Wy are a band strongest at their most vulnerable. The Malmö indie duo, Ebba and Michel Gustafsson Ågren, have showcased their musical skills across two albums, 2017’s Okay and 2019’s Softie which gained them recognition from KEXP, Line of Best Fit, NBHAP, Tonspion, CLASH and more as well as tours in Germany, Scandinavia and the UK. But what makes them stand out as a band is the raw, brutal emotion they capture in their music.
A Wy song at their best sounds like opening it all up, and letting the feelings flow where they will, letting the pain, anger, fear, hope and love steer the song. Those emotions are spun into the band’s skyscaping, cinematic sound, and turned into music that has a force behind it, a power that hits you, even when it's at its softest. And that power that illuminates the band’s songs is more present than ever on their new album Marriage which is out on May 7th, Dream House is the first single.
Marriage is the first record since signing to Rama Lama Records (Melby, Steve Buscemi's Dreamy Eyes, Chez Ali etc.) and the sound of Wy moving forward and backwards at once. Leaving the more produced style of last album Softie behind, it turns to the simpler sound of their earlier work for music that’s rawer and sharper. On both the indie-rock and the pop songs of this album, there’s less between the listener and the heart of the song - this is music that’s very direct, both in theme and sound, with melodies that hit cleanly and leave nothing even trying to hide. It’s the work of a band that have grown into themselves and what they do, and making the strongest songs of their career.
The Storm Petrels are a four piece indie pop band who came together in 2020 to bring some joy to these dark days.
The brainchild of songwriter and producer Pip Dusalle, they herald from both sides of the Atlantic and bring influences from as far afield as Belly, the Breeders, and Abba! The band have just released their first EP - Seasons - with a song for each season.
It begins with the upbeat optimism of Spring, moving on to the jangly guitars and catchy melodies of Summer, then the sweet lyrical nostalgia of Autumn.
The EP finishes with Winter - an intense ballad about love, loss and loyalty. Their music comes from the heart with the aim of lifting and inspiring during these challenging days.
The band contacted us directly and I have to say this really is a superb collection of songs. I'm all for upbeat, positive and heartfelt music, The Storm Petrels are all of that, along with being original and notably creative.
The Phoenix Foundation - Beside Yourself (with Fazerdaze).
New Zealand sextet, The Phoenix Foundation have shared "Beside Yourself" featuring fellow NZ talent, Fazerdaze (out via Memphis Industries).
The band returned late last year with their sixth album, Friend Ship, which secured some positie reviews at MOJO, Uncut, PopMatters, American Songwriter, KEXP and more – it featured some neat collabs with Tiny Ruins, Nadia Reid, Anita Clark and the NZ Symphony Orchestra becoming something of a celebration of the NZ music scene, really hammering home the sense of community that exists.
This new single acts as a continuation from that release, enlisting another NZ talent in the form of Fazerdaze (who released her Pitchfork-tipped debut album, Morningside in 2017). Adding somewhat to this NZ feel of the recent record, the band have collaborated at length with Taika Waititi previously, scoring the acclaimed soundtrack for Hunt For The Wilderpeople as well as providing tracks for Boy, Eagle versus Shark and What We Do In the Shadows – in October, the band were in conversation with Jemaine Clement of Flight of the Conchords fame.
Chris Pellnat is a songwriter from Hudson, NY, USA. In addition to solo work and collaborations, he also plays electric guitar in the band, The Warp/The Weft.
His new album released a few days ago is called 'Crossing'. Chris explains why that's the album title.
"Why Crossing”?
Crossing the line
Crossing over
Crossing the rubicon
Crossing the divide...
"You get the idea: This album is about moving on to something new and unexpected - musically, spiritually and as part of the natural arc of life. But it’s not a dreary lecture - it playfully upends indie norms in a distinctive way, with lots of dulcimer, vibraphone and guitars."
Chris and the band The Warp/The Weft have been featured here a number of times in the past. I never tire of hearing new music from either party, the freshness, creativity and warmth is always notable. Although these day's I rarely comment on new material (it's a given that I like it - see the comments on the top of the sidebar), I'm happy to make Chris Pellnat and the new album an exception.
Lorette West, MB's folk-pop musician Kevin Roy Kratsch — known professionally as the cosmic Canadian balladeer that is Mister K — has just released his debut album, In Event of Moon Disaster, and single “Tamarack” — available now!
To celebrate, Mister K has recorded a live, acoustic rendition of the song from the comfort of his own backyard in the region of Lorette West. The powerful performance of “Tamarack” features the aspiring musician’s wife Avery on backup vocals and guitar — and their adorable bulldog Luna, for emotional support.
Mister K points out that one of the sonic “easter eggs” found in the new album comes from his little canine companion; every time the word “moon” is sung on In Event of Moon Disaster, Luna rings a bell.
“If you listen hard enough,” he adds.
Overall, In Event of Moon Disaster is described as a musical journey through highs and lows, or “a pendulum swung through the hardship of darker days” (like the song), according to Mister K. Inspired by the ongoing COVID-19 pandemic, it’s ultimately about overcoming adversity, emerging from the darkness and finding the light at the end of the tunnel; or even some sense of hope.
“I saw an angel in the marble and I carved till I set him free” – a Michelangelo quote that would be etched in my mind as I started on my new journey in sobriety. A journey that, at first, would reveal the painful truth about myself and then reveal the genuine beauty and generosity of others. Finally with all my desperation and vulnerability revealed and all my substantial failures confessed, I could be free. Free to have others lead me, free to have others teach me, free to start over.
The album, Real Love, is in part about that spiritual journey and in part about the rediscovery of music and art. I wrote these songs to help me heal and to help me grow. “Emotionally insecure, wrought with fear, anger and self-doubt…all of it, buried under an ego designed to deceive and manipulate the truth of who I was to others and to myself” – this is the harsh and critical self-analysis where the story of Real Love begins.
Addiction and alcoholism defined almost my entire adult life. They were the tools I would use to self-medicate from a disease I didn’t know existed, or at least one that I couldn’t dare admit to having. A disease that eventually, would destroy, from the outside in, everything I ever knew or cared about. My family, my friends, my career, until it had nothing else to destroy but me. By the end of the chaos, with everything and everyone that was ever important to me, injured and gone, I was left with one critical question. How do I move on from here?
The answer was one step at a time with the encouragement and generosity of friends. The potential that my story could perhaps help others, as others had helped me, fuelled me as I embarked on this recording project to tell my story. Not a story about rags to riches or infamy to greatness but just one of hope. For all those that have or still wander the depths of chaos and despair, the self-destructive calamity that is addiction, as I have, there is a way out of that darkness, there is light, there is hope. There is that angel in all of us. This is my story of Real Love.
For the second and third singles of her new album and video series The St Buryan Sessions, Cornwall-based singer-songwriter Sarah McQuaid delves deep into her back catalog to resurrect “Charlie’s Gone Home”, the first original song she ever recorded as a solo artist, then jumps forward again with “The Day Of Wrath, That Day”, a powerful instrumental composition for electric guitar.
Originally recorded on her 1997 debut album When Two Lovers Meet, “Charlie’s Gone Home” wasn’t a brand new song even then, Sarah recalls. “I’d actually written it back when I was still living in Philadelphia, so it would have been the late 1980s or early 90s. I can remember very clearly the day I wrote it – back in those days I was still thinking of myself not as a songwriter but as a folksinger who happened to write an occasional song when inspiration struck, so to speak.
“I remember reading an interview with some poet whose name I can’t remember, where she said that when she felt a new poem starting to arrive it was like an oncoming train, and she had to rush to her desk to be there ready with pen and paper when the train pulled in to the station.
“Well, this song hit me exactly like an oncoming train, only one that was barrelling along at full steam with whistles blaring. It really knocked me for six, and I remember just sitting on the sofa crying and trying to wipe the tears off my guitar so they didn’t mark the finish – not because it was a sad song but just from the overwhelming emotional impact of writing it.
“It’s been kind of a special song for me ever since, and a lot of people have told me it’s a special song for them, too – at least two different people said ‘Well, I hope “Charlie’s Gone Home” is going to be on it’ as soon as I told them about the project.”
From Joce: Allow my new single "Cross My Heart" to transport you to summertime. This will be one to listen to at max volume, driving in the car on a comfy summer night.
When I was first starting to write my own music, it was very tame and folky, just me and an acoustic guitar. I really wanted to explore other genres, and started listening to some Otis Redding, Janis Joplin, Earl Hooker to feel that sound that comes from an old soul. And all of a sudden, this straight blues idea came to mind, and I said "Damn! I gotta get on this!"
It was a fantastic experience working with Erin Costelo and Colin Buchanan (Paper Lions) on this song. In my day-to-day life I am very easy-going, almost to a fault. When it came time to say "yes" or "no" or "I don't like that" during recording, I struggled a bit. But I learned very quickly that only I know what I want it to sound like, and nobody is going to know if I don’t tell them!
Glasgow-based Folk outfit The Gracious Losers have done the near-impossible, cutting a full record with a 15-piece band. As one-man acoustic shows and sparse live sets dominate the musical landscape, Gracious Losers, headed by songwriter and guitarist Jonathan Lilley, have succeeded in draping listeners in a full-bodied orchestral experience on their new album “Six Road Ends,” while leaving ample room for vulnerable stripped-down moments and opportunities to get down.
The Gracious Losers are a 9-piece supergroup, featuring members of Sister John, Thrum, God Help the Girl, The Parsonage, Sporting Hero and the Berie Big Band, The Gracious Losers draw on their shared and disparate musical influences including celtic folk, 70s psychedelia, and outlaw country. The album title, 'Six Road Ends' refers to an arcane place in Northern Ireland, where six rural roads haphazardly converged at one perilous junction. The crossing no longer exists, and thus has assumed a mythical quality despite once being very real - a place of stuckness, hesitation, and risk. Lilley’s intricate songwriting reflects these themes, feeling at times planted in an intersection and at others moving lightspeed toward uncertainty.
The lead single “Loath to Leave,'' premiering on Here Comes the Flood, follows the throughline of impermanence with a lightly plodding funk groove, unexpectedly melancholy lyrics, and decaying organ frills alluding to a peaceful evaporation. Wailing slide guitar propels listeners along as the track evolves through what feels like time and space. The track’s video underscores the detachment from spacetime, as Lilley and vocalist Amanda McKeown fluctuate freely between chairs in a “perpetual state of magic” before disappearing altogether. The duo can be seen in a state of waiting in a liminal living-room, passing the time by checking watches or kicking the ground, before resolving the tension created by transitional moments with a sense of relief.
With precision, drive, and wit, three-piece garage rock band, Crocodyle, has a unique ability to articulate the otherwise inexplicable.
Coming off the release of their last single, “I Feel Good,” which set the internet positively abuzz last summer, Crocodyle is dropping their newest track, “Passenger Seat,” along with its accompanying video. “This song is a direct address to all your special someones,” shares Crocodyle.
“Whoever makes you feel like the coolest version of yourself, whoever is the easiest to laugh with, whoever feels best by your side. It’s nice to have somebody who you know you can run to when nobody else makes sense, and ‘Passenger Seat’ is a rocker dedicated to whoever that is for you.”
The video for “Passenger seat” was filmed in and around residential Nashville under the artistic guidance of Seth Endelman. Endelman is a Nashville-based videographer, producer, multi-instrumentalist, and label owner.
“Passenger Seat” is the latest single from Crocodyle’s forthcoming EP, Sharing a Twin Bed, which is set for release in April. Sharing a Twin Bed was produced by Lincoln Parish, the former lead guitarist for Cage the Elephant. Parish left Cage the Elephant in 2013 to follow his passion for producing.
“Crocodyle hits every note that defines punk rock for me,” says Parish. “Their music is young, energetic and fun whilst still maintaining pop sensibilities of artists well beyond their years, I’m excited to see what’s next for these dudes!”
Crocodyle has played in cities all over the US and toured the UK, making a stop in Ireland. Spotted at a small club in Dublin, they were invited to do two sets at Ireland's "Coachella," Electric Picnic, headlined by Kendrick Lamar and The Prodigy.
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.
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."
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."
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.
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.
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.
