Surfacing nearly a decade ago from long oceanic shores, dream-pop luminaries French for Rabbits create music that feels like it has been crafted from the fabric of the New Zealand landscape and psyche – with its salty waves, isolated coastlines, expansive skies and friendly, approachable people. That is to say, their music is at once intimate and expansive, welcoming and wary, poetic but piercing. Emerging from a vibrant local folk scene alongside other idiosyncratic talents Marlon Williams, Aldous Harding, and Tiny Ruins, together the band have released three records - NZ Music Award nominated EP Claimed by the Sea; Spirits and 2019’s The Weight of Melted Snow.
They’ve toured in the US and Europe, opening for acts such as Lorde, Agnes Obel and performed at SXSW, Iceland Airwaves and WOMAD. Despite racking up millions of streams and seeing their music appear in shows from Vampire Diaries to Being Human, the band have remained close to their DIY roots co-running local label Home Alone, and performing in various other bands in their Wellington home-town.
New single ‘The Overflow’, the title-track from their upcoming LP, is their most immediate and compelling to date - the song is an optimistic take on anxiety and panic attacks - hopeful and soothing on the surface, with deep-seated fears close beneath. Frontwoman Brooke Singer is locked in a battle between head and heart as she seeks to rationalise the mechanics of a panic attack - yet, the song is weightless and optimistically bright in delivery.
“Nobody needs to hear about the admin of an indie musician, but I can tell you – it could be a mountain higher than Everest if you let it,” explains Singer. “At times, I’ve found myself on the edge of burn-out and having panic attacks…I dream of living in a cabin by a river, with a dog and fireplace and a simple life with friends around for dinner. But I’m also filled to the brim with ideas for projects, new songs and new challenges,” she continues, a tug of war familiar to many creatives. “It’s just a river, a current / it’s just a heartbeat out of time” she sings, lulling herself back to reality when her heart is racing.
Jennah Barry is back with a new single, Venus In Heat, which like that LP, is produced by Colin Nealis (longtime Andy Shauf collaborator and bassist).
It's right in line with the groovy 70s-inspired acoustic pop of Holiday, with her vocals front and center as they should be.
Here's a quick quote from Jennah about the track: This song is about the first few days of falling in love, when you feel great and terrible all at the same time.
New Jersey native, London-dwelling artist, Baba Ali has today released his new single, "Thought Leader which trails previous tracks playlisted by BBC 6 Music and KCRW and tipped by Clash, NME, The Line of Best Fit and Paste. Premiered via Lauren Laverne on 6 Music, this latest single, which welds fuzzy guitars with a propulsive electronic beat, arrives as another installment of the forthcoming debut album, Memory Device that comes produced by Al Doyle (Hot Chip, LCD Soundsystem) and is out via Memphis Industries on August 27, 2021.
Baba says of "Thought Leader": “The demo started out really bare with this sampled Warsaw drum beat and an overdriven bass line I’d recorded while still in America. I sent it over to Nik in London at about 3 AM UK time and he sent loads of guitar takes back for me to work with like an hour later. It was quite clear the song had potential. When we finished off with Al, the song managed to not lose its more punk energy and influence, as Al was intent on not cleaning out any grit. An added bonus was having Al play live drums and bass on the recording, which let him get away from the desk and to get his hands dirty.."
"The self-directed music video for Thought Leader was made in collaboration with visual artist Dan Tombs (www.2ms.studio) , and took inspiration from the 1976 video work This Is a Television Receiver by British artist David Hall."
The Felice Brothers have released “Silverfish,” the third song to be released from their forthcoming album From Dreams To Dust, out on September 17, 2021 via Yep Roc Records. They’ve also shared the official music video for the song, compiling found footage and micro insect video shot by James Felice himself.
“I found all the bugs in this video just walking around where I live or work,” James explains. “I have a lens that I attach to my phone, and I keep a keen eye out. Little in life brings me more joy than seeing a speck of something on a leaf or a sidewalk, getting in close and observing a little life unfolding before my eyes."
Rolling Stone described the album’s first single "Inferno" as “a swirl of blurry adolescent recollection and Nineties pop culture ephemera” and “...a promising taste of what’s to come.” The second single, “Jazz On The Autobahn,” received praise from Consequence of Sound, Cool Hunting, and was featured on NPR Music’s New Music Friday Playlist.
The Felice Brothers have also announced a US tour to celebrate the release of the new album. The tour will kick off on September 16 at New York’s Bowery Ballroom and will make stops in Los Angeles, Chicago, Washington, D.C. and many more. Tickets are on sale now. Find a full list of tour dates below and at TheFeliceBrothers.com.
From Dreams To Dust sees the continuation of the new lineup of The Felice Brothers that debuted with Undress, consisting of Ian Felice, who shares songwriting and vocal duties in the band with his brother James Felice, bassist Jesske Hume (Conor Oberst, Jade Bird) and drummer Will Lawrence. The album was written and produced by The Felice Brothers, and features Bright Eyes’ Nathaniel Walcott on trumpet and Mike Mogis, who mixed the album, on pedal steel.
The 12 songs that make up From Dreams To Dust follow the band’s tradition of opting to record in unconventional spaces, similar to their debut album which was recorded in an old theater in New York and their self-titled, which was recorded in a chicken coop. The Felice Brothers found their new recording home in an 1873 church in upstate New York that Ian renovated himself. Though the church had fallen into disrepair, it was Ian’s dream to acquire the property and renovate the 30x40 one-room church.
Jane Honor is a 20-year-old singer/songwriter born and raised in New York City. When she was 18 years old, she moved to Los Angeles to pursue a music career and study music industry and songwriting at USC Thornton School of Music.
She has been singing and writing since 8 years old, and has performed at various venues including The Berklee Performance Center, Ashford and Simpson’sSugarbar, Prohibition, and the world-famous Apollo Theater.
Honor writes most of her songs herself, and her music is produced by Jed Elliott of the Struts. She combines modern indie-pop with timeless influences such as Fleetwood Mac and Regina Spektor.
23 year old singer/songwriter from Glasgow, Bethany is back with a brand new single following the release of 'Bones.'
'This Is Where I Leave You' is a song full of raw emotions and honesty. The songwriting and production lend to Ferrie's new sound that holds a maturity first displayed in Bones.
The track is the next single from the artist's upcoming EP yet to be announced.
The Toronto/LA-based artist, Louie Short has shared his new single, "What Can I Do" which arrives as a precursor to a full album titled OMW 4ev that is set for release later this year via 444%. Louie has always maintained the quote "the genre is songs" as a mantra for his music and "What Can I Do" and the forthcoming album follow this sentiment, arriving as the second installment of Short's sound trailing his 2019 debut, Cherry, Cherry.
“What Can I Do” has an interesting journey of its own. The song was written by Louie’s father Michael Short and an artist named BJ Cook in late 70s Toronto. It was recorded with the intent of selling it – possibly through BJ’s ex-husband David Foster (Ringo Starr, Mary J Blige) – but nothing came and the tape disappeared. 40 years later, in the process of clearing out the old studio, an engineer who had always liked the recording digitized and emailed it to the writers. His dad played it for him and Louie cut the record shortly thereafter. In Louie's words, he says "a good song never dies!"
Expanding further, Short says: "People are drawn to beginnings and endings, whether it be falling in love and breaking up, or emerging artists and artists passing away. Things in the middle of their life tend to be neglected. I think that this forgotten middle space is exciting and uncharted. It holds a certain poignancy because it doesn’t have the manipulative magnetism of creation and destruction, birth and death, to grab your attention. It just has itself existing."
Short's music arrives as a display of someone obsessed with the craft of songwriting. With a bio that previously stated, "he's not not trying to be Carole King", Louie is someone entirely focused on piecing together the best songs that he's capable of doing. Louie serves as the sole architect of the project, polishing his DIY instincts from songwriting through to mixing and drawing comparisons to Pavement, Alex G and Cass McCombs along the way.
The Wild Feathers have signed to New West Records and will release Alvarado on October 8th, 2021. The 12-track set was produced by the band and follows their 2020 career-spanning odds-and-ends collection Medium Rarities. Formed in 2010, The Wild Feathers have released three critically acclaimed studio albums, one live record captured at the historic Ryman Auditorium, and toured with Bob Dylan, Willie Nelson, Bob Seger, and more.
After a major tour with Blackberry Smoke was rescheduled due to the COVID-19 Pandemic last year, the group hunkered down in a small cabin northwest of Nashville in VanLeer, TN. Using the confidence gained from self-producing three new songs found on the Medium Rarities compilation, The Wild Feathers decided to keep things in-house, producing themselves, which was a part of the hard-scrabble work ethic that got them their success in the first place.
For the first time without a fancy studio, the band were confident and calm during the process, which cohesively allowed the sound to be exactly what they felt like instead of having to answer to anyone. Knocking out 14 songs in just four days, they bonded over barbecues and beers and there was a warmness that hadn’t been present since their early days. This relaxed approach is reflected in the laid-back nature of the songs featured on the stellar Alvarado.
Kansas City-based band The Greeting Committee announce the release of new album Dandelion, out September 24th via Harvest Records (BANKS, Donna Missal, Best Coast). Alongside the album announcement, the band release their emotionally revealing new single "Float Away" and its accompanying animated video – offering an up-close and unguarded look at the way depression warps our self-image.
Upcoming album Dandelion was produced by Jennifer Decilveo (MARINA, FLETCHER, Bat for Lashes) and mixed by Dave Fridmann (The Flaming Lips, Tame Impala). Anchored by a gorgeously airy vocal performance from frontwoman Addie Sartino, “Float Away” opens on a candid piece of confession: “Glad it’s raining so I don’t have to go outside and pretend I’m happy just to be alive.” The track unfolds in fuzzed-out riffs, frenetic rhythms, and incandescent textures as Sartino documents her inner turmoil with an intense level of detail.
“There’s a line in the chorus that says, ‘Stale rye, once an apple’s eye,’ which is a way of saying, ‘I used to have so much potential, and now I’m sitting here frozen, and I don’t know what to do with myself,’” she notes.
After slipping into a moment of anti-nostalgia (“Haven’t felt this since/Listening to the 1975 while getting high/In somebody’s basement party”), “Float Away” closes out with another bit of personal revelation: “Treading water’s getting harder/Don’t let me fall another martyr.” But despite its undeniable melancholy, “Float Away” embodies a strangely exhilarating energy thanks to the stormy urgency of The Greeting Committee’s sound and the pure catharsis of its uncompromising honesty.
Watford based six-piece ensemble Lakes have just shared the moving new single Retrograde, taken from their forthcoming new record ‘Start Again’. The band recently announced their signing to Big Scary Monsters for the new album, out 30th July.
Talking about the new single, co-lead vocalist Blue Jenkins said "Retrograde is inspired by a particular experience of trying and failing pretty spectacularly to navigate an avoidant attachment, despite impassioned arguments for the cause on both sides. It's about how confusing and frustrating it can feel to try and work together with somebody only to keep coming up against the same problems, and how sad it still is when you finally have to let it all go."
After a handful of self-releases and a stint of heavy touring with the likes of Nervus and Orchards, the pandemic forced Lakes to slow down, having been catapulted a long way in a short space of time through consistent hard work and sheer tenacity. The six individuals that make up Lakes took the opportunity to formulate new ideas ready for their newest offering, and fired by a strong ‘do it yourself’ ethic, they collaborated remotely on bringing each other’s stories to life. The resulting album, mixed by Neil Strauch (Owen, Owls, Joan Of Arc, Anathallo, Slow Mass etc), captures themes of healing, hope and relief.
“This batch of songs has been a vehicle for healing for all six of us in some way, so there are a lot of different but raw themes throughout the record. Even though we’re currently all isolated from each other, the one person you can’t escape is yourself,” says co-lead vocalist Roberto Cappellina. “We talk about anything from mental health to addiction; from break ups to cutting out toxic friends, to postpartum psychosis. We’ve been to some dark places between us, but ultimately, ‘Start Again’ is about coming out the other side. This record is about facing that darkness, owning it and letting go of the past. It’s about being at peace with it and moving forward and saying that it’s actually OK to start again.”
Inspired by the cycles of life, Sam Teskey, guitarist of critically-acclaimed, blues-soul band The Teskey Brothers, announces his debut solo album, Cycles, a collection of music influenced by the great English psychedelic bands of the late ’60s & ’70s, out on Decca Records on Friday 8th October. The first track on the album Love, out today, is a stirring, pastoral folk song that establishes the album’s own life cycle, ending with the reprise Then Love Returns.
Born out of lockdown in early 2020, with touring at a stand-still, Teskey relished in the opportunity to return to his vast back catalogue of incomplete musical musings he’d amassed whilst writing for The Teskey Brothers over the years. Painstakingly digging through old demos, spending time with the development of the songs, keen to make a record that would be enjoyed as a complete body of work. Starting where most finish, he settled on the track-listing before recording a note, thoughtfully building on the original ideas, with each track evolving to seamlessly melt together with the next.
On his debut album, Teskey says: “When on the road touring, I spend most of my time writing songs, so I have a massive collection of songs and ideas ready to go. Once I figured out that they all work together like that, it happened really organically. I love listening to albums that have progression and take you on a journey. A big point of this album is for people to create their own journey and their own story. I can say many things about the record, but I want to leave the experience up to the listener. It feels nice to put the creativity back in the listeners’ hands.”
Cycles offers a thrilling and immersive journey; the seven tracks ebb and flow like a stream of consciousness, shying away from traditional song structures and negotiating a range of genres from orchestral balladry, dissonant and ambient soundscape, all the way through to folk and heavy psych-rock. Determined to capture the music in its purest form, Teskey, enlisting the help of musician friends, live recorded the album almost exclusively live to tape at his analogue home studio in Warrandyte.
After years of touring the world on bass with Cass McCombs, Renata Zeiguer, and many others, NOGA (aka Noga Shefi) has regrouped to bring listeners The Alchemist -- a short collection of new songs out July 30. Inspired in part by Paulo Coelho's classic mysticist novel of the same name, The Alchemist follows NOGA's experience of untangling life's great dualities: dreams and reality, light and dark, known and unknown, self and other.
Today NOGA has shared the second single from the EP, "Any Kind of Dream" -- a tender, colorful, shimmering song about letting go of something that is no longer serving you in order to create space and allow new ideas. Of the song, NOGA says, "When there is new space after letting go of something heavy and old, there is so much lightness and space to dream of a new vision."
Written during a quiet period of time off in Israel, NOGA recorded the EP back in NYC at the Relic Room, with Scott Colberg on bass and guitar, Jason Nazary on Drums, and Frank LoCrasto on piano and synths. The EP was mixed and mastered by Greg Saunier.
In the novel The Alchemist, the protagonist is made to take on a great quest spanning years and continents. It is not just about chasing dreams, but about the refinement of the alchemist's skill and ability to turn something worthless into gold. On "The Alchemist," the EP's titular, opening track, NOGA grounds her anxieties by reminding herself that the heart and mind is responsible for how one experiences reality. Just as the alchemist can turn cheap metal into gold, NOGA's songs are inspired by the magic of turning unfortunate situations into wisdom and love.
The Alchemist follows NOGA's Mutual Heart Vibes EP (mixed and mastered in collaboration with Ryan Power) and her debut album Calla Lily, which she describes as "songwriting as a way of controlled demolition."
Living and creating in the shadow of an esteemed family legacy, alone in the woods on a mountaintop in the Occitanie region of southern France, Penelope Antena is the heir to a musical throne of mythological stature… and one she lives up to with newfound ambition to push tradition into a 21st Century soundscape. Her 2019 self-produced LP Antelope (KowTow Records) put her otherworldly production style on full display, declaring Penelope as a visionary songwriter and creative force.
Her mother is the renowned singer Isabelle Antena (a pioneer of Electro Samba), her grandfather jazz pianist Marc Moulin (the reason Blue Note opened its EU headquarters, and who was sampled by the likes of Jay Dilla). Fast forward to today and Penelope is carving out her own genre melding path that has garnered praise from the likes of Rolling Stone, Marie Claire, France Inter, and many others.
By integrating tradition and technology, Penelope provides a unique voice in international indie and electronic music. Her forthcoming 2021 release (via Brooklyn’s boutique label Youngbloods) exemplifies an expansion of her creative inspirations, adapting folk, Americana, and gospel sensibilities.
Recent highlights include performing at legendary venue, La Villette in Paris, touring the US in the fall of 2019, 2020 singles “20 Down” and a collaboration with Minneapolis based artist Peter M, “First PO”.
Rising indie-rock singer Alyssa Joseph releases a beautiful lyric video for her song “leaning”, which can be found on her critically acclaimed “alive” EP that dropped last month.
“leaning” describes the period after she graduated college when she was forced to move back home with her parents in New Jersey and face judgment from the world while she longed to move to Nashville. The lyrics candidly expose the difficulties young millennials go through post-grad, as she declares “all my money goes to student loans and the god-damn government”.
The lyric video, which Joseph recorded while driving around Nashville, takes the song full circle. Showcasing the lyrics in the video allows viewers to understand the meaning behind this vulnerable song on a deeper level. When she sings, “they say it’s strange that I’m still leaning, but I’m still leaning” she is being honest that even as an adult she doesn’t have it all figured out and it’s okay to ask for help. The video showcases the understated beauty of “Music City” and offers a sense of hope that dreams can still come true. Even though Joseph was stuck in New Jersey living with her parents when the song was written, her dream of moving to Nashville materializes in the video.
Alyssa Joseph is a thriving singer-songwriter based in Nashville, Tennessee. She has toured through Texas and up and down the Northeast, playing at Sofar Sound shows in New York, Boston, Philadelphia, and Louisville. Her recent EP -- titled “alive” and released on June 4th, 2021-- received wide acclaim from the local and national press, including Guitar Girl Magazine, Music Crowns, Broadway World, and a five-out-of-five star review on Square One Magazine. She is an advocate for body positivity and creating a more diverse and inclusive space within the music industry.
The New Jersey-born now Brooklyn-based artist, Joe Taylor Sutkowski is today announcing details of his debut album, Of Wisdom & Folly alongside sharing the first single, "What Luck, Goodbye." Sutkowski, who is known for his work fronting Dirt Buyer and playing under the Jotay moniker wrote the forthcoming ten-track record, which is out via LA-based artist-run label, Danger Collective Records on August 13, 2021, as a series of five different pairs of stories, each telling the tale of a different character.
While taking a run through pandemic-stricken Brooklyn in 2020, Sutkowski found himself inspired by the odd and visually appealing lyrics of Chocolate USA (a lesser-known project of Elephant 6 / Neutral Milk Hotel collaborator Julian Koster). The endearing depiction of a pretzel-headed schoolgirl named Sherry inspired a swirl of ideas and characters for Sutkowski, who wrote the first song – "Sherry Had a Pretzel Head" – for the record immediately after returning home from the run.
Sutkowski’s warm, emotive vocal delivery and fingerstyle classical guitar are the clear foundation for the album, something cemented with this first single, "What Luck, Goodbye". As a narrative, it arrives as the mirror track to the album opener, "Jordan Was a Little Bottle Rocket" and tells the story of Megan, a desperate dreamer who finds a bottle rocket named Jordan in the pocket of her jacket who she flies away with.
In addition to its precise instrumentation, Of Wisdom & Folly showcases Sutkowski’s ability to paint colorful and defined lyrical illustrations, while maintaining a creative voice and vision that keeps the album grounded. Though the album’s puzzling nature often feels like a dream, the perspectives of the characters are lively, heartbreaking, and ultimately human. “It’s supposed to be vague and make you feel strange, but also at ease,” Sutkowski says, “but I express many real feelings through the medium of characters and their stories.” The performances on the album feel connected to its content and vulnerability, with ominous outros and the inclusion of imperfect studio moments that create a tangible intimacy.
UK multi-instrumentalist and story-teller Mara Simpson has announced her new album In This Place will be released on September 24th, 2021. A heady blend of alt-folk, analogue synth and classical composition, In This Place is a tale of quiet rebellion and taking back control. Fittingly, the new album marks the start of another new journey for Mara. In This Place will be the first record to be released on Downfield Records, a non-profit imprint set up by Simpson, placing artists at its centre. “I want to try and promote transparency and equality, assist other artists to get public funding and to ‘pay’ forward the time and resources I’ve benefited from,” she says. The label’s mission is to see musicians paid fairly and release records through a creative and joyous process.
Whilst the struggles of 2020 will go down in history, for Mara it was 2019 that was the tough one. A year spent consumed by worry, whilst in and out of hospital with her one year old daughter, had left Mara feeling like she was playing a constant game of catch up with a world that wouldn’t slow down. With songs ready to be recorded for her new album, she headed into the studio to record with her producer.
“I stepped into the studio not needing my hand held, just my voice heard” explains Mara, who quickly came to the realisation that she was working in a toxic environment with a producer whose moods everyone had started to dread. “Ironically, at the end of a year spent managing my daughter’s breathing issues, I had an asthma attack induced by the studio’s hypoallergenic cat,” she laughs. “Enough was enough.”
It was whilst waiting for a train that she had the sudden realisation that the album she was recording would never see the light of day. Struck by an overwhelming feeling of failure, Mara began to ruminate on the time and money she had wasted but then something clicked. “Perhaps it’s something about train stations, the coming and the goings, that allows a stagnating frame of mind the grace and space to clear,” she says. “The funny thing is, upon realising failure, the despair I’d been feeling was now replaced with something else...Relief”.
Feeling re-energised, Mara called her dream producer Ellie Mason, of Voka Gentle, and together the pair began working on a new record. “I’ve been more hands-on with this album than I’ve ever been, taking a much more active role in production. Throughout the whole process Ellie has heard my voice, and been open to any possibility” explains Mara. “We’ve stumbled across golden moments, recording four part harmonies in Brighton’s oldest church, using every drum there is in Brighton Electric, layering New Zealand bird song with tape delayed piano, all thanks to her nurture, playfulness and kindness,” she continues.
Title-track ‘In This Place’ is about the confrontation between mother and newborn child. The ‘sizing-up’ of one another as they embark on a new journey together. “When I left home to travel around the world and was so worried about breaking my Mum’s heart,” says Mara. “I just remember her saying that your children are never yours to keep. This is a song about the rawest of loves, and the fact that however much we love someone, they are never ours, and the beauty in that.”
Icelandic trio Vök have shared the stunning video for their enchanting and reflective new single Skin, which is out now through Nettwerk Records.
New single Skin follows recently released single and video Lost in the Weekend, which gave an early taste of their new material recorded last year in their Reykjavík studios. The single was the follow-up to their acclaimed 2019 album In the Dark, which was written and recorded by the band in collaboration with producer James Earp (Bipolar Sunshine, Fickle Friends, Lewis Capaldi).
With every track, Vök continue to develop their progressive alt-pop sound and Skin cements just how intricately captivating the band can be. Opening emotively and delicately, the song builds to an ethereal and pensive chorus that lyrically conveys someone not knowing who they are and being stuck in their own ‘skin’. The expansive video, directed by Arnar Helgi, shows the band performing in a stunning location at Rauðhólar outside of Reykjavík amidst a backdrop of mountains and neon lights as the sun sets.
Lead singer Margrét says; “Our character has been living by the standards of her community but feels like she is betraying herself. She is afraid of who she is becoming, as that person is someone that she doesn’t relate to, and she feels trapped and doesn’t know who or what she is – she is stuck in her own skin.”
Through their unique and lushly layered sound that blends electro and indie with forward-thinking pop and a self-assured aesthetic, that is just as striking as their sound, Vök continue to cement their position as one of the most exciting alternative bands right now. Following two critically acclaimed albums, Lost in the Weekend and Skin are just the first musical moments in an exciting year for Vök, with further new music announced soon.
Central Heat Exchange (feat. Varsity's Stephanie Smith) - Directly Down.
Central Heat Exchange (C.H.E.) is a collaborative project by musicians spread throughout the US & Canada, primarily in the Central Time Zone. Split across Austin, Chicago, & Winnipeg, its core members are Adam Soloway of Living Hour, Santiago RD of Daphne Tunes and Jacob and Paul Stoltz of Varsity and Pool Holograph, though their forthcoming recorded output involves a broad network of collaborators that include members of Broken Social Scene, Lala Lala, Fran, The Weakerthans, Sun June, Do Make Say Think and many others. Today they are formally announcing their self-titled debut album (due out September 10th on Birthday Cake, Citrus City and Sunroom Records) and sharing the single "Directly Down," which features lead vocals from Stephanie Smith of Varsity and drums from Lala Lala's Abby Black.
"'Directly Down' started as a demo for another project, Discus," says Paul Stoltz. "It was initially tracked in March at the beginning of quarantine while Jake and I were planning to record the second Discus LP. As it became apparent that we were not going to be able to record in person for quite some time (still haven’t), I added this song to the mix for CHE."
The drum machine, rhythm guitar, bass, and post-chorus ambient sounds were all tracked by Paul on a Tascam 4-track tape machine. Jake tracked some loose vocal melodies for the song in addition to his lead guitar, but was unsatisfied with the way they turned out. That's when we turned to Stephanie Smith from Varsity, an amazing singer and frequent collaborator or ours. The whole track has a stumbling, spiraling vibe that Stef highlights in her lyrics beautifully, taking Jake's initial lyrics about a depressive spiral and morphing it into a song about humans destroying the earth."
"It's a song about humans destroying the earth," Smith continues. "We’ve destroyed it so much by now that maybe we're past the point of no return but maybe we’re not."
Like many artists, acclaimed pop-folk singer/songwriter, Lexie Roth, found inspiration in the world shutting down and then slowly coming back to life. Roth is dropping a poignant new single, “Western Skies,” set for release on July 9, via American Songwriter. Roth plans to release the official video for “Western Skies” later this month.
"I wrote Western Skies after spending a significant time on the west coast and on the road driving across the country, over six times now,” shares Roth.
“There is a certain innate grief that comes over me when driving through small desolate towns. I wanted to imagine what my personal pain would feel like through the lens of a husband being widowed by his beloved wife and being left to raise their children without her. I wanted to depict how moving it is for him to see her."
Produced by Roth, “Western Skies” features vocal contributions from Willy Mason, as well as ethereal slide guitar riffs from Roth’s father, Arlen, a virtuosic guitarist who has performed and recorded with the best artists of his generation, including Bob Dylan, James Taylor, Simon and Garfunkel, The Bee-Gees and Phoebe Snow. The soon-to-be-released video for “Western Skies” was directed by David Henry Gerson, whose work has won prizes from the Academy of Motion Picture Arts and Sciences, the Sundance Film Festival, and has been acquired into the permanent collection of the Museum of Modern Art in NY.
Raised between Westchester, New York and Martha’s Vineyard, Massachusetts, Roth released her eponymous, bluesy debut album in 2012, which included the song ‘Call You My Hon,’ featured in the award-winning film Maria My Love. Roth, who is often compared to artists like Lucy Dacus and Jenny Lewis, has a way of creating music that is soul-inflected, with the wisdom and weight of American music history in an eminently listenable contemporary package.
Toronto's motorik jangle-pop trio, Motorists have just shared their new single, "Through To You" which arrives with an accompanying video inspired by the German TV show, Beat Club. In tandem with sharing the new music, the band are announcing their debut LP, Surrounded which comes mastered by Mikey Young (Total Control, Eddy Current Suppression Ring) and is set for release via We Are Time – a new label, part-helmed by Chandra Oppenheim – Bobo Integral and Debt Offensive on September 3, 2021.
Driving is a huge part of rock and roll’s enduring mythology. Images of cruising down the highway with friends and lovers while basking in the freedom of the open road pervade pop music’s lyrical canon. Yet, so often, these idealized images clash with the everyday drudgery of being a motorist: traffic jams, detours, and bad news on the radio.
This tension is central to Surrounded, an album that is as much about the colourful possibilities of life as it is about the way those possibilities are boxed in by technologies. In a world where everyone’s been in their own bubble, Motorists have pushed theirs together and worked through feelings of isolation as a group to the tune of jangly guitars, infectious power-pop hooks, and a steady motorik beat. Surrounded is an album about modern living and, as Fahner succinctly describes, “isolation in a technologically saturated society, laden with romanticism around radical togetherness.”
The album's first single, “Through to You”, is a song about yearning to connect with other people, attempting to peel back the curtain of solitude that has engulfed us over the last 15 months or so. Written during the first lockdown, when hope for a bit of familiarity was starting to blossom, it zeroes in on the desire to feel close to someone without having to speak a word. The band addresses this notion beautifully, both lyrically as a feeling of “flowing through the veins of another heart,” and musically with the brightest jangly melodies on the album and a wistfully sweet vocal.
The LA-Based, French-American Psych Pop Duo Pearl & The Oysters have just shared a video for "Soft Science". Flowerland is the third album from them and will be available September 3rd, 2021 via Chicago’s Feeltrip Records.
With the band having recently relocated to LA, the album was intended as the final installment of Pearl & The Oysters’ ‘Florida trilogy,’ begun on their self-titled debut (2017) and continued on Canned Music (2018), a space age odyssey equal parts fawning over the Floweredland’s natural spectacles and mourning the peril that climate change has wrought on it all.
In comparison with previous releases, Flowerland reveals more of the inner workings of Davis and Polack’s minds, with the pair trading fantastical stories about zany characters for more personal narratives detailing worries of the everyday and universal variety. While the music remains primarily indebted to the escapist optimism of late-1960s soft pop, cloudier themes such as eco-anxiety, depression, and the stresses of finishing graduate school are all explored (somewhat cryptically) in the lyrics, although never in an overwhelming way. For Davis and Polack, Flowerland was meant as an attempt to channel crippling emotions into an uplifting listen, rather than a deliberately heavy experience.
P&TO’s take on Richard Tee and Stuff’s mellowest moments, the title track is in keeping with the band’s extended space opera metaphor seeing Florida become a foreign planet on which Davis and Polack crashed—rather than safely landed—, an unexpected but ultimately lucky detour. In the admittedly semi-autobiographical opener « Soft Science, » the band tries their hand at nouvelle vague romantic candor, in a duet staging a lovers’ trivial but tender argument, backed by samba-inspired percussion and phasing electric piano swirls. « Evening Sun, » one of P&TO’s more affected and pessimistic tracks to date, turns the ‘Endless Summer’ trope on its head by contemplating the concerning proposition hidden (in plain sight) behind what was once as a catchy slogan for tourism: when is the paradisiac promise of an eternal Summer actually becoming a dystopian menace? With its reverb-drenched flutes and whirling analog synthesizers, it is without doubt the album’s most cinematic cut.
Is the reward worth the risk? Sometimes all you need is to stray away from the beaten path, take a leap of faith, and follow your heart. West Coast-based folk band Good Job Honey invites you to take the leap of faith in search of adventure in their latest single, “Crazy Country.”
A track reflecting on the universal woes we in society all live through, the band speaks on life and its trials and tribulations over a country inspired melody. The song illustrates embracing the risk of following the unknown path with the hope of a greater reward at the end of the unclear journey. Good Job Honey releases “Crazy County” on all digital platforms now.
The third release from the band's long-awaited debut album, Why You So Sticky, out July 30, 2021, “Crazy Country” showcases the band's versatility and sonic style. Written by a family member, the track shines a spotlight on lead singer April Roberts' commanding and delicate voice. Good Job Honey aims to let their unique sound be heard while inspiring others to live their authentic selves.
Following up on the 2020 release of their second EP ‘All Hail To Your Queen’, Bristol-based atmospheric Alt-Pop quartet Ålesund return with upcoming EP ‘A Thread In The Dark’, due for release July 9th.
After the untimely curtailing of their European Tour in Spring 2020 due to the COVID-19 outbreak, Ålesund travelled back to the UK feeling uncertain. Although things were going so well with a new offering and an extensive touring and festival schedule to get stuck into, the timing of the unplanned hiatus was less than ideal. Rather than take it to heart, the group’s vocalist and songwriter Alba Torriset retreated to her hometown of Hastings to try and reconnect with music in a positive way.
“With all the negativity in the world, I wanted to create something uplifting and optimistic,” she says, and so the four track EP ‘A Thread In The Dark’ was created. Alba and guitarist Lloyd Starr started to put together demos with a euphoric and festival-tinged edge. They then engaged with long term collaborator and producer Jake Bright to help build the record.
This is the first time that a batch of songs have been created in this way for the band. Due to the inability to all be in the same room, Alba tried her hand at Logic and demoed her ideas to send to the others. She went back to basics creating rhythm and texture by layering up clapping and even using wooden spoons to get the percussive sounds she was after. She also layered up lots of backing vocals to flesh out her ideas. These all became features within the record and the rest of the band liked how the lockdown restrictions had actually pushed the sound forward in ways it perhaps wouldn’t have if they had all been able to jam the ideas in the same room.
Throughout the EP Alba’s intoxicating vocals take on totally different auras that interchange based on the musical landscapes they’re placed against; soaring atmospheric synth-laden soundscapes, shimmering guitars and tantalizing grooves.
'The WildViolets are a London-based trio that have taken a unique turn in music making, endeavoring to restore the soul in pop. Drawing inspiration from the likes of Franc Moody, Jamiroquai and Nile Rodgers, the band strive for a fresh ‘funkypop’ sound that gets audiences on their feet and dancing.
Since 2015, the WildViolets have released a sizzling blend of songs that combine soulful vocals with funky guitar and playful brass backing. During their journey across the London circuit, the experienced live act has performed at some of the city’s most prestigious venues, including the O2 Academy Islington and Camden Assembly.
The jovial, uplifting, summery vibe of The WildViolets’ latest single “Indian Summer” is inspired by the band’s affection for the summertime. An affection which is particularly relevant given the easing of COVID-19 restrictions and the hope amongst the musical community for a ‘Third Summer of Love.’ Felipe Franco, The WildViolets, said: In the UK our hot summer days tend to be short and infrequent. This is similar to the phenomena of the “Indian Summer” which is where brief spells of glorious sunshine break up the bleak autumnal months.
So, in its very essence, they are both fleeting occasions which we long for but are only briefly in our grasp. This longing can also be a metaphor for someone you love who you rarely cross paths with anymore. Or for the longing for some normality which the opening up of society on July 19th can hopefully bring. A ‘Third Summer of Love’ is just what we all need right now!”
With The Golden Seals’ latest feel-good summer banger, “To Be or Not To Be (With Me)” — available now — vocalist, bassist and guitarist Dave Merritt channels the soliloquy spirit of ‘The Bard’ with the lyrics “I know I'm no Olivier, I'm just an old clown; but the irony is, I’m bringing us down.”
The Ottawa-based pop rock ensemble’s retro-ish new single transports listeners back to a vintage 1970s-era soundscape via today’s digital DeLorean — in a kaleidoscope-induced, Cheap Trick-esque kind of way!
Along with drummer/percussionist Philip Shaw Bova and guitarist/synths Kevin Lacroix (Ron Sexsmith, Communism) — The Golden Seals continue to deliver a plethora of chart-topping hits. The Canadian band’s 2019 release “Something Isn’t Happening” featured the CBC national radio mainstay “Independence Day.”
Prior to Merritt hitching himself to the Seals’ golden ride, the multi-faceted musician was a staple for over three decades on the Canadian music scene, including with his first project, Adam West. Merritt’s songs have also been recorded by Rheostatics and sung by songstress Sarah Harmer.
“Searching for a tune / That I haven’t sung before / One that’s lesser used and lesser sad / But somehow maybe more,” award-winning singer-songwriter Josienne Clarke sings on ‘Super Recogniser’, the opening track of her new album, A Small Unknowable Thing. For the first time since her early beginnings, Clarke is flying solo. No label, no musical partner, no producer. Clarke is in complete control of her songwriting, arranging, producing, release schedule and musical direction. It’s not only enabled her to find a tune she’s never sung before, but it’s also lesser sad and more – because for the first time, Clarke isn’t being told what to do.
“I realised that I had to be so explicit in explaining how much I’d done in order to get credit for it,” Clarke explains. “I started saying ‘No, actually, I did all of this, can we put my name on this thing?’ It’s really resisted – it’s as if I’m being an arrogant megalomaniac for wanting the credit for stuff that I did. Now, I just do it all by myself. If there isn’t another name on it, then there can’t be a misappropriation.”
A Small Unknowable Thing is, at least in part, about recognising there are still existing structures to keep women in their place – but it’s also about having the courage to break those structures down too. While the themes might feel familiar to her fans, the musical journey will not, with Clarke taking in a wide range of new and diverse influences across the album – from Adrianne Lenker’s ‘Hours Were The Birds’, IDLES’ ‘Colossus’, Radiohead’s ‘Airbag’ to Phoebe Bridgers ‘Garden Song’, The Beastie Boys’ ‘Remote Control’ and Sandy Denny’s ‘Listen, Listen’ and more, the album’s touchstones span a vast musical collage of anger and hope.
Clarke’s stunning, Joni Mitchell-like voice is allowed to soar on the gorgeous ‘Super Recogniser’ with sparse, minimalistic guitar allowing for a renewed focus on Clarke’s poetic lyricism and storytelling. At times, songs on A Small Unknowable Thing take you out of harsh realities and into hopeful daydreams, finding positives from the negatives via synth-folk and surprising, unexpected sonic experimentation which pushes the boundary of indie-folk to daring new areas.
By Jesse Locke · April 29, 2020: In 2015, cult Canadian indie-rocker Jon McKiel purchased a Teac A-2340 reel-to-reel recorder from a stranger online. After setting up the machine, he discovered one of the 30 tapes it came with contained recordings made by a previous owner. These included snippets of single instruments, vocals, and one nearly fully formed song.
Four years later, McKiel teamed up with producer Jay Crocker (Constellation Records’ experimental electronic artist JOYFULTALK) to transfer all the material they could excavate from the reels to a hard drive. McKiel then chopped the sounds into 10-second loops, and used those samples as a foundation for a series of eerie, psychedelic pop songs. The project was credited to a character who was partially McKiel, and partially the stranger who sold him the machine: Bobby Joe Hope.
If Bobby Joe Hope has a predecessor, it’s the 2009 album Broadcast and the Focus Group Investigate Witch Cults of the Radio Age. That hauntological project features British art-rock group Broadcast working with samples from horror films, TV broadcasts, and nursery rhymes. Though McKiel’s record shares Broadcast’s tumbling drum fills and dusty ambience, Bobby Joe Hope feels more intimate. Tranquil loops provide a soft bed over which McKiel’s gentle voice hovers on songs like opener “Mourning Dove” and the gorgeous “Deeper Shade.”
The strolling, melancholy pace of “Management” will appeal to fans of Chris Cohen, while the video game tribute “Secret of Mana” might just be the nerdiest song of 2020. Perhaps the record’s most apt contemporary comparison are the ramshackle home recordings of Sub Pop artist Chad VanGaalen, as well as his production work for the spindly, post-punk group Women. The influence of both can be heard strongly on Bobby Joe Hope’s standout track “Object Permanence.” As McKiel’s lulling delivery floats over chiming guitars and a stately bass line, he raises spirits in more ways than one.
Benedict Sinister - Going Away - Extended Club Mix.
Club hit “Going Away” by Benedict Sinister (which has already reached the top ten in the UK MusicWeek Club Charts) is poised to cross over to the pop charts with a new video combining a sexy video game aesthetic with a cold evocation of a relationship break-up.
“Going Away” is the best example yet of Sinister’s extraordinary combination of house lounge music with adult alternative vocal style and subject matter: break-ups and the great art they have inspired, from Verlaine to Hemingway to Gainsbourg, Jimmy Webb, Jeff Buckley and Lana Del Rey – who are all quoted in the song.
Gigsoup says Sinister’s music is “like Leonard Cohen warped into EDM in the coolest way possible.” Artistrack says: “His smart, sexy, sharply-observed songs are a fusion of adult alternative and chill house.” Wonderland magazine call Sinister a “boundary-pushing revered musical veteran.” Cool Husting reports: “something beautiful has been born.”
Sinister teamed up with LA DJ and tastemaker Christian B on this track. Their last collaboration, “16 Lines from Bryan Ferry” hit the No. 5 Breakout spot on Billboard’s Dance Club chart.
LIP TALK–the solo moniker of Sarah K. Pedinotti (Kalbells, Hayley Williams, Okkervil River, The Secret Machines) has just announced her upcoming album Laughing & Eating Cake is releasing August 4, 2021 via Northern Spy.
In the lead up to the album’s release, LIP TALK will share a new single every Tuesday, beginning today with the curious and vibrant track “HD” and accompanying music video by Haoyan of America.
Pedinotti explains further about the track which was written the week after US Election Day 2020: "After a traumatic week of increased television consumption I started having dreams in HD. The highly defined quality of the news anchorʼs skin painted perfectly with make-up and the fly on Mike Penceʼs head seemed to loop inside my head. I let myself get psychedelic in the verse and in the chorus I pretended I was Dolly Parton, for the sake of America."
A collaboration between Warp Trio, and the rising sensation Raina Sokolov-Gonzalez, “The Well” is a sweeping and epic tour de force that depicts the story of how isolation during the pandemic forces one to confront one’s self-identity, deal with their demons, and conquer them. The music video features the talents of amazing New York City dancer Emily Houghton with original choreography.
Taken from their forthcoming album due out August 20, 2021, the new six track collection came about against the following background. "Like musicians all over the World, New York City’s Warp Trio entered the Fall of 2020 with a full instrumental record ready to go, but no tour to play it on. In light of their forced hiatus from road life, and in efforts to make something positive out of these dark days, they decided to get to work on a new record that would not only signify the times, but also one that they would purposefully not be able to feasibly take on the road. Rick threw down some beats and bass, Mikael added his keys and synths, and after Josh & J.Y created a lush Disco-esque orchestra of strings, they reached out to some of their talented and inspiring vocalist, filmmaker, animator, and dancer friends to collaborate on a project that aims to show a small glimpse of the roller-coaster of feelings and experiences lived by folks in this time of tumult.
After many hours of home recording, “Zoom-Jams”, and a few All-Night film shoots, Warp Trio’s Pandemic Disco Fantasy was born. Clocking in at a little over half an hour, P.D.F. is a six-track video concept album that musically posits the Warp Trio alongside several guest vocalists (Likwuid, Mirah, Raina Sokolov-Gonzalez, Daniel Henri Emond, and Claire Wellin) as soloists with an orchestra. Each track is accompanied by a video chapter that tells the fantastical stylized story of the narrative. Visually, the movement talents of Emily Houghton, Sophia Qin’s psychedelic animations, and the film making prowess of Andrew Wells Ryder bring the music to life".
From Beehive Candy's point of view this is a superb song and one that set's expectation for the album rightly high. The musicianship is both dramatic and skillfully delivered, the vocals demanding equal attention and the video adds another layer of thoughtfully crafted art. As for the rest of the collection, well let's just say if you like this piece, you will love the rest.
Alice Hubble has announced her new album Hexentanzplatz will be released on September 10th, 2021 via London-based electronic-pop label Happy Robots. Described as the work of ‘one lady at home with her enormous collection of synthesisers’, Alice Hubble mixes melancholic pop, layered vintage synths and elegant vocals, reminiscent of Ladytron, Jane Weaver and Goldfrapp. Her debut album Polarlichter was released in September 2019 to much critical acclaim.
Lead single ‘My Dear Friend’ was inspired by the discovery of a collection of love letters written by Hubble’s mother to her father around the time that they first met. “My mother passed away when I was in my teens and these letters gave me a real insight into who she was as a person, her ‘newly in love’ giddiness jumping off the page,” she says.
Her new album Hexentanzplatz, named after the German mountain steeped in magic and legend, translates literally to mean Witches’ Dance Floor. An apt title for an album that dances its way through themes of illusion, love, feminism and protest whilst maintaining glistening, 80’s synth-pop sensibilities. Whilst Hubble was driving around the Harz Mountains last summer, the song ‘Beautiful Madness’ by Michael Patrick Kelly was on regular radio rotation. She repeatedly misheard the lyrics, thinking Kelly was singing “Oh what a beautiful mountain”, a sentiment which had much more resonance given their surroundings. The misheard line made Hubble smile and became the basis of her new record’s title track. “Being an eternal optimist I felt the need to write something in 2020 that was full of hope and positivity,” she says.
Petunia-Liebling MacPumpkin - Waltzing With Charley.
Take a wistful railway journey with Petunia as she tells you about a man who used to be, and come waltzing down the dusty tracks of the forgotten American dream.
Petunia-Liebling MacPumpkin is an escaped ghost from an old coloring book that was left out in the rain at some point in the 20th Century. Waltzing With Charley is the 11th video taken from her second album (I Left My Heart in Uncanny Valley).
She also recently curated a remix album entitled All My Friends Live In Uncanny Valley, featuring the likes of Renaldo & The Loaf and Toxic Chicken gleefully rearranging her songs into strange new forms.
As the dust settles on the recent single ‘Big Worse’, Dude Safari have shared another self confessed Grunge-Pop number in the form of new track ‘Maybe It’s A UFO’.
Previous single ‘Big Worse’ featured heavily on BBC Introducing, Amazing Radio & Total Rock shows, and made it onto Spotify & Deezer Editorial playlists. All with no management, label or paid PR.
‘Maybe It’s A UFO’ is made up of the very fibres of what Dude Safari wanted to extrude. Big & heavy powerhouse instrumentals with a poppy vein running straight down the centre. Reigning in on the influences, Weezer inspired bubblegum vocals with a heavy grunge backbone that channels the likes of Dinosaur Pile-Up & Nirvana.
Due for release on July 2nd 2021, ‘Maybe It’s A UFO’ is Dude Safari’s fourth single. It follows their debut ‘Bug Hunter’, ‘Lead Balloon’ & more recently ‘Big Worse’ which came out last month. For a band that started in the embers of 2020, a single a month in 2021 is the kind of routine firepower the band plan to extend for the coming months...and beyond.
Recorded & written from each member’s abode, Dude Safari ran a tight ship & even future proofed the way the band recorded...even after Covid. The drum tracks for all singles were recorded remotely in Audio Beach Studios in Brighton & the tracks were Mixed & Mastered by Jake Day at North Acre Studio in Cambridgeshire.
Singer, songwriter, multi-instrumentalist and producer Royal Wood has established himself as a true musical talent. Since being proclaimed Songwriter of the Year by iTunes, Royal Wood has continued to evolve and hone his musical craft – maintaining an unmistakable identity while uncovering and reinventing his sound.
Royal Wood has three albums that have debuted in the Top 30, multiple JUNO nominations, multiple Canadian Folk Music Award nominations and a #1 added song at Hot AC Radio. His songs have been heard on high profile sync placements like Grey’s Anatomy and Private Practice. He has headlined all over the world including iconic venues like Massey Hall in Toronto and has performed his music with major symphonies and opened national tours for legendary artists like Bonnie Raitt and David Gray.
Now with this new single “Say You Will,” Royal Wood once again goes at the heart of the matter with love front and centre.
I’ve always been drawn to writing and singing love songs. And honestly I’m not embarrassed to admit it either. Love songs make the world go round.
“Say You Will” is about choosing to invest in the relationships that mean the most to you and hoping the love you give comes back in equal measure. Sometimes cynicism abounds, and right now we are either sheltered at home with those closest to us or, like many, we are far removed from the ones we hold dear and miss them like crazy. As a result I felt like we needed to celebrate and remember the most important reason we live now more than ever – to love and to be loved. That’s really what inspired the song.
