweens and XTC proved that, and this record has comparable ambitions.

Birling Gap is a significant place. On the South Coast of England, it’s where steep chalk cliffs resist the rough seas of the English Channel. It’s where iconic images of England are created and re-created. A landscape beloved of patriots – the sturdy white cliffs standing proud and strong against the waves. It’s also a place where people, despondent and doomed, have thrown themselves off the cliffs. It’s where The Cure shot the Just Like Heaven video. It’s where romantic lovers go for passionate storm-tossed assignations. It’s where Shakespeare sent King Lear, blind and abandoned, hell-bent on self-destruction.

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The Highway Women - Dead Man Walking.

Female country supergroup the Highway Women have released the music video for their song "Dead Man Walking." A ginger, a brunette and a couple of blondes walk into a dilapidated backwoods barn. They just rolled up to the scene in a black Camaro, prepared to wreak vengeance upon an all-too-cliche cheater. With no signs of remorse, the Highway Women break away from their goody-two-shoes persona to ensure this unfaithful lover gets his just desserts.

Just like the single, the “Dead Man Walking” music video projects serious attitude, showcasing a previously unseen, rebellious, headstrong side of the band. Armed with a container of gasoline and flaming matches, Drew, Kristen, Jess and Bailey came dressed to kill. Their symbolically dark attire tells listeners that they mean business.

If the fuel dripping from the man's face didn’t make his gruesome fate clear enough, the video’s final scene certainly eliminates any doubt. It follows the Highway Women as they strut away from the building, which has been completely engulfed by flames. As this performance proves, these ladies have the capacity to set the country music world afire in much the same way. The track features rocker Erin Coburn (Guitar). Erin is a member of The Be a Highway Woman Collaborative launched by The Highway Women in 2020.

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Ashley Monroe - Groove.

The GRAMMY-nominated Nashville star Ashley Monroe released the official video for "Groove," the third song to be taken from her fifth studio album Rosegold out April 30 via Mountainrose Sparrow/Thirty Tigers. The new song follows the release of "'Til It Breaks" and "Drive."

"This one is the one I could listen to over and over," explains Monroe. "When Aaron Raitiere, Mikey Reaves and I wrote this, we knew it was cool. But I was hell bent on getting so many grooves in there that it was almost like a duet with me and the instruments. I had Chris Powell, Brian Allen and Zach Casebolt come in to give it so much groove, that no one could resist moving when they heard it. They slayed! I wrote this to all who like how they groove, and a tad to Nashville in the second verse. It is the 'don’t act like you don’t see me vibes.'"

Last month, Monroe spoke with Garden & Gun about the forthcoming album who said, "Monroe’s vocals shine through powerful harmonies, soaring choruses, and lyrics that blend vulnerability with vivid imagery and wordplay." Rosegold’s first single "Drive" was covered by Pitchfork, People, Stereogum, and Rolling Stone, who said, "The album’s lead single 'Drive' picks up where Sparrow left off and goes further, highlighting Monroe’s genre-hopping balladry with a trip-hop breakbeat, breathy falsetto, and murky electric guitar."

Written and recorded over the past two years, Rosegold 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. The record was mixed by engineer Gena Johnson (John Prine, Jason Isbell), who worked with Monroe to help make the disparate styles and production on the album cohere into a powerful, moving work.

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Monday, 15 March 2021

Dessa - Nelson Sobral - The Catenary Wires

Dessa - Life On Land.

Today singer, writer, and rapper Dessa has released “Life On Land,” the third installment of her new single series IDES — the project sees Dessa dropping new music on the 15th of each month.

“I started writing ‘Life on Land’ sitting at my Casio keyboard wearing a green sweater and with my hair still wet from the shower,” Dessa explains. “I know because I filmed a little video of myself playing the key line to make sure I didn’t forget it. The first lyrics came easily: ‘Flip a coin, flip a car / I don’t care where we are / the picture and the sound won’t sync / some things time can’t fix’. Almost every other line resisted being written. 

I walk a lot to try and solve that problem, muttering for a mile or two and coming home with another viable four bars. Like the other songs in the IDES series, this track is a collaboration between me and producers Lazerbeak and Andy Thompson. All three of us thought the song needed an epic pop chorus…but those are easier to talk about than they are to write. When we finally had words and music for each section, we tried several sequences before landing at the structure on record. In the end, we built with pop bricks, but decided to ditch the pop floorpan and go rogue.”

Alongside this release, Dessa is also announcing a collaboration with Dogwood Coffee Co. on a limited-edition coffee. IDES coffee—available in 12 oz whole bean packages—is a blend of coffees from Mexico and Colombia, lightly roasted to produce a cup with notes of maple syrup and dark chocolate covered almonds. Online orders can be placed via Doomtree’s website, and packages will be available at Dogwood’s three retail locations in Minneapolis and St. Paul later this month. A portion of proceeds from sales at Dogwood’s shops will benefit Second Harvest Heartland, one of the nation’s largest and most effective hunger relief organizations. The custom coffee is Dessa’s latest venture into food and beverage collaborations, joining her two signature ice cream flavors with Izzy’s Ice Cream and limited-edition bourbon and rye from RockFilter Distillery.

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Nelson Sobral - Pendulum.

Long, swaying grass, the hoofbeats of horses, and infinite blue skies: this is the typical imagery that has long come to mind when someone brings up Americana. But for Toronto-based Nelson Sobral, when you inject Americana with a hard-edged, urban blast of gritty midwest blues, rock ‘n’ roll, and northern soul, Americana adopts an entirely new identity, one of overpasses, subway trains, and the grit of city streets.

“I really don’t care if people think I’m ‘rural’ or not,” Sobral says from within the murky labyrinth of downtown Toronto. Despite being born and raised in the rough-and-tumble Parkdale neighbourhood, Sobral has long been surrounded by an outlaw spirit and lawless, yet valorous, energy. “My uncle loved country music—Kris Kristofferson and Willie Nelson were always playing at his place—but Otis Redding is my spirit animal for vocals, and growing up, I admired all the guitar players that served the song and meant more to me than just solos, like Jimmy Page and Keith Richards: they had dynamics and song craft. All of it is part of my gumbo, for lack of a better word.”

For Sobral, all that is sacred is the song, and the means by which it is delivered transcends genre. Though clearly inspired by the roots songwriting giants—the Hank Williams and the Gram Parsons of the world—Sobral’s work deserves a wider scope, a wider breadth, and a wider reach. Through the lens of soul, blues, and rock and roll, Sobral’s songwriting, paired with his incomparable voice and monster guitar playing, is fit for any stage, any night of the week, any audience, anywhere.

Nelson Sobral has already defined his road-hardened career by sharing stages with the likes of legends such as David Wilcox, The Trews, and Jeff Healey, and his knuckles-to-the-dirt, workhorse spirit has seen him tour and play relentlessly across Canada and the United States. “You need to do those things as a musician to experience life,” Sobral continues. “Even if you write from that perspective, you can tell if someone’s done it or not. You can tell when someone’s paid their dues.”

Sobral certainly has, like the aforementioned songwriting greats that have come before him. With a career due to be long, enduring, and unconcerned with being pigeonholed and catering to one image, one sound, and one spirit, Nelson Sobral has bigger plans: beneath the wide canopy of his influences and styles, Sobral continues to unite listeners with the impact of his songs and energy, as varied and wide-reaching as car wheels on a gravel road and the barreling rhythm of a Toronto streetcar.


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The Catenary Wires - Mirrorball.

Mirrorball takes two lonely single people, and takes them for a night out in an 80s disco.  Surrounded by divorcees and middle-aged drunks, will they be too shy to talk, or will they find some love action?  Is this going to be heaven or hell?

This is definitely the most positive and the most romantic duet The Catenary Wires have ever released.   With delicate – and not so delicate – musical tributes to the 80s, Mirrorball starts off sceptical, but ends up falling in love with the music of a decade that was pure, unsubtle, tasteless and synthetic.  The 80s disco turns out to be heavenly!

To celebrate, there’s a real (virtual) 80s disco in the diary - and everyone is invited.  Top indie club How Does It Feel has invited The Catenary Wires (and a lot of guest DJs) to take over for the night on March 27th. The playlist will be mostly heaven, but there will be a bit of hell thrown in...

Rob and Amelia (ex Talulah Gosh, Heavenly) started The Catenary Wires as a duo, but they’re a full band now – and the new recordings have a very different tone, with the inspired contributions of Fay Hallam (keyboard), Ian Button (drums) and Andy Lewis (bass).

The Catenary Wires write songs for grown-up indie kids.  They don’t pretend to be 23 any more, but they do remember what it felt like.   Their songs are a combination of joy and regret, innocence and experience.

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Wednesday, 24 February 2021

Laurr - Danny Golden - The Stars of Disaster - The Catenary Wires

Laurr - Sell My Soul.

Singer songwriter Laurr shares a mystical lyric video visual for latest single release "Sell My Soul."  

"The inspiration behind Sell My Soul came from what people did or would be willing to do for money during quarantine in April. I myself had to work three jobs to keep from feeling insecure in a time of uncertainty. While others decided to take some unsavory paths, which were also very tempting to me. In the end, would those less savory paths be worth "selling your soul" over, and what is the dollar really worth? With the help of my producer/co-writer Corey Lawson, I feel we were able to capture the meaning of the lyrics with a driving bluesy melody and dark tone,” Laurr explains.

The alternative country songstress premiered the lyrical visual on Music Crowns. Laurr’s musical inspirations derive from the wide spectrum of genres her parents would listen to throughout her life. From Sublime, The Red Hot Chili Peppers, and Amy Winehouse, to Jamey Johnson and Johnny Cash.

Growing up in a small town, Laurr never thought she would be chasing such big dreams. From the big Utah mountains to the hills of Tennessee, she has had quite the journey as a songwriter and artist. Growing up, Laurr always had a huge imagination and would use my fireplace as my stage, and whatever furry creatures were around as an audience. They would not only listen to her made-up songs, but also my interviews with Ellen DeGeneres, and Jay Leno. Although she loved my imaginary stage, in school other kids would get frustrated at her, because it always seemed she was the main character in any school performance. She would say the best part about this journey is getting to reopen that imagination and revive her small-town child star persona as she grows into a musical artist.


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Danny Golden - I Can't Change.

Austin-based musician Danny Golden announced an April 23rd release date for his new EP Changes. The announcement comes with the first single “I Can’t Change” — Under The Radar praised the song’s “inviting melodies and plainspoken lyrical approach” along with its “towering layers of shoegaze guitars and crashing percussion.”

Changes follows Golden’s 2018 full-length Old Love. “It’s been over two years since I last put out new music, and I felt that ‘I Can’t Change’ had to be the song to break the silence,” Golden says. “The period between my last record and now saw me dealing with a lot of changes in my life, and in my approach to making music; I don’t think that’s more evident anywhere than on ‘I Can’t Change.’”

The song starts with a cymbal crash from Jeff Olson (White Denim, Balmorhea) and a wall of electric guitar sound courtesy of guitarist Ben Brown (PR Newman). These players along with Sam Pankey (Balmorhea, Mother Falcon) on bass, Mary Bryce (Smiile) in backing vocals, and Spencer Garland (Black Pumas, Matthew Logan Vasquez) on synth make up the EP’s core backing band. Other collaborators include David Ramirez (who produced the EP song “L.A. County”), and John Michael Landon (who produced “I Can’t Change” and “Alien”).

“I Can’t Change” is at once abrasive and inviting, like a friend pulling up with the aux at full volume. Your senses are a bit overwhelmed, but you know you want to get in, and that you’re bound for a good adventure. “The song is an expressionistic postcard and a story of supplication,” Golden says. “You can agonize all you want about choices in your life, but either way, change is going to happen to you. Taking what’s dealt to you and allowing change within yourself determines your quality of existence. I think we all experience periods of listlessness and malaise, often when we’re seeking answers without knowing the questions. Recording ‘I Can’t Change’ was a chance for me to give lyrical and sonic form to feelings that had been too abstract to understand.”

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The Stars of Disaster - Hey Dorkmeyer.

The Stars of Disaster started playing together in February 2019, in Pittsburgh. They’ve been playing out since May 2019. The songs started coming in 2014, when Anthony Schiappa came home. He’d made a go of it as an airline baggage handler in upstate New York, an academic in NYC, and an exile in Scandinavia. Back in his Steubenville, OH, basement, trying to stave off the terrors of clock-punching and memory. That’s when he rediscovered his childhood love of making loud music.

He started recording the songs in Pittsburgh, with friends old and new. They were done guerrilla style: in friends’ apartments, in Anthony’s sister’s house, in clubs during off-hours, anywhere. Eventually, they had a record: Love Won’t Save You.

To come alive onstage, the record needed a band. And it has one: Kate Daly (the hi-frequencies) on bass, David Brockschmidt (Benefits) on drums, and Chicago native Jesus Geoffrey Martinez (Burning Luck) on lead guitar.

Anthony’s main influences are Guided by Voices, early R.E.M., and early Ween. Amid these touchstones, you will hear Anthony’s own style. It’s a blend of claustrophobic themes and non-stop get-down that Kate calls “composed mania.” Mike Baltzer of Benefits calls the aesthetic “Rust-Belt garage psych.” Joe Tarowksy from Action Camp says “It’s like Teenage Fanclub came from the Ohio Valley.

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The Catenary Wires - Mirrorball.

There are times where you end up working with a band which had a huge impact on your youth and helped shaped your tastes over the decades, and while The Catenary Wires only started in 2014. The main two people behind the band Rob Pursey and Amelia Fletcher have made music as Heavenly, Marine Research, Tender Trap, and more providing  a blueprint for the indie-pop scene over the last thirty years. This new Catenary Wires "Mirrorball" is set to be a classic and essential listening like the rest of their catalog. Both Rob & Amelia are available for interviews, guest editor features, mixtapes, you name it. Being in the UK under lock down they have time to make your interview or feature dreams a reality. Just let me know. I also have a few copies of the vinyl single promo copy wise that will be able to ship in mid-March, but it will be first dibs kinda set up.  Hope you enjoy this new single as much as I do.

The Catenary Wires formed in 2014, initially as a duo. Amelia Fletcher and Rob Pursey had previously been in Talulah Gosh, Heavenly, Marine Research and Tender Trap. The first Catenary Wires album "Red Red Skies" (Elefant/Matinée Recordings, 2015) was a marked departure from the fuzzy sixties-inspired girl-group pop of their earlier bands. It was more acoustic, emotive and melancholy.

The band have just completed their third album, to be released in June 2021. The first single "Mirrorball" is a love song inspired by eighties discos. It will be released on Shelflife (US) and their own new label, Skep Wax (UK and rest of world).

The band’s name refers to the chain of curves made by the overhead cables seen suspended from pylons or above electric trains, cables that can seem to lead you off to somewhere different and unknown. Mirrorball takes two lonely single people, and takes them for a night out in an 80s disco. Surrounded by divorcees and middle-aged drunks, will they be too shy to talk, or will they find some love action? Is this going to be heaven or hell?

This is definitely the most positive and the most romantic duet The Catenary Wires have ever released. With delicate – and not so delicate – musical tributes to the 80s, Mirrorball starts off skeptical, but ends up falling in love with the music of a decade that was pure, unsubtle, tasteless and synthetic. The 80s disco turns out to be heavenly!

Rob and Amelia (ex Talulah Gosh, Heavenly) started The Catenary Wires as a duo, but they’re a full band now - and this record really feels the benefit of inspired contributions from Fay Hallam (keyboard), Ian Button (drums) and Andy Lewis (bass).

The Catenary Wires write songs for grown-up indie kids. They don’t pretend to be 23 any more, but they do remember what it felt like. The song is a combination of joy and regret, innocence and experience. MIRRORBALL is the first single from upcoming album Birling Gap.

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The Hengles - Books of Moods

The Hengles - Cover Up (Album). Experience a trip down memory lane with The Hengles' latest album, Cover Up. This Dutch indie band revi...