Lindsay Clark - Tidal Wave

Photo - Myles Katherine

Lindsay Clark - Evening Star.

Lindsay Clark is sharing her new "Evening Star" single/video which features William Tyler on guitar. Carpe Noctem is due out on June 24th via Audiosport Records. Lindsay shared some words behind the meaning of the single "I wrote "Evening Star" one winter when I was visiting my hometown in the mountains of Northern California, and the river there. I was struggling with some patterns in my life that kept ending in loss, but I was also in a time where I felt a sense of deep internal change. I had gone down to the river one day and felt soothed by the sound of water against rock. 

That feeling in the song is set against moon rise and the change of day into night, and is reflected in the changing harmony and rhythmic patterns of the song. When we went to record the song at Panoramic (in Stinson Beach, CA), I wanted to capture the darkness of night and the depth that water has, and William Tyler's guitar and bass parts added so much texture to the song. I always add a lot of layered vocals to my songs, and this one has a lot of those as well to create swells. Really, the song is about change and beginning a new cycle - feeling that before it's happened, but anticipating it."

Lindsay Clark finds balance between traditional folk, English folk, country and her own version of experimental folk that seems to come from within. With influences ranging from the Beach Boys, Elizabeth Cotton, Joni Mitchell, Appalachian folk, her classical upbringing, and her father’s record collection, she blends many worlds into a uniquely warm sound. She has carved out a unique and vibrant place as an artist with her penchant for poetry, rich harmony, and a style of self-taught fingerpicking influenced by Nick Drake, John Fahey, and others.

Originally from the small gold rush town of Nevada City, CA, she now resides in Portland, OR. Her sound has been described as “folk with angelic vocals washing over smooth edges” (1859 Magazine). She has shared the stage with musicians such as Alela Diane, Nat Baldwin (Dirty Projectors), Adam Torres, Ryan Francesconi (Joanna Newsom), Laura Gibson, Kaitlyn Aurelia Smith and Michael Hurley. “Crystalline” was released in 2018 via boutique German label Oscarson. Her forthcoming album features William Tyler, Alela Diane, Sage Fisher (Dolphin Midwives), Alexis Mahler (Shook Twins) & Andy Rayborn (Paper Gates) and was engineered, co-produced, co-arranged with Jeremy Harris (Devendra Banhart/Vetiver), with additional engineering by Ryan Oxford (Y La Bamba) and Brandon Eggleston (Mountain Goats), out 6/24/22 with Audiosport Records (NL). She has also recently contributed to vocals on Michael Hurley’s latest release, Time of the Foxgloves (No Quarter Records).

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Tidal Wave - Sunbleached.

The name of our band rather accurately depicts the overall tone of an unrelenting unstoppable force. Tidal Wave evokes the melodic elements of indie rock bands, while creating compelling production-heavy ambient synth and guitar textures.

"Sunbleached" is inspired by the feeling of moving on in life. Specifically, I was thinking about my younger self when I was finishing high school. I realized that I may not see some of those people for a very long time or potentially even ever again. There's nothing wrong with people moving on in life and going forward but it can be a lot to process and accept that things will be different.

During the making of the song, getting the vocals right was one of the biggest challenges. I ended up traveling to Joshua Tree National Park in California and spending time in the desert to recharge, and really figure out what the emotions and lyrics of the song meant to me.

In the hole where there once was a heart, I reach right in and yet I feel nothing.

At a certain point you're worn out from wearing your heart on your sleeve and feeling everything so deeply that there simply isn't anything left to feel. And in that moment you feel like it's wrong to not be as broken up as you should be, but the physical truth is that you can’t put yourself through that hurt anymore.

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Cola - Josh Rouse

Cola - Fulton Park.

On Friday, the debut LP from Cola, Deep In View, will be released on Fire Talk Records. The new project from former Ought members Tim Darcy and Ben Stidworthy and US Girls/The Weather Station drummer Evan Cartwright, the band's debut has been one of the most anticipated releases of the year, earning praise from outlets like NPR, FADER and Rolling Stone who named the band an Artist You Need To Know and called their debut "one of the year’s most thrilling rock statements." Today, Cola are sharing a final single from the LP, a track called "Fulton Park."

"Ben and I had a flow writing this record where we would send each other demos every Friday," Darcy has stated. "It was a really motivating way to write, as I would spend the week working on something but then get the bonus of hearing what Ben had written when I sent him my track.  I heard Fulton Park and was immediately excited to work on vocals for it.  

It’s such an interesting instrumental.  These lush almost psychedelic guitars in the intro and chorus are paired with this really stripped down almost honky tonk verse.  It conjured in my mind this kind of old west imagery.  I suppose looking back on the lyrics now, that same kind of juxtaposition is present. Similar to Landers, it takes a look at the natural world and then the odd, magical, sometimes empty things that humans do on that landscape."

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Picture - Jim Harrington

Josh Rouse - Stick Around.

Today, acclaimed singer/songwriter Josh Rouse shares the new single “Stick Around” off his forthcoming album Going Places, which releases July 29 via Yep Roc Records. Inspired by the groovy American and English music of the 1970’s, the song is punctuated with an unexpected Memphis-style horn line.

"I wrote this one summer while doing an outdoor show in Puerto de Santa Maria, Spain,” explains Rouse. “We recorded the song in a couple takes, it sounded somewhere between J.J. Cale and Fairport Convention, until I had Jim Hoke put some saxes on it and it became something else entirely. A barbecue strummer!"

Going Places came together over the last two years when Josh Rouse found himself hunkered down with his family in Spain. Inspired by a desire to perform live during a time when that was virtually impossible to do, he got together with his Spanish band to workshop the songs in a small local venue owned by a friend. The resulting collection of songs trades the polished sheen of his prior work for a looser, more relaxed vibe. Where 2018’s Love in the Modern Age saw Rouse take a left turn to keyboard-based retro-new wave territory, Going Places is steeped in waves of his classic guitar melodies, with touches of organ and horns, layers of backing vocals and a distinctive southern twang. Listen to the debut single “Hollow Moon.”

Over the last two decades, Josh Rouse has solidified his status among this generation’s most acclaimed songwriters with insightful lyrics and a warm, effortless style. His work has been celebrated by press including Associated Press, Billboard, NPR Music, Los Angeles Times, BrooklynVegan, Salon and more. Forbes called him “a masterful songwriter,” and Paste declared, "His knack for setting a simple feeling to a breezy melody shines through again and again.” Now passing 50 years old, Going Places marks the next phase of his career. Looking toward the future, the new album once again proves Rouse’s undeniable ability to evolve and push his sound forward, delivering something that is both familiar and wholly new.

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Elle Celeste - BERRIES - The Local Honeys

Elle Celeste - So Few.

Calgary-based singer/songwriter Elle Celeste releases the second single, “So Few,” from her debut solo album Call On Me, due out in Autumn 2022. Much like the title track, shared back in March, “So Few” offers another powerful glimpse of Elle Celeste’s stunning artistic vision that combines familiar folk-rock elements with cinematic atmospherics, all propelled by her haunting voice, reminiscent of Cat Power’s Chan Marshall and Sharon Van Etten.

“This song was inspired by the original Blade Runner from 1982,” Elle Celeste says. “I enjoy the gloom and dread in the film and the feeling that everyone is just existing. Vangelis did an incredible job on the score. I tried to emulate his synth tone in the intro. Overall, this track is my ode to the rise of machines.”
Elle Celeste’s new material builds on the “21st Century folk music” approach of her former band Copperhead that blended punk, ambient and electronic sounds with traditional elements. She wrote eight of Call On Me’s nine tracks, later crafting them with longtime musical collaborator Kirill Telichev and producer Casey McMechan, better known as the electronica artist Tyrek. 

Beginning in December 2019, the trio assembled Call On Me over the next 18 months, building sonic landscapes to complement Elle Celeste’s unflinching lyrics, many based on her personal experiences. “I feel I’ve matured in almost every way making this record,” Elle Celeste adds. “It’s motivated me to keep looking for ways to connect my experiences and song concepts with audiences.” 

In all, Call On Me provides a dramatic first impression of a dynamic new voice on the Canadian independent music scene. With an ear trained to the past, but with her eyes firmly set on the future, Elle Celeste is an artist with unlimited potential.

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BERRIES - We Are Machines.

BERRIES have unveiled their latest  single ‘We Are Machines’ taken from their forthcoming debut LP ‘How We Function’ (out 8 July 2022).

Once more tackling a hard-hitting theme head on with a razor-sharp blend of fuzzy guitars, driving riffs and gritty rock melodies, ‘We Are Machines’ arrives as BERRIES announce the release of their first cohesive full-length record ‘How We Function’, out 8 July 2022 via Xtra Mile Recordings.

Tracing the thread of guttural garage-rock that ran through earlier single ‘Wall of Noise’ — but lacing it with a more infectious sort of optimism — ‘We Are Machines’ blends jagged noise-driven instrumentals with a rhythmic guitar riff and catchy, convulsing melodies that wriggle in the head long after the track has come to a close. The track itself grapples with the struggles we as humans face in a society hell-bent on dehumanising individuals.

As BERRIES explain: “It is a song about struggling in a demanding society and being exploited by people who have little empathy or concern for your well-being. The song touches on how we are forced to become machines, trying to maintain an impossible level of perfection and how we need to fight against this. Admitting we are only human and finding the strength to stand up and push for balance and rights. In turn, becoming a different type of machine.”

With its expert alloy of barbed guitar lines, polished yet anarchic and densely layered rhythms and melodious vocals, ‘We Are Machines’ is a skillful second glimpse into BERRIES’ forthcoming debut ‘How We Function’ — an album ostensibly about mental health struggles and the resounding empowerment of overcoming and learning to live thoroughly with them.

Of the new record songwriter, guitarist and vocalist Holly explains: “The album is about strength and growth, and recognising the dark times and how you get over them. We’ve got over a lot of mental health struggles, but we wanted the album to have an empowering vibe to it as well. This is our journey to growth. Mental health is not a shadow over what you’re doing — this is really healthy and we can talk about this stuff.”

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The Local Honeys - Dead Horses.

When a master songsmith like Tom T. Hall calls someone “a great credit to a wonderful Kentucky tradition,” it’s time to pull up a chair and pay attention. As it pertains to the nearly-decade-running duo The Local Honeys, he was right on the money. The duo—Linda Jean Stokley and Montana Hobbs—have long been an integral part of Kentucky’s musicscape, and on July 15th, they’ll be adding a new entry into the Bluegrass State’s rich musical canon. Their first release on La Honda Records (Colter Wall, Riddy Arman, Vincent Neil Emerson), The Local Honeys features ten winsome vignettes of rural Kentucky, conjuring 90’s alternatives sounds with hillbilly Radiohead lilts, soaring above layers of deep grooves and rich tones masterfully curated by longtime mentor Jesse Wells, a GRAMMY-nominated producer, musician (currently a member of Tyler Childers’ band The Food Stamps), and Assistant Director at the Kentucky Center for Traditional Music at Morehead State.

Today, The Local Honeys shared their first taste of the new album with “Dead Horses,” an emotional look at the tragedy of animal husbandry. With lines like “Suppose we’re all just animals with slightly different hides,” Stokely displays a cut and dried existence on the farm and the world at large while drums and banjo meld together propelling the tune from verse to verse. The accompanying music video finds Stokley and Hobbs surrounded by nostalgic photos of their equine counterparts, contributed by the band’s fanbase, adding weight to the meaning of the song itself. The“Dead Horses” video can be viewed right here and pre-order or pre-save The Local Honeys ahead of its July 15th release at this link.

Over the years, The Local Honeys have paid their dues, garnering countless accolades and accomplishments (tours with Tyler Childers, Colter Wall, praise from the New York Times), and have become the defining sound of real deal, honest-to-god Kentucky music. With The Local Honeys, Stokley and Hobbs ended up with the most nuanced, moody, deep-holler sound they have captured to date. “This is the first time we’ve actively gotten to express who we are and where we’re from” says Linda Jean, “The songs on the album speak for us,” adds Montana “they’re about what we know, reflections of us as people. We realized we have the power to add our own narrative into Kentucky music.”

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Colyn Cameron - Em Spel - Roxi Copland

Colyn Cameron - Stream.

After almost four years since Sad & Easy, Colyn is excited to be sharing a new album ‘Freehand’. While living in Vancouver, BC, the new material emerged within the paradoxical spaces of experimenting with dispersed and concentrated rhythms. He used the material to explore themes of technology, adventure, self-worth & love with mild nods to worldly trepidation.

The Album was again recorded mostly at home, with additional instrumentation from close collaborators Aiden Ayers and Josh Contant.

It has now been ten years since the release of Wake Owl’s first album. In the years since, Colyn has also composed original music for 2 feature films and numerous different independent projects, and formed new musical and broader artistic collaborations.

His enchanting new single “Stream” was inspired by algorithmic realities, such as near annual iPhone purchases and the screen time data Apple shares. The metaphor in the line “Well I've tried prototypes, but the fruit wasn’t ripe, I’ll pretend differently it’s a bad appetite” suggests that all tech progress is fruitful, but maybe isn’t always ready.

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Em Spel - Golem.

As we round the home stretch towards the release of Em Spel's debut album The Carillon Towers we celebrate the release of the third single "Golem" - a beautifully orchestrated track that meditates on the monkey's paw curse / wish of the Golem from Jewish Folklore.

Of the track Emma Hospelhorn states, "Have you ever loved the idea of someone rather than the real person? In this intimate, slow build of a song, the lush instrumentation is layered in gradually: An improvised noise layer swirls like the static of a person's thoughts over a gentle guitar line played by V.V. Lightbody. A singing violin line, played by Caitlin Edwards, starts out simply and then soars into shimmering counterpoint at the apex of the song, on the lyric "what if you said you'd become someone new?""

The Carillon Towers features luminaries from Chicago's thriving experimental and classical music scene including V.V. Lightbody, Katinka Kleijn, Eric Ridder and Matt Oliphant who work to bring these lushly orchestrated songs to life

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Roxi Copland - I Come From Crazy.

A classically trained musician with a love for great songwriting, Roxi Copland’s innovative sound is forged at the crossroads of Americana, roots, and jazz. From her confessions that “the things I speak aloud might hurt the ones I love” to professing seductively “I prefer my arms with yours entwined,” the five songs that make up her I Come From Crazy EP reveal an artist unafraid to divulge her shortcomings, frustrations, and desires.

"It took a while for me to be self-confident enough to write a song without complex chords in it," she recalls, referencing her previous life as a singing pianist in jazz clubs. "I noticed that what I really loved as a kid were songs that told stories, and a lot of those were country and Americana … my songwriting started to have more of a tilt towards that direction." Throughout the EP, Copland’s sultry vocals are framed by country-tinged instrumentation from a stellar lineup of some of Austin’s finest—including Warren Hood on fiddle (Alejandro Escovedo, Joe Ely, The Waybacks), Adam Nurre on drums (David Ramirez, Jeremy Pinnell) James Bookert on banjo (Whiskey Shivers, Wild Child), Devin North on bass (Arielle), and Justin Douglas, who also engineered and co-produced the album with Copland, on pedal steel and guitar. The resulting sound is akin to a rowdier, rootsier Madeleine Peyroux or Melody Gardot.

Lead single "Daddy Don't Do Politics," which earned an accolade from the International Songwriting Competition (2020 Semi-Finalist, Folk/Singer-Songwriter category), might be the most timely of all the tracks on the EP. In just over two minutes, it offers up a succinct summation of that moment when a father gets a lesson in privilege from his more progressive daughter. “He didn’t appreciate me pointing out that he had a huge head start in life, and I didn’t appreciate him willfully ignoring a massive amount of privilege. So I got a little passive-aggressive and wrote this song and admittedly had a lot of fun while doing it,” Copland recalls.

Looking for an escape of sorts during the pandemic, Copland says she steered her efforts towards simply having fun with music, centering the storytelling, and looking internally to family dynamics for inspiration. “I was focusing on telling a story, whether it was funny, sarcastic, or getting a political dig in, and trying to write to that story rather than coming up with a song and then writing a story to fit.”

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