Moonpools - Marlon Pichel - The Early Mays - Drive-By Truckers

Moonpools - Damaged Goods.

Female fronted Indie/Dreampop quintet Moonpools from Basel, Switzerland have just released their terrific new single ‘Damaged Goods’ via Young and Aspiring! With their newest effort, Moonpools skilfully prove that they are in no way inferior to household names such as Soccer Mommy, Snail Mail and Hatchie.

Moonpools are a five-piece band from Basel, formed in 2016 by Marcie Nyffeler (vocals/ guitar), Jasper Nyffeler (drums), and Francesco Vona (keyboard) and completed in 2017 by Matthias Gusset (guitar) and David Blum (bass). The latter are known from various Basel-based projects such as Sheila She Loves You, Don't Kill The Beast, Brainchild and Mastergrief.

Moonpools released their first EP 'Turbulent Times' in 2019, which was immediately met with positive reactions: For example, the single ‘Brainbug’ was chosen as ‘Song of the Week’ by Swiss national radio station SRF Virus. After a few concerts, including support shows for Oso Oso and Prince Daddy & The Hyena the band started working on new music. The resulting songs will be released in the form of an EP on Young and Aspiring in the late summer of 2022.

The songs became increasingly louder, distorted and straightforward. The sound is inspired by artists like Hatchie, Snail Mail, Ride and Soccer Mommy and moves between Indie Rock and Dream Pop with rousing guitars and anthemic synth parts.

And exactly this mixture can also be heard on the new single 'Damaged Goods', which is also considered the turning point of Moonpools' musical journey. Despite its relaxed mood, the song is to be understood as an ode to the universal lostness and confusion of human existence. This also shows a great strength of singer Marcie Nyffeler (originally from Durham, United Kingdom), who balances between cheerfulness and melancholy with her voice and lyrics seemingly effortlessly, bringing a smile to one's lips while still wiping a tear from one's eye.

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Marlon Pichel - Good Ol' Loving.

Everyone needs some good ol' loving. Especially in these times. The song is a summery soul shuffle with the message "be kind to each other, because there is already enough misery in the world". Recorded the way they did it in the 60's at STAX Records. Covid has had us all in its power. For Marlon Pichel this was no reason to sit still, quite the contrary. He decided to record his first solo album.

Originally a soul guy, Marlon Pichel used the Covid period to unravel the origins of the STAX Records sound. Besides reading articles, books and endless experiments in the studio with his producer and friend Kees Braam (Deersound Studio, Certain Animals), he wanted to get even closer to the source. Soon after, legendary STAX producer Terry Manning, known for his work with Otis Redding, Wilson Pickett, Booker-T and the MG's and Al green, came into the picture. He was so incredibly kind to answer all questions in a long video call. With all this information in their pocket, Marlon and Kees could start making a STAX inspired 60's Southern soul album.

Now a year later, the album has been completed and Good Ol' Loving is the first single to introduce the soulful sounds of Marlon Pichel to the world to let you relive the STAX sound in the most respectful way.

TCBYML · Marlon Pichel - Good Ol' Loving

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Photo - Kristi Jan Hoover

The Early Mays - The Ballad Of Johnny Fall.

Pittsburgh-based duo The Early Maysannounce their forthcoming EP,Prettiest Blue, which will release on July 1, 2022. Composed of artists Emily Pinkertonand Ellen Gozion, the pair sing Appalachian-inspired songs over a lush accompaniment of fiddle, banjo, guitar, and harmonium. Somewhere on the border between old-time music and modern American songwriting, The EarlyMays have built a band with harmonies that feel like home. It’s a partnership that has shared slow-burning, perfectly paired vocals for ten years—from NPR’s Mountain Stageto house concerts all over the mid-Atlantic.

“I think part of our aesthetic comesfrom being introspective people,” Gozion reflects, “We don’t have a flashy, fast sound, but if you let the music engulf you, there are lots of layers. Our songs give people a place to slow down.” “The Early Mays rehearsals are restorative for me,” adds Pinkerton. “The hours spent in Ellen’s living room, with coffee and dark chocolate, following the harmonies wherever they take us, laughing and just loving that exploration as much as we love singing for other people. I hope you can hear the joy of the process in Prettiest Blue.” From the old-time music community, The Early Mays have absorbed the culture of deep listening that’s central to playing with sensitivity. “Revivalists like us–who didn’t live and breathe Appalachian music growing up–still learn andcreate by ear for the most part,” Pinkerton explains. “Being able to carry hours of tunes in my head was life-changing. And there is new meaning to uncover each time you return to a field recording or slowly build a relationship with a mentor.”

That practice of deep listening–and slow, careful craftsmanship–spills over into every Early Mays performance and production. The duo strives to sculpt a warm, immersive sound. When recording albums, the band has explored everything from a single condensermic in a church sanctuary to analog tape and vintage compressors. ForPrettiest Blue, they were looking for a pared-down “in the room” sound, and recorded at Audible Images in Pittsburgh with Hollis Greathouse, combining live takes with multi-tracked vocals and cello. Drawn by Alex Perialas’ work on Richie Stearns and Rosie Newton’s latest release, The Early Mays decided to mix at Pyramid Sound Studios in Ithaca, NY. Cellist Nicole Myers joins the Mays onPrettiest Blue, lending sweeping melodic lines to support the vocals and old-time textures

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Drive-By Truckers - The Driver.

Drive-By Truckers have announced today’s premiere of 'The Driver', the latest track from their upcoming 14th studio album, 'Welcome 2 Club XIII'. 'Welcome 2 Club XIII' arrives via ATO Records on Friday, June 3.  A hypnotic introduction to the album’s sprawling autobiography, 'The Driver' kicks off 'Welcome 2 Club XIII' with a darkly thrilling epic punctuated with lead-heavy riffs and Mississippi-bred singer-songwriter Schaefer Llana’s unearthly backing vocals.

“Around the same era of Club XIII, I spent a lot of time driving around late at night when I couldn’t sleep,” says founding member/vocalist/guitarist Patterson Hood, “listening to music loud and often having a beer or two. Sometimes during those drives, I’d have these epiphanies about what to do with my life - like listening to Tim by The Replacements not long after it came out and deciding to drop out of school to try and make this whole band thing work.”

Welcome 2 Club XIII also includes the spirited, horn-blasted “Every Single Storied Flameout” and the album’s swinging centrepiece, “Welcome 2 Club XIII,” both available now at all DSPs and streaming services; the latter track – which pays homage to the Muscle Shoals honky-tonk where founding members Patterson Hood and Mike Cooley got their start – is joined by an official music video streaming now via YouTube.

Arriving as Drive-By Truckers enters its 26th year, 'Welcome 2 Club XIII' marks a sharp departure from the trenchant commentary of 'The Unraveling' and 'The New OK' (both released in 2020). Produced by longtime Drive-By Truckers collaborator David Barbe and mainly recorded at his studio in Athens, GA, 'Welcome 2 Club XIII' took shape over the course of three frenetic days in summer 2021 – a doubly extraordinary feat considering that the band had no prior intentions of making a new album. Featuring background vocals from the likes of Margo Price, R.E.M.’s Mike Mills, and Mississippi-bred singer/songwriter Schaefer Llana, 'Welcome 2 Club XIII' was recorded live with most songs cut in one or two takes, fully harnessing Drive-By Truckers’ freewheeling energy. Songs like epic, darkly thrilling 'The Driver' and the spirited, horn-blasted 'Every Single Storied Flameout' see the band – whose lineup also includes keyboardist/guitarist Jay Gonzalez, bassist Matt Patton, and drummer Brad Morgan – looking back on their formative years with both deadpan pragmatism and profound tenderness, instilling each song with the kind of lived-in detail that invites bittersweet reminiscence of your own misspent youth.

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Joy on Fire - WILDES - Personal Space

Joy on Fire - Happy Holidays.

The eclectic New Jersey jazz / rock quartet Joy on Fire have shared their new single “Happy Holidays”, another new track from their forthcoming new album States of America. Unlike previous singles “Anger and Decency” and “Selfies” that took their freewheeling jazz punk sound in a proggier direction with longer runtimes and more experimental song structures, “Happy Holidays” is one of the most immediately energizing songs on the album, wasting no time before throwing you into headfirst into the interplay between guitarist / bassist John Paul Carillo and saxophone player Anna Meadors. As usual, frontman Dan Gutstein’s deadpan spoken word vocals tie the track together, with darkly funny observations and turns of phrase like “I hate spending a lot of time in graveyards / we’re all going to spend a lot of time in graveyards”.

The release of “Happy Holidays” is accompanied by a music video, in which the band performs the song on street corners and graveyards, with Gutstein speaking his lyrics into a cell phone and a broken old payphone. Describing the inspiration and process of making the visuals, John writes: “The video for "Happy Holidays" was directed by Anna and me, and we were able to spin off some of Dan's lyrical gambits, especially "A hood-up is not a phone booth / A phone rings inside a hood-up" as well as the repetition of "graveyards."  

We also spun off the spinning motion invoked in the main riffs of the tune.  So the video, surreal and playful ala Spike Jonze's days working with the Breeders and the Beastie Boys, has a lot of spinning in it -- spinning cameras, spinning musicians (that's us!), and people rolling down a hill in a cemetery (us again!).  The video was filmed both outside of Washington DC and in various spots in New Jersey.  The busted up payphone that's featured throughout the video is in Trenton, near band headquarters, and, well...what is it doing there?  

The thing hasn't worked in at least five years!, and the receiver -- as seen in the video -- is split in two.  I guess it was there waiting for us to film it!  It’s in front of a church of sorts -- one of those somewhat ungainly urban buildings that calls itself a church -- and as Anna and I were filming, some members of the congregation came out and told us we'd been there too long and that we had better head on out, pronto!  No problem, they came out just as we were wrapping up.”

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WILDES - Lightly.

WILDES, the solo project of London-based singer/songwriter Ella Walker, has just released the new single "Lightly". With a sound that never falls short of empowering, "Lightly" and recently released single "Woman In Love" - both produced by St Francis Hotel (Michael Kiwanuka, Little Simz) - are the first tastes of her as-yet-unannounced debut album, due for release later this year.

A defining theme of WILDES' new material is the hard-won process of reclaiming her self-esteem. “Lightly”, was an exercise in learning to like herself again - “I’d been totally absorbed by other people, and I never consulted my own emotions,” recalls Walker.

A piano ballad with a rousing string section to tie your heart in knots, it’s an ode to her own resilience. “It was a pivotal moment in my opinion of myself and helped me navigate leaving this bad relationship. I knew I needed a new outlook on life, writing this song helped me believe it.”

Speaking more on the lyrical themes at play on new single "Lightly", she said: "This song symbolises hope. Writing it gave me permission me to imagine how much better my life could be, beyond the fear and worry I had been living in for a number of years. I realised that I was light, and always had been, and I began to separate myself from the sadness and heaviness someone had inflicted upon me. For the first time I sat down and recognised all of the the qualities I loved about myself, and it was these qualities that ended up seeing me through the darkest and most difficult of times. To me, ‘Lightly’ is the feeling of watching the sunrise after the longest night, feeling the warmth on your face - that warmth and light is almost transcendental. I was encouraging myself to listen to my gut and take the terrifying steps towards a better life for myself."

Sonically falling somewhere in a Bermuda Triangle of Angel Olsen, St Vincent and PJ Harvey, WILDES' music sits within an entrancing skeleton of folk songwriting, all the while lifting the listener up on a storm cloud of cinematic electronics and her sharp, honest lyricism. WILDES notes the influence of PJ Harvey, Patti Smith and SASAMI on her new material - "Unapologetically honest women and musicians. They gave me permission to come out of the box I'd been cowering in."

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Personal Space - Ceviche From Kew Gardens.

"Ceviche from Kew Gardens" is the last single from Personal Space's new EP, Still Life. It follows "Long Live the New Flesh." According to the band's Sam Rosenthal; "Let me preface this by saying I’m a married man, but I remember there being a slew of pandemic articles and op-eds about dating during Covid times, about all the anxiety and apprehension, etc, so it felt like a good and timely subject for a song.

There’s no explicit references to a pandemic or anything, just this lonely person who’s bored and kinda down on the world, texting and DM-ing with a prospective lover, dreaming about getting to see them in person. It shows the ordinary aspects of any courtship, like the constant questioning insecurity (Are they seeing other people? Do they feel the same way I feel?), but there’s also that added feeling of being stuck indoors and in the digital realm that speaks more directly to these past couple of years."

Brooklyn/DC-based Personal Space are a conundrum: indie without a scene, prog disdaining complexity, a dad band without dads. Their 2021 LP, A Lifetime of Lesuire, found the band fretting over downward mobility, preoccupied with ethically sourcing their groceries, and hoping, against hope, that humanity can still find its way to a very chill, socialist utopia.

Still Life is the natural progression as Personal Space grapples with lost connections in a pandemic, tech-bro hustlers and finding the joy in our whirring 2022 realities.

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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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