PLAYING NASHVILLE: Kyshona Armstrong Premieres ‘Listen’

Photo by Hannah Miller

“Why won’t you listen?” It’s a simple question packed with dense meaning, and is the core message of Kyshona Armstrong’s new song “Listen,” premiering exclusively with Audiofemme. It’s the title track from her forthcoming LP, set for release on February 28.

Co-written by Armstrong and Toronto-based singer-songwriter Emma Lee, “Listen” was born out of a conversation between Armstrong and someone who’d asked her opinion about a recent societal event, a conversation that became more like a debate. “Sometimes all people want is for you to hear them,” Armstrong shares with Audiofemme.“I noticed even with myself, I’ll ask someone a question and then I’m not even listening because I’m trying to figure out how I want to fix it; what can I say in response to it, rather than just hearing a person.”

Armstrong brought her observations into a writing session with Lee, the two building the track’s instrumental before crafting the lyrics. Like spoken word poetry put to music, the song presents a series of questions that lead to the main point in the chorus that repeats, “Why won’t you listen?” She opens the song with a powerful question: “Why you gotta interrupt/when I’m not done talkin’?’” before proclaiming “Yeah, I know you want to help/but you’re deaf to the mission.” For Armstrong, the latter notion delves into her personal frustration with those who are more interested in the “gory pieces” of her work – with such organizations as the Oasis Center, which supports at-risk youth, or teaching songwriting to women who are incarcerated at the Tennessee Prison for Women – than they are with the meaning behind it.

“’Deaf to the mission’ to me means you’re not even hearing the purpose behind what I’m doing,” Armstrong explains, adding that she feels she can convey humanizing stories to her audience of the people she meets in places such as prisons and homeless shelters. “My mission is to be a voice and a vessel for those that feel lost, forgotten and silenced.”

In the music video, Armstrong captures the subtle tension of the song. She called on many of her family members and friends to help tell the story, pairing them up to have playful, yet effective arguments with one another. While their exchanges are muted, Armstrong reveals that to bring out that tension, the couples argued about a range of topics from what toppings to put on a pancake to her sister-in-law reprimanding her niece about her outfit. “They could feel that hum underneath while they were acting,” Armstrong describes of the atmosphere on set as the song was playing in the background. “This is what the song feels like – it’s just this tense moment. It’s about people and feelings.”

For Armstrong, the idea of “listening” all boils down to empathy, which involves stepping into someone else’s reality and trying to see the world from their point of view. She hopes that through the song, people will feel compelled to take action and engage in true listening. “I think ‘listen’ is a more active thing than it sounds like. Listen to someone else’s story, then try to put yourself in their shoes and see how they might walk through the world and might feel in this moment – just pan out from your own world,” she observes. “I hope people take a moment to really think about how can they listen more – or better.”

PLAYING ATLANTA: Sam Burchfield Reminisces on His Folk Roots with “Colorado”

Photo Credit: Jordana Dale Photography

Autumn is officially underway here in Atlanta, bringing in cooler weather, colorful leaves, and the perfect Appalachian folk-inspired songs to hum while drinking coffee on a crisp morning, thanks to singer-songwriter Sam Burchfield and his latest single, “Colorado.” The wanderlust-inspiring track, set to a delicate backdrop of plucked acoustic and subtle percussion, is dreamy enough to stick in your head for the rest of the day and send you looking for the next flight out west (consider yourself warned).

Sam Burchfield has been a longtime favorite of mine after I was introduced to his music through his wife, Pip the Pansy. Raised in the foothills of the Blue Ridge Mountains in South Carolina, Burchfield was surrounded by the sounds of traditional Appalachian folk and bluegrass from a young age. Years later, he returns to the sounds of his childhood as he reconnects with himself, the natural world, and the people he loves most.

AF: How did you find your way to music? Did you grow up in a musical household, or was there a moment where you heard a song and fell in love with it? Did you ever think you’d be making music as a career, or was it more of a hobby for you?

SB: I started playing guitar and upright bass in fifth grade and just got addicted. My sisters both played music in orchestra so I guess I saw that and thought it was cool. By the time I got to high school, I had put out a few “records” with my garage rock band and had started a pseudo solo career burning CDs for my friends (who were kind enough to buy them). I went to UGA to study Music Business and pretty much had decided it’s what I was doing with my life. That didn’t become a reality until my junior year of college when I started recording my first real release.

AF: How did growing up in the Blue Ridge Mountains and the Appalachian musical tradition influence you as a songwriter? 

SB: If you listen to my catalog for like a second, you will hear a million references to mountains. That’s just sort of who I am. I’m divinely inspired by the natural world and have always felt at home in Southern Appalachia. I grew up going to my Granny’s house near Sylva, NC, where I’d play in the creek and hike and pick blueberries and pretend to be Davy Crockett. I guess a lot of my music is trying to touch those memories in some way. Also, just being around bluegrass and Southern music sort of makes that the norm, which meant that as a kid I was rebelling against Southern traditional music. It’s finally come full circle where I feel more connected to those roots and the raw honesty that the tradition calls on.

AF: What drives you to keep creating music? 

SB: At this point, probably inertia. Writing songs is what I love most, and I want to always be digging for a more powerful, honest, and better song to connect with people.

AF: Who do you consider your greatest inspiration? 

SB: Randy Travis.

AF: Your music toes the line between folky singer-songwriter and more soulful tracks like “Dinner,” released last year. Do you feel more drawn to one or the other? 

SB: I think at the moment I’m more drawn to folk songs. It’s what I’ve been writing and it’s more of who I am at my core. I do like to have some fun and play soulful and funky jams with the band live though.

AF: Do you try to maintain a certain sound or style while writing, or do you follow the voice of each song? 

SB: In the past, I almost tried too hard for my songs to be different, but lately, working on a record has really made me write for the record, which I think is important. Learning to make something a cohesive body of work is an art in and of itself. It’s a way to weave all of the unique voices of songs into a choir. But I generally let the song be discovered rather than having a preconceived sound I’m going for.

AF: What’s your writing and recording process like? Do you write, produce, and record your own music, or do you prefer to collaborate with others?

SB: Lately I’ve been doing it all myself. In the past, I have collaborated in a million different ways, whether with friends, writers, producers, or band members. I prefer to be pretty in control with the occasional feedback from people I trust a lot and who can be honest with me. Writing for me is normally about getting my mind to shut off and shut up and let ideas flow freely. At some point I just have a gut feeling on an idea that needs to be fleshed out. Sometimes that happens instantaneously, or sometimes it’s five years later. Recording is always a bit different. I want to serve the song, so sometimes I track things live on my own or with a band or overdub and layer the pieces together. I try to be present to what feels the best and trust that as much as possible.

AF: You crisscross the country quite a bit! How do your travels influence your writing? Do you tend to write while you’re on the road, or do you save it for the off-season? 

SB: If I am solo driving, I write all the time. I think while I’m driving it’s easier for ideas to flow because I’m just distracted enough to not overthink things. I would say I’m pretty constantly writing or working on some idea in the studio. All the traveling has definitely inspired a lot of my new music, especially seeing some areas of the country I had never seen, like Colorado and Utah.

AF: You’ve released three singles this year: “Blue Ridge June,” “Waking Up,” and “Colorado.” Can you tell us a bit about the songs? What inspired them?

SB:Waking Up” and “Colorado” were inspired by traveling out West, but all of them are about reconnecting with the natural world and each other. I did some soul searching over the past few years and decided that was sort of my musical mission. “Blue Ridge” is about where I grew up and was a co-write with my wife [Pip the Pansy]. Really my favorite co-write ever, I think. She’s a brilliant lyricist and really brought the feeling to life of missing the Blue Ridge and personifying the mountains as a fairy nymph or something.

“Waking Up” was a very old idea that I started probably five years ago, and then after going out west for the first time, I found the inspiration to complete it. It maps out a sort of spiritual/natural awakening. “Colorado” was obviously inspired by Colorado. Pip and I fell in love with that place and have made some incredible friends there. It was another sort of co-write with her, and originally we just had the verses with nothing else. [I] loved the verse melody so much that I couldn’t put a chorus to it, until one night at like 4 am I was working on it and came up with my first one-word chorus: “Colorado.”

AF: You and your wife, Pip the Pansy, are both incredibly talented musicians and songwriters! How do you influence each other? Do you collaborate often? 

SB: We definitely collaborate. We don’t often do it intentionally; it’s more of just a passing thing since we are around each other all the time. I did help write and record her latest project with our buddy Caleb Hawley in NYC, which was a cool week of collaboration. I like to think that we keep each other grounded and hopefully keep each other true to ourselves. That’s such a hard thing to maintain, so it’s awesome to have a very talented partner who can give me honest feedback on my songs but also on my heart.

AF: What’s been your favorite experience as a husband and wife creative duo?

SB: Specifically in the creative realm? We really do love to travel together so it’s awesome when music takes us to beautiful new places. Star-gazing in the Utah desert was certainly a highlight.

AF: You are such a huge player in the Atlanta music scene; what’s it been like to be a part of as it has grown and changed? Do you ever miss the way it used to be? 

SB: I’m not sure I can really speak to how it is changing – I think it’s an awesome community of people and it’s still trying to figure out what it is as a “scene.” Smaller towns I think have it easier in a way; it’s more of a natural local scene in a place like Athens. Atlanta is a bunch of scenes all swirling around each other and intermingling, which has pros and cons I’m sure.

AF: What’s been your favorite performance in the city? Do you have a dream venue you’d like to play? 

SB: Favorite performance in Atlanta was probably my first time selling out Eddie’s Attic. I’d be incredibly pumped to play any legendary music venue; Red Rocks would be towards the top of that list, but I really am enjoying the cozy intimate rooms that I get to perform in now too. Something about a small space really changes how you can connect with folks, and I’m trying to fully appreciate that while I get to do it!

AF: Last one! Is there a new Sam Burchfield album coming soon? 

SB: Yes! There is. Still finishing it up as we speak. But my new record Graveyard Flower should be out soon.

Follow Sam Burchfield on Facebook and stream “Colorado” on Spotify now.

REVIEW: Sara-Danielle Finds Strength & Vulnerability on “Healing”

Sara-Danielle healing

Last month, Sara-Danielle released her sophomore album, Healing. The 6-track project finds the Canadian artist excelling in her personally-carved out genre – a niche that she’s coined “Ginger-ale-pop” – atop smooth instrumentals.

The project seeks to personify duality, as Sara-Danielle’s lyrics live between several points of contrast. She sings introspectively about her shortcomings and her triumphs, and expresses a romance that is both her anchoring muse and an intangible pleasure. The contrasting attitudes of confidence and unsureness, in both her own self-examination and her relationship, are refreshingly honest and extremely relatable.

Healing starts off on a mixed note of vulnerability and strength. “With You” finds Sara-Danielle expressing the strength that she’s garnered from a relationship. Seemingly romantic in nature, the bond keeps her grounded during times of self-doubt. However, the track also explores the paradox of allowing vulnerability – in this case, opening oneself to love – to be a catalyst of strength.

Sara-Danielle remains introspective throughout the next song, “Flawless,” in which she explores her own shortcomings. Her lyrics bask in self-awareness and honesty as she is able to identify what she wishes she could be and what she isn’t, finally questioning if her own introspection is selfish.

“Why am I so angry with myself, the others / Why am I so selfish, caught up in my own world,” she sings. “I wanna be good / I wanna be flawless / But it’s always all about me.”

She becomes more confident in her self-analyzing lyrics on “Sometimes,” where she expresses losing herself in a relationship – or in her own head – but always being able to find her way back. On “Waterfall,” the album’s closer, Sara-Danielle again plays with the duality of relationships, singing “Our love is like a waterfall / Falling, dripping, but never-ending,” she sings in the chorus. “I want to hold you so strong, but you don’t want me for that long / I want to make you happy, but everything else seems better than me.”

On this final Healing track, Sara-Danielle not only examines a “never-ending” love that remains out of reach, but also returns to her own insecurities, exacerbated by the unstable romance. This remains a theme throughout the album, where she bounces back-and-forth between analyzing herself and her romance, finally settling on the intersecting subject of self-love.

Healing reflects on these past two years, as I’ve been having rough times and trying to heal, to get better,” she told AudioFemme. “It’s about finding light in the darkness and trying to stay with it. It’s about learning to be gentle with yourself.”

This goal extends through her sonic choices, which equally compliment her singing style and gently appease the listeners’ ear. Feeling both extremely personal and widely relatable, Sara-Danielle’s sophomore effort proves to be a courageously vulnerable album.

Stream Healing below.

PREMIERE: Jamie Drake “Redwood Tree”

Photo by Kathryna Hancock

In classic films, the setting is often established with a chorus in the background, a camera moving through the scene with care before landing on the ingénue. Singer-songwriter Jamie Drake utilizes many of the old Hollywood musical tropes on her latest single “Redwood Tree” -cascading vocal harmonies, a gentle whistle, and a harp. It’a the latest single from her forthcoming debut, Everything’s Fine, out September 20 on AntiFragile Records. Drake explains that the album’s title is tinged with irony: “So much of day-to-day life is optimistically proceeding as if things are going to work out, contrary to the evidence that things are really falling apart. Yet still we continue to tell ourselves that everything’s fine. It’s really just my way of lying to myself.”

Based in Los Angeles, Drake has spent the last few years establishing herself as the vocalist-to-call for dreamy, folksy stylings; she has collaborated with the likes of Jim James (My Morning Jacket), Mikael Jorgensen (Wilco), and Moby. But with Everything’s Fine, Drake finally presents a portrait of herself as singer-songwriter driven by both pop sensibilities and sweeping cinematic tendencies, both of which make “Redwood Tree” a “tentpole” on the album’s tracklist. The feeling of floating through reality displays itself beautifully on the track, its delicate arrangement meandering through a forest so lush, so thick and untouched by human hands, you never want to leave.

Listen to Audiofemme’s exclusive stream of “Redwood Tree” and read our full interview with Jamie Drake below.

AF: You told the San Diego Troubadour: “I always have melodies in my brain. For some songwriters the lyrics comes first; for others, it’s the melody. I’m more of a melodic hook person. The melodies come to me first most of the time.” Was this true for “Redwood Tree”?

JD: It’s funny you should ask because they did in a way – just not the way I normally capture sound. My collaborator and producer of 8 years, A.J. Minette, was over at my place that day to rehearse some songs and I was walking out of the kitchen I heard him playing something on his classical guitar that was pentatonic in nature and playful. He kind of laughed as he played the notes in a way that made his guitar sound like an erhu, which is a Chinese two-stringed fiddle, but what I heard was a really catchy melody that I felt needed to be paid attention to so I said, “Stop! Play it again. That’s a song!” I came up with the remainder of the chorus and verse and added lyrics and “Redwood Tree” was birthed in under an hour. It’s a testament to never knowing where your song can be born. Writers who take themselves too seriously can miss a lot of opportunities. I like to keep the channel open as much as possible – kind of like a child I guess.

AF: Do you visualize a story or a scene as the melody comes to you?

JD: When a melody drops into my mind it’s always more of a feeling I get – similar to how memory can take you back to places you’ve been and it feels cinematic because they are scenes from your life. I feel like I am being transported into a story or a scene that encapsulates whatever that feeling is I am having but I don’t physically picture that place; I hear it. This sensitivity is something I’ve had my whole life. I think it developed when I was really little as a part of who I am, but also as a gift to help me survive my environment. As I’ve gotten older, my physical sense of hearing has become even more sensitive. I suffer at times now from hyperacusis, which is a hearing disorder that makes normal everyday sounds unbearably loud. It’s like I’ll be sitting at brunch with someone and all the sudden I can hear the clanking of dishes being stacked back in the kitchen and it sounds like they’re being stacked directly next to my face. As I’ve developed this and struggled through it I’ve had to tell myself that this is in part the trade-off to being sensitive enough to tune into a frequency where hearing beautiful melodies is possible; that also sometimes I have to hear the brash sounds in life too. Thank God for ear molds.

AF: What gets you up in the morning? Do you have any artists or writers you regularly turn to for inspiration?

JD: The knowledge that I am living a story that is worth being told gets me up in the morning. That there have been many turns I have taken – some “wrong” – and even still I end up where I am supposed to be. I feel I have a source guiding and directing my steps that is very real. In terms of my actual process of waking, I love waking up slowly and going about my day at a turtle’s pace. The funny thing about that is that I used to be more like the rabbit, and pretty recently have been learning how to take care of myself differently.

A lot of my early musical inspirations came from Disney classics which have these lush orchestrations. The Little Mermaid was a particular inspiration when I was in the 4th grade; we watched it at school one day and I became obsessed with learning all the songs and acting out all the parts. I guess it makes sense then, to stumble across Randy Newman and discover his discography. Brian Wilson has always been a major inspiration. I listened to The Beach Boys in high school when everyone was into Alanis. I didn’t have a CD player until I was a senior in high school so the radio was all I had, and I preferred listening to an oldies station called WMSH in Michigan. I’d make mix tapes with just The Beach Boys and The Beatles on them and would send them off to my cousin Rachel, who was a lot better at finding newer artists to share. I got into Joan Baez and Joni Mitchell later in the game. When I was younger their vibrato was unbearable to me and now it’s my favorite. A friend told me I reminded them of Harry Nilsson once, who I’d never heard of and then became obsessed with as well. I love the fact that he was a songwriter first and then became a recording artist and everyone from John Lennon to Randy Newman was into him. Nilsson actually helped jump-start Newman’s career and didn’t really play a lot of live shows; what an interesting story he led. A more recent artist that struck me was Blake Mills. I saw him open for another artist in 2009 and bought the Break Mirrors album. I got into that at a specific time in life and love returning to this music whenever I want to remember the feeling of starting over.

AF: What music are you currently spinning at home?

JD: There’s an Ella Fitzgerald album I like to play that gets me going in the morning (The Rodgers and Hart Songbook). Part of the reason I always spin it, though, is because I’m too lazy to dig through my other records (ha!). A newer record I like to put on is Reminisce Bar and Grill by Walter Martin. He’s a new favorite writer of mine. His lyrics are witty and he’s got this vocal tone that’s almost like he’s talking half the time. I love the production too – how it feels less produced in this great way that sort of tells you he doesn’t take life too seriously. Beyond that, I’ve really gotten into making Spotify playlists to share – which has both reminded me of all the incredible artists who have influenced me as well as introduced me to artists I didn’t know about like Jessica Pratt, Mountain Man, Laura Mvula, Connie Converse and J.S. Ondara, who I have the pleasure of opening for later this month on the East coast. I love adding curve balls into my “Current Vibe” playlist as well like Dimitri Martin, who is one of my favorite comedians.

AF: If you could imagine your perfect show, where would it be? How would the show play (sober, jovial, etc)? And how would you like the audience to feel afterward?

JD: My perfect show would be at the Hollywood Bowl with a full string orchestra, dancers, background projections, costumes and lights – everything would add in to the show as it progressed forward. It would be a reflection of the life I’ve lived – which has been full of sadness and joy. I would want to take the audience on the journey of this life together: the pain and the glory of being human. Music for me is something I am propelled to share with others so that they can tap into their own experiences, to feel them deeply and find healing and hope.

Jamie Drake’s debut album Everything’s Fine will be released on September 20, 2019 via AntiFragile Music on vinyl and all digital platforms.

TOUR DATES
7/24 – Pittsburgh, PA @ Club Cafe
7/26 – Northampton, MA @ J.S. Ondara with Jamie Drake
7/30 – Baltimore, MA @ J.S. Ondara with Jamie Drake
7/31 – Cleveland, OH @ House of Blues Cleveland
11/07 – San Diego, CA @ Soda Bar
11/08 – Los Angeles, CA @ Bootleg Theater
11/09 – San Francisco, CA @ Neck Of the Woods
11/14 – Portland, OR @ Doug Fir Lounge
11/15 – Bellingham, WA @ Shakedown
11/16 – Seattle, WA @ Ballard Homestead

PREMIERE: Loamlands Explores Southern Queer Roots on Lez Dance

Kym Register’s voice is familiar, the kind of husky twang you traditionally hear on old country records. While the medium of folk music is timeworn, the stories Register spins have a modern slant, as they speak from the perspective of a genderqueer musician living in North Carolina.

“We gotta love that’s so hard to define / Still gotta work and we have to be kind / What is it worth if I’m always on your mind?” Register croons in “Stage Coach,” the second song off Loamlands new LP. Lez Dance is full of music that needs a few turns to truly make its way into your soul; the songs are sweet and complex, dripping with tender, forlorn love. “Maureen” is the kind of sleepy tune that sticks to your bones after a few listens, with haunting lyrics that paint pictures of romance under an Appalachian moon. It’s the raw need, the helpless surrender to passion, that make song after song stand out.

We spoke to Kym about their writing process and how they define their sound. Listen to Lez Dance and read our full interview below.

AF: You grew up listening to your parents’ records, Fleetwood Mac becoming a touchstone later on in your career. What caused you to reject that music initially and what led you back to it?

KR: I think rejection of authority and the need to find my own identity – basically preteen puberty – made me reject that kind of music in the first place. And to be clear – my parents listened to a lot of pop country and a little classic rock. Growing up in the south, classic rock was just the music that defined southern and elder, two concepts that as I grow older I start to embrace rather than reject. This isn’t to say that the rejection wasn’t important, but it feels natural to work through the stigma that I had surrounding country and classic rock and for this particular record, Lez Dance, gay culture. I suppose not everyone goes through as much anti identity as this. I don’t want to assume that it is normal for someone to constantly need to be individual or different. But that is a facet of counter culture or subculture and I’m very into the weirdness and wildness that comes from those movements.

AF: Music seems to be in your family line. You play your grandad’s electric guitar and even use his amp! Are there any lessons you’ve learned from your family in terms of writing and performing?

KR: I’ve moved on a bit from my grandad’s amp and guitar – but still have them and write with them! Music has always been in my family – but not as creators necessarily. My mom can’t carry a tune – but sings loudly anyway. I don’t remember a lot about my dad but I do remember that he loved old soul / beach music. I never knew most of my family well – and never saw my grandad perform except in his house with some smokey old men. So I think what I learned about performing I learned from my queer community, open mics, friends, parking decks, elders that took me on tour from a young age. I got to play the Fillmore in San Francisco at age 27 with The Mountain Goats because John [Darnielle] met my band at the time and just wanted to hang out, liked our energy. He’s not much older that I, but that kind of elder really showed me the ropes of booking and performing. All of the conversations I’ve had with “elder” performers albeit in age or experience like Mirah, Mal Blum, Sadie Dupuis, Kimya Dawson, Sharron Van Etten, Katty Otto, Amelia Meath – I mean so many female and queer folks that are open about their experience in this field – that’s who has taught me. I’m ever grateful and indebted to the kindness that these people, who I’ve made friends with and many who have been open on the fly during a tour or short hang, have shown me over the years!

AF: How do you go about writing a song? Do you start with lyrics or is the melody the jumping off point?

KR: I just hole up in the studio and start writing. First comes the tune – then comes whatever words are on my mind. Then I analyze – what am I thinking about? That’s generally the process. For some of the more historical / storyline songs I submerse myself in news and knowledge about a story that is captivating first, then just open the gates later. I’ll edit and make sure that I’m not slinging my privilege or skewed perspective all over the place (hopefully), but it’s really free form!

AF: Loamlands is described in many ways online: folk, country, rock, punk. How do you define the band’s sound?

KR: Just like that! Influenced by Bonnie Raitt / Stevie Nicks / Prince / Kim Deal (who I have tattooed on my body) and rounded out by friendships and queer community.

AF: Your music encompasses personal experiences, a genderqueer perspective, life in the South. It’s a punk soundtrack if there ever was one. Do you ever feel pressure to represent, to accurately encompass, to be a strong voice for these often marginalized groups?

KR: Thank you for asking! No! I don’t… I recognize the privilege in making music. I can only represent my experience and tell stories that I hear from others. I hope to be able to help create space for those that want / need to tell their own stories though. That’s what I think my whiteness and economic privilege can do. And to tell stories that speak to people both in an out of the south about queerness that either they can relate to or that can help them relate to others.

AF: What albums do you currently have spinning at home? Any new artists we should check out?

KR: So many!  LIZZO all the time. Your Heart Breaks and Nana Grizol and anything off of Cruisin Records. That new Daughter of Swords and Molle Sarle (Alex’s and then Molly’s new project from Mountain Man). Always Flock of Dimes (Jenn from Wye Oak) and old school Des Ark! Team Dresch is reuniting so a lot of that right now. So much! Courtney Barnett! Solar Halos who just released a new record!

AF: Where can folks see ya’ll live? And what could someone expect from a Loamlands show?

KR: Well, it’s stripped down through the fall to promote this new record. But it’s always an adventure. I’m very ADD and can tell a story or ten in one, depending. So there is definitely rambling and always something awkward – which I live for!

We have a smattering of full band and solo shows and are looking to hop on some tours this fall and record another record so – stay tuned!

Loamlands’ new LP Lez Dance will be out 6/7 on Cruisin Records.

TOUR DATES
6/8 – Durham, NC @ North Star Church of the Arts *Record Release*
7/27 – Saxapahaw, NC @ Saxapahaw Summer Concert Series

PLAYING ATLANTA: Victoria Blade Talks Lo-Fi Love Songs and the Long Road Home

For singer-songwriter, actress, and filmmaker Victoria Blade, home is less of a place than a state of mind.

Michigan-born, Blade has since called Detroit, Chicago, Brooklyn, and – finally – Atlanta home. Before you start calculating how much time and energy it would take to simply move from city to city, let me add another daunting task to the list: on top of all of her own creative endeavors, she’s also the co-founder of independent record label, Already Dead Tapes with her husband, Joshua Tabbia.

Her latest release, the warm, deeply intimate debut LP, Lo-Fi Love Songs, is more of a look into Blade’s personal journal than a generic singer-songwriter record. Written and recorded alone with the use of a Tascam 4-track, Lo-Fi Love Songs details the lives of Blade and her husband over the last seven years, at times chronicling their adventures together before diving inward, examining the ongoing changes – and challenges – of the life of a creative nomad. Set to a delicately precise sonic backdrop that blends folk with the sweet sensibility of indie pop, Blade is equal parts studied and effortless, good-natured and introspective, and always – always – carefree in her delivery.

In the midst of days on set, in studio, and on the road, I caught up with Blade to talk all things moving, music, and the simple joys of cheap champagne and hot jazz.

AF: Let’s start from the beginning! When did your musical journey start? Was it always a part of your life, or was it something you grew into?

VB: I’ve been singing forever. I remember discovering a stack of Jackson 5 45s in the garage as an eight-year-old and I was done for. When I was 10, I auditioned for the musical Annie and got the lead role, even though I forgot the lyrics at my audition. I continued to do musical theatre for years. In college, I started songwriting with my soon-to-be husband and composing songs for original plays. I started to realize I had a gift for combining lyrics and melodies in a way that helped make sense out of life. In Chicago, I fell in with a group of songwriters at our local church. It was an incredibly supportive community with lots of creative freedom. I was encouraged to be myself and write whatever I wanted. My songwriting exploded and became a constant source of inspiration in my daily life.

AF: Who do you consider your greatest inspirations?

VB: Otis Redding, Charles Bradley, Elvis Presley. I love their soul and raw vocals. Right now I am really inspired by The Garden and Shabazz Palaces. I’ve always loved Ben Kweller. Also, my husband, Josh Tabbia, is a total badass because he’s a doer and not a talker, writes beautiful music and built Already Dead Tapes from the ground up.

AF: You recently released a pair of new singles: “I Don’t Wanna Worry” and “Moving Song.” What inspired the songs?

VB: Growing up, I was surrounded by a lot of over-thinkers and couch philosophers. “I Don’t Wanna Worry” is a rejection of that way of life. It’s just me processing some bad habits from my youth. My husband is the exact opposite kind of person. He doesn’t overanalyze things. He just works really hard on what’s important to him. And we have a lot of fun!

“Moving Song” is about the pleasure and pain of leaving what you love to discover something new. I used to crave a permanent home. A city I could live in forever. But it hasn’t panned out that way. I’ve moved from Detroit to Chicago to Brooklyn and now Atlanta. I love discovering new cities and tend to get bored once a city is too familiar.

AF: What drew you to Atlanta? Do you think you’ve found a home base? How does the scene differ from other cities?

VB: I’ve learned to embrace change and almost expect it these days. Atlanta was a total surprise. We were living in Brooklyn and ready to move on. NYC is an incredible place but it takes a toll. I’m an actor and started doing research on the film/TV industry in Atlanta. I talked to some actors in Atlanta and couldn’t believe the amount of opportunities here. We decided to dive in and try it. It’s been exhilarating and fun. Wherever I am is home base. It’s never my goal to move. As a couple, we are creative nomads. We move wherever is going to nourish us as artists the most. And right now, that is definitely Atlanta! Atlanta feels like a small town compared to NYC and Chicago. But that’s not a bad thing. I’m not an expert on the local music scene yet – that’s going to take some time. There’s a lot less of everything here, which is refreshing.

AF: What’s your writing process like? Do you typically write alone, or is it more collaborative?

VB: It just depends on the project. Everything on Lo-fi Love Songs is super intimate and simple and written by just little ol’ me. I’ve collaborated a lot over the years and I love that way of creating just as much as writing alone.

AF: Your debut record, Lo-Fi Love Songs, released on May 31st. What message do you hope to share with your listeners? Why do you think it’s so important for them to hear, feel, and connect with that? 

VB: My main goal is to reach people’s hearts. To offer hope, encouragement, and love. That is the motivation behind everything I do as an artist. There’s so much pain and suffering out there. My desire is to uplift and empower others. Life is messy and these songs help make a little sense out of the chaos. When we tune into our heart, we can live with more clarity and authenticity.

AF: What inspired you to write this new record? What do you consider to be the most exciting part of recording it, and what was the most challenging?

VB: The album was inspired by my husband’s and my creative journey as wayfaring artists. The tracks were selected from the many songs I’ve written over the years telling our story. I wanted the recording quality to match the intimate atmosphere of the music. The most exciting part of recording was capturing the warm, lo-fi sound I was going for. This was also the most challenging part as I had to learn to slowly capture each song on a Tascam 4-track that I had never used before. It was a delicate and technical process that I got the hang of eventually.

AF: You’re an actress, producer, and singer-songwriter. What drives you to create? Do you find one of these mediums more authentic or expressive to you, or do you find that they all offer a way for you to express yourself at different times and in different ways?

VB: Songwriting in some ways feels like the easiest and most immediate way to express myself creatively. Acting and filmmaking require so many other steps and collaborators before you can finish or share anything. It can be challenging. So songwriting has been a creative life-saver for me over the years.

AF: You’ve been in Atlanta for just over a year now; what’s your favorite aspect of the Atlanta music scene?

VB: Everything in Atlanta feels so accessible. It feels like an open door. There are a lot of great people here who are doing things out of sheer passion and that’s exciting.

AF: Favorite place for a good show and a drink?

VB: I really like The Earl. But there are so many great venues in Atlanta it’s hard to choose. One of my favorite places in the world for live music is The Green Mill in Chicago where the jazz is hot and the champagne is only $6!

AF: Last one! What’s next for Victoria Blade?

VB: I have a music video for “Moving Song” that will release this summer and I’m looking forward to planning a tour for later this year! Acting wise, I have roles on a few upcoming HBO shows. I’m also shooting a top-secret project with Janelle Monae next month.

Keep track of Victoria and her travels on Facebook, and stream Lo-Fi Love Songs on Spotify this Friday. 

LIVE REVIEW: DeVotchKa @ Rough Trade

Four-piece ensemble DeVotchKa returned to a packed house to premiere a handful of new songs at their album release show at Rough Trade. I found myself surrounded by fans of all ages in the dimly lit venue, though not too dark to notice a few people around me clad in the band’s tees. Chatter of the new record was alive as we anticipated DeVotchKa, who took the stage twenty minutes late.

“We are gathered here today to celebrate the release of our new album,” preaches lead singer Nick Urata, met with cheers from his congregation. “It was a long and difficult birth, but we’ve arrived.”

DeVotchKa are perhaps best known for their work in film scoring, most notably the Grammy-nominated soundtrack for 2006’s Little Miss Sunshine. Seven years since their last studio release is a long and difficult birth indeed, but new record The Night Falls Forever does not disappoint, at least not live.

Tom Hagerman on violin.

The band kept to a high energy setlist. Setting off a string of new tracks was “Straight Shot,” the lead single from the new record. Charmingly cozy while still anthemic, I had fallen in love with the lyric video for this track prior to the show but it doesn’t compare to hearing it live. Urata’s vocals carry over an animated, optimistic beat that had a couple salsa dancing right next to me in the limited space there was, others even taking a step back to give them more room. It’s a small sentiment that characterizes this room of DeVotchKa fans: cheerful, untroubled, and ready to welcome you with open arms.

It’s fun to hear a new record live prior to its release, given that I wasn’t familiar with any new singles other than “Straight Shot.” A track called “Break Up Song” slowed things down, but not at the loss of their momentum. Another stand out is “Empty Vessels” an uplifting anthem that exhibits what DeVotchKa do best.

Nick Urata and Jeanie Schroder.

During his opening set, solo singer-songwriter IRO stated, “There are so many instruments on this stage right now, I feel lonely.” There was no doubt that DeVotchKa would make use of them all, but watching them in action was really something else. “Let’s bring out another horn!” shouted Urata, before welcoming trumpeter Kenny Warren, who has also performed with the likes of Spoon and The Walkmen, on stage.

Jazz saxophonist and flautist Jessica Lurie also joined the band for a handful of songs. Jeanie Schroder had blue lights drawing eyes to her sousaphone, but portrayed her skills on upright and electric bass, as well as the flute (“How many shows do you get to see two flautists?” asks Urata, and I realize this is probably the only time I’ll ever experience that.) Tom Hagerman exercised his talents on accordion, violin, and piano. Urata, too, swapped instruments during the set, from guitar to theremin, even bringing out a bouzouki for the latter half. None of this outshone Shawn King’s resonant polka-like percussion. They chose to play with isolation of sound on both sides of the room, making the audience feel enveloped by sound.

Older tracks like “100 Other Lovers” still had the same life years later. After that song, I overheard the guy behind me tell his friends, “You know what? Holy shit! I knew this song, a couple of songs, whatever, but holy shit, they’re really fucking good.”

Of course, the night was not complete without an encore: a solemn, yet rhapsodic rendition of their famed track “How It Ends.” Most of the crowd didn’t miss a single word, and seeing the immaculate joy on the bands’ faces show that they’re happier than ever to be back doing what they love.

INTERVIEW: Bedouine Turns Refugee Struggle into Universal Truth

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photo by Polly Antonia Barrowman

Born in Aleppo, Syria to Armenian parents, Anziv Korkejian says she doesn’t necessarily perceive herself as political, but her music allows her to express her views in an emotional way. Displaced by the Armenian genocide, Korkejian’s parents raised her in Saudi Arabia, but moved to America after winning the green card lottery. Pulled both by familial opportunity and a wandering spirit, Korkejian lived in Boston, Houston, Texas, a horse farm in Kentucky, Georgia, and eventually spread firmer roots in Los Angeles. The nomadic musician has more than earned the name she chooses to represent her artistry – Bedouine. Korkejian’s everchanging geographical journey paralleled her musical and personal growth.

Although Korkejian has always loved music, playing the guitar and songwriting wasn’t on her radar until her early adult life. “My first experience with music was my mom making me take piano lessons somewhat militantly,” Korkejian remembers. “It kind of turned me against it eventually…but I also think that’s part of the reason my past went towards songwriting, because sometimes, when you start getting familiar with an instrument classically, it stunts your growth to see it any other way.”

With a newfound aversion to piano, Anziv tried her hand at the trumpet in her teenage years, before finally picking up her first guitar right before starting college. “I bought a little silver tone guitar at a pawn shop…it was like 80 bucks and it was my only guitar until recently,” Korkejian muses. “I appreciate that facility on the piano but I also appreciate that there are more women playing and growing up on the guitar now. It’s these little things that help you see the evolution of feminism.”

After being granted a cultural scholarship for her family’s experience in the Armenian genocide, Korkejian was able to study sound design at Savannah College of Art and Design (SCAD) and filled her spare time fiddling with finger picking and writing songs that “probably all sounded really similar,” Korkejian describes. “I knew that I loved music enough to know that I wanted a career in it but also, I was too much, and I still am, of a realist to expect any kind of stability in it,” says Korkejian. “So, ever since I realized that I did want music or sound to be a part of my life, I had been grappling with what I could do that was maybe less left up to chance than being an artist.”

Cue Korkejian’s astonishingly successful career as a music editor in Hollywood. After graduating from SCAD, Korkejian headed straight for Los Angeles where she started working first at a video game company on dialogue and sound assets, then dialogue editing and sound effects for a film company, and recently adding her first feature film, The Big Sick, to her CV.

She had been writing songs here and there, but it was when Korkejian switched to freelance music editing and found herself with more free time that she truly honed her artistry. “It wasn’t until four or so years ago when I really developed a voice that was deliberate and I felt proud of,” Korkejian confirms. “I just started picking up the guitar more often and writing. There was a particular month where I was writing so much I hardly left the house. I went through a little crazy phase. It kinda worked to my advantage.”

The fruit of Korkejian’s labor is Bedouine, her vulnerably autobiographical debut album. While cozy, serene love songs like “Nice and Quiet,” and “You Kill Me,” reflect Korekejian’s calm and collected personality and outlook on romance, more emotionally charged songs like “Summer Cold” and “Skyline” shows her cognitive unrest about the place he grew up in and her innate need to wander. Perhaps prompted by Korkejian’s nomadic past, the record itself projects a feeling of impermanence, effortlessly gliding from song to song with easy melodies and soothing vocals. Recorded on analog tape by Gus Seyffert and filled with graceful, swelling arrangements (composed by Trey Pollard) the record is reminiscent of ‘60s folk combined with a tinge of ‘70s psychedelia.

The lyrics on the album are equally as chilling as the stunning musicality. Clever, earnest and poetic, Korkejian’s lyricism brushes topics of learning self-reliance, navigating modern-day romance, and grappling with the unsettling violent happenings in the country where she was born. Korkejian navigates these topics with grace and ease, effortlessly unfolding a series of universal truths.

In “Solitary Daughter,” Korekejian sings:

“I don’t need the walls to bury my grave / I don’t need your company to feel safe / I don’t need the sunlight / my curtains don’t draw / I don’t need the objects / to keep or to pawn.”

These lyrics are a testament to the minimalist way she lives her life, refusing to attach strongly to any person, place or thing. Korkejian admits that this may be, in part, a result of the detachment she feels with the country where she grew up, Saudi Arabia. “Once I left Saudi Arabia, I feel like the home I was closest to sort of dissolved and I didn’t feel any real sense of home anywhere,” she remembers. “So I think that come across a little bit. Just, like, a lack of attachment to any one thing.”

As much as Korkejian projects a lack of attachment, she also sings about love and romance. “‘Heart Take Flight’ is a song about giving yourself permission to love someone because, as you grow older and more comfortable in your skin and you become maybe more particular, it is a much more conscious effort introducing someone or co-existing with someone else.”

Moving from personal to social issues, her song “Summer Cold” is a haunting emotional response to the Syrian weapon crisis and prompts questions about her politics. But while Korkejian says she’s no activist, she admits that her music gives her license to freely express herself. “I mean Nina Simone in that famously viral video says, ‘How can you be an artist and not reflect the times?’ Well, how can you be a person and not reactive?”

Bedouine is currently on tour in the UK and Ireland through November 8. Upcoming U.S. tour dates are below.

11/14 – Washington, DC @ DC9
11/15 – Richmond, VA @ Capital Ale House
11/16 – New York, NY @ Joe’s Pub
11/18 – Allston, MA @ Great Scott
11/19 – Philadelphia, PA @ Johnny Brenda’s[/fusion_builder_column][/fusion_builder_row][/fusion_builder_container]

PLAYING DETROIT: Folkie May Erlewine Charms with “Never One Thing”

Okay, so she’s not from Detroit proper, but we couldn’t help but feel moved by small-town folk songstress May Erlewine’s video for “Never One Thing,” the first single from her forthcoming record Mother Lion. Erlewine comes from a deeply musical family – her father Michael founded AllMusic – that hails from Big Rapids, and she’s released over a dozen records, both solo and with her husband Seth Bernard, since 2003. Now, she’s signaled her return with a quietly empowering anthem for the ever changing, forever incomparable woman, tinged with a honey soaked sweetness only Erlewine can deliver.

“I’m a streetfighter/I’m a prayer for peace/I’m a Holy-roller/I’m a honeybee” croons Erlewine, praising the many roles that women take on, reminding us that it is never just one thing that defines us. The video follows her delicate reign, perched on various thrones wearing a selection of various floral crowns – perhaps a subtle conjuring of Frida Kahlo. But Erlewine shatters the separation of royalty and commoner with graceful tenacity. A poetically restrained roar, “Never One Thing” is more of a mantra than just a simple folk song.

Feel the power of May Erlewine’s latest below:

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ALBUM REVIEW: Common Holly “Playing House”

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photo by Sean Mundy

Playing house is one of the earliest and most innate forms of childhood emulation. It is how we pantomime maturity, and begin to learn self-preservation, domestic upkeep, and the treatment of others. From pretending to prepare a meal, to sweeping the tree house, this form of child’s play is our first expression of wanting to “grow up.” For Canadian artist Common Holly, Playing House is an expression of consciously entering adulthood. It is also the name of her debut record.

Helmed by songwriter Brigitte Naggar, Common Holly greets us with a tender and sophisticated meditation on the end of a formative relationship, and the importance of purposeful decision-making. Of Playing House, Naggar said in a press release that the record “is my first real effort to create something that is entirely deliberate—the beginning of my journey of thoughtful action, and of daring to express myself outside of my bedroom.”

“Deliberate” is the perfect word for Playing House – its stunning arrangements and artful production reflect intent and restraint. Opening track “If After All” is expertly composed, commencing with a font of liquid before breaking down into a multifaceted pop gem, somehow incorporating finger-plucked guitar, swelling strings, and minimalist drums without sounding overwrought. Naggar’s girlish voice carries the same melody throughout the song, but the instrumentation blooms from indie folk to sweeping ballad before culminating in hard rock distortion and busy electric guitar. “If After All” is such a strong composition, I almost wish it was buried deeper in the record, as it’s a tough act to follow.

Though less musically intricate, “Nothing” speaks to Naggar’s ability to contrast form with concept. The dulcet vocals and bedroom rock delivery of “Nothing” portray innocence, while Naggar’s lyrics are anything but. Naggar sings of a crumbling, codependent relationship in which every attempt to problem-solve results in suffocation: “If I got you in a room/ if I got you to hold still/it would probably too soon/to hold you there against your will.”

This level of self-awareness is palpable throughout Playing House. Naggar deconstructs a banal yet dysfunctional relationship throughout the album, holding herself accountable as much as possible. Discussing this theme in a press release, she said, “Especially at the end of a relationship, there comes a time when the best thing you can do for someone is to leave them alone even though it might feel like you’re abandoning them. Sometimes trying to resolve things and being over-present is an act influenced more by guilt than by empathy.”

“In My Heart” is yet another manifestation of that concept. A quietly complex country number, it employs pedal steel and neatly placed piano. The song’s softness negates its harsh message of letting someone go: “Don’t try/In my mind, in my mind I can’t help it/With my heart, with my heart I can’t help you.”

Resting midway through the record is the gorgeous “Lullaby” featuring Montreal pianist Jean-Michel Blais. “Lullaby” depicts Naggar at her thematic pinnacle – the anatomy of the song is true to lullabies, indeed, while Blais’ creeping keys suggest the twinkling of a nursery mobile rotating above a crib. Naggar’s lyrics, however, are biting and brutal despite this naïve melody. “If you’re busy undermining all the things I had to say,” she sings, “I know it would have been wrong for me to try to stay.” The track’s closing coda plays on a familiar children’s game, but turns that on its head for a darker finish: “Come out, come out, wherever you are,” Naggar intones, before promising: “I will keep away.”

The weighty blues of “The Rose” finds Naggar nodding at The Black Keys. The song is soft to start, but builds up and breaks down into Auerbach-worthy guitar, eventually spinning out with grunge distortion. In keeping with this dark turn, “The Desert” is a painterly narrative with sparse string arrangements evoking The Dirty Three. Hand drums and piano crawl behind scant guitar and Naggar’s reverb-heavy croons, weaving a soundscape strong enough to close the record. Though it seems that Naggar didn’t want to end things on such a heavy note. Playing House’s final cuts resort to sweet and weightless melodies instead.

The title track exudes a singsong, sonic innocence. Its melody is full of childlike “doo doo doos” and lyrics that are one word away from being playful: “I’ll play mama, you’ll play daddy and we’ll ruin us beyond repair/at the cabin, on the lakeside, if we take things too far.” It is a song you can almost skip or swing to, until it dissolves into a foreboding vibration fit for Twin Peaks.

Closing track “New Bed” is Common Holly’s most stripped-down offering on Playing House, and perhaps its most optimistic. It is the song that finalizes the breakup; the hopeful closure and calm after the storm. Naggar is vulnerable and resigned when she sings, “I feel that we will get along just fine/if everything goes the way I have in mind.” The song fades out with rain and faint sirens, but what they’re chasing, we do not know.

Playing House is out now on Solitaire Recordings. Don’t miss Common Holly on her upcoming tour.

September 28 – Nomad Folk Fest
November 2 – Brooklyn Bazaar, New York, NY w/ The Hotelier, Oso Oso & Alex Napping
November 3 – Songbyrd Music House, Washington DC, w/ The Hotelier, Oso Oso & Alex Napping
December 5 –  Communion Showcase,  Rockwood Music Hall,  New York, NY
December 8 –  Theatre Fairmount, Montreal, QC w/ Chad VanGaalen[/fusion_builder_column][/fusion_builder_row][/fusion_builder_container]

TRACK PREMIERE: Pine Barons Talk “Chamber Choir”

There’s a kind of yearning nostalgia in the songs of the Pine Barons, an earnestness that never feels forced even though it competes with an eclectic array of elements and influences. The Philadelphia-based band has a sound that meshes atmospheric rock and folk, with intricately layered vocals and a member assigned, in part, to sampling. Like the New Jersey woods they took their name from (though they’ve tweaked the spelling), their music is dense, mysterious and a bit dark.

We spoke to the band about what inspired their latest song (the moody but uplifting “Chamber Choir”), how a childhood keepsake inspired the name of their upcoming albumand how this release is different from anything else they’ve done.

AudioFemme: When I listen to your music, I hear hints of Modest Mouse, Dr. Dog, and Arctic Monkeys, among other things. Are any of these accurate? Can you elaborate on the band’s main influences?

Collin (drums, vocals): I’d say all three of those are accurate to an extent. We all share very similar tastes musically. Influences as far as writing span across many spectrums and genres, somewhat eclectically as individuals. That ranges anywhere from backgrounds in jazz and world music, to punk, indie, pop, hip hop, etc.

A few main influences we all share would be Tom Waits, Pet Sounds by the Beach Boys, Animal Collective, Dr. Dog, Daft Punk, Leonard Cohen, Of Montreal, Les Miserables, and many many more.

AudioFemme: Can you explain the meaning behind your album title, The Acchin Book?

Keith (lead vocals, guitar): I was sorting through boxes from a recent move and found a book that I made when I was about four years old, titled The Acchin Book. Each page had a different picture with a caption next to it. My spelling was horrid and there were even various different versions of recurring words throughout the book, but the only consistent one was ‘acchin,’ which is pronounced ‘action’ in the real world. So that’s where the title came from.

AudioFemme: Can you tell me about the recording process for the album? 

Collin: The process was a bit different from our past approaches. There was a lot of pre-production. The Acchin Book was recorded from Spring 2015 to 2016. Up until that point, we’d recorded everything and basically did everything ourselves. [fusion_builder_container hundred_percent=”yes” overflow=”visible”][fusion_builder_row][fusion_builder_column type=”1_1″ background_position=”left top” background_color=”” border_size=”” border_color=”” border_style=”solid” spacing=”yes” background_image=”” background_repeat=”no-repeat” padding=”” margin_top=”0px” margin_bottom=”0px” class=”” id=”” animation_type=”” animation_speed=”0.3″ animation_direction=”left” hide_on_mobile=”no” center_content=”no” min_height=”none”][For The Acchin Book,] we recorded everything with Kyle Pulley at Headroom Studios in Philadelphia, who also helped produce. This was, in all, a huge learning process for the lot of us because we’d never worked in a studio or with someone producing our work before. That brought us to be able to focus more on intelligently structuring these songs, and slowly weeding out the excess with what fit and what might be unnecessary. The process taught us a lot creatively, and also collaboratively on how to work differently together. I believe in the end, we only wound up cutting two songs off the final product of what is The Acchin Book, and we are extremely excited to finally be able to share what we’ve made with everyone! We’ve certainly learned more patience these past two years.

AudioFemme: Let’s focus on the song “Chamber Choir.” What was the inspiration behind the track? I get kind of sad, but hopeful vibes from it, and the noisy portion at the end is really interesting and unexpected.

Keith: The song was triggered by waking up in a panic after dreaming about someone dear to me being in some sort of emotional crisis and immediately feeling the need to reach out to them. I think if you care enough about someone you sort of share their emotions in a sense; I guess that’s called compassion. But that panic that you might feel after waking up from some nightmarish world is fleeting, so in that instance I didn’t actually end up reaching out to that person. Maybe they did need help, who knows? Thinking about fleeting emotions inspired the rest of the lyrics, because most extreme emotions are fleeting, like a glance at the sun leaving a bluish afterglow.

AudioFemme: I feel like the Philly music scene is often overshadowed by Brooklyn’s. Can you tell me about your connection to and experiences in your local music scene?

Collin: As early as the formation of Pine Barons, we’ve essentially always been a part of the Philadelphia realm of music. Our first few shows were in Philly, and shortly after we embarked on a short tour which brought us to New York and the upper half of the east coast. The end of that tour was the first time we actually played in New Jersey.

Past bands I’ve played in, as well as bands some of our family members have played in have all placed roots in Philly the past decade or so. It was easier to book shows, and play with bands we liked in Philly than it was in Jersey. [Starting there] made the most sense and created the most opportunity. Nobody knows where Shamong, New Jersey is. But most people have an idea of Philadelphia, PA. The Philly music scene has treated us humbly exceptional through our time playing and now living here, and we’re happy to be a part of it. Most of our closest friends all play in bands throughout the city, so in a way Philly has it’s own community of musicians aside from just “bands.”

AudioFemme: Your songs are incredibly layered. Do the studio versions differ from your live versions?

Alex (keys, percussion): There is a lot going on in these songs, indeed! Growing up with these boys has been an incredible experience, but one thing that always broke my heart was when they’d end up sacrificing their instruments to play another instrument. Since joining the band a little over a year ago, I’ve been able to take on most the multitasking by juggling between the Nord, microKORG, sampler, and aux percussion, and I really feel it’s helped balance out the live sound of Pine Barons. The live show will hit you hard in all the right places, whereas sitting down and listening to the recorded album will send you on a vast, euphoric journey.

AudioFemme: Do you have any upcoming plans for the band?

Collin: We’re currently working on another music video. We’re definitely planning to tour; where is the real question. We also have the skeletons written for an entire new albums’ worth of material, which we will start the demo process of this winter, and we are very excited about that!

The Acchin Book is out August 4 via Grind Select. Listen to “Chamber Choir” below!

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ARTIST INTERVIEW: Friend Roulette Discuss ‘The Matt Sheffer Songbook’

A well-worn cliche is that imitation is the highest form of flattery, but Brooklyn band Friend Roulette has taken it a step further: their latest release, The Matt Sheffer Songbook, Vol. 1, is a collection of songs an old friend wrote, but rejected, deeming them unworthy for the world to hear. To prove him wrong, they recorded their own versions and released the five songs as an EP on 6/16  via Pretty Purgatory.

The result is a quietly beautiful, albeit short, collection. If you search for Friend Roulette, you’ll quickly see adjectives like “whimsical” and labels like “chamber pop.” That doesn’t quite cut it, but it seems impossible to write a succinct description of their unique sound; it’s orchestral, and incorporates pop, folk and psychedelic elements. The Matt Sheffer Songbook brings together all of those things in turn, beginning with the somewhat somber “You’re A Fox,” moving into the funky “Snow Pea,” and eventually ending with a playful ditty about killing a spider, “Bacon And Raisins.” There’s a certain antiqueness to the songs, as if they’re the soundtrack to a black and white movie, or heard in a dream that stays in the back of your mind all day. Though they were simply Sheffer’s unfinished sketches of songs, the only thing that’s missing is more of them.

We spoke to several members of the band before their release show at Silent Barn, and they filled us in on the man behind the songs, their recording process and more. Read some of our conversation, and listen to the EP, below.

AudioFemme: Let’s talk about your friend Matthew Sheffer. Your new EP is a recording of some of his old songs, but I was reading that he’s maybe not so happy about that.

Julia Tepper (Violin & Vocals): He’s more recently become a confident and powerful and musician in his own right, and I think he’s still coming to terms with the fact that people love his old stuff too.

Matthew Meade (Guitar & Vocals): I just hung out with him a couple of weeks ago in Texas, and, you know, a good review would come and out and he would be like, “I don’t really care.” I talked to him about how we might do Volume II, and he was like, “Eh, you don’t really need to do that. There’s so much bad stuff.” But I’ve got over two hours of material of his to sift through.

Julia: We recorded them without asking. But I think he knew it was coming from a good place. And we’re not trying to say that they’re our songs, or anything. The band is all about us being friends, and being supportive of each other as musicians, and we feel that way about him, even if he doesn’t feel that way about himself.

AF: Is the EP an exact copy of his old songs, or did you just go by the lyrics and melodies?

Matt: I had to find all the old MP3’s he made and transcribe them, because they were really, really bad recordings. But yeah, it’s like the same songs.

Julia: They’re pretty similar. And on the cassette we released, the B side is actually his original recordings. I think the coolest thing about it is hearing them both.

Nate Allen (Bass): We barely even changed arrangements or anything like that.

Julia: Which is why they’re so short, for the most part. He never finished them. They’re sketches of ideas, and they still hold up anyways.

AF: Which songs are your favorites?

Matt: I like “Snowpea.” Well, I like “Snowpea” but “Joan” is my favorite song of all time. If I were to die, and someone was like, “What was his favorite song?” tell them it’s “Joan.” It’s a great funeral song.

Nate: I think I like “Bacon and Raisins” the best.

Julia: Yeah, that’s my favorite, too. 

AF: You went to school together, where you studied jazz. Would you say that you use what you learned there now?

Matt: I want to say no…

Julia: I love that one metaphor, I forgot who said it: you drink from the fountain of jazz, so it can’t help but, um… come out…

Matt: Yeah, that’s Robert Wyatt. “I drink from the fountain of jazz, so I can’t help but piss it out.” And that’s really us.

AF: But it seems like you guys are sometimes still stuck with that “chamber pop” label.

Matt: Yeah, we got slapped with that on right from the get go.

Julia: It’s more of… I don’t know how to describe what genre we fit into, but when you work in an industry, and you want to play shows with other bands, they ask, “What are you?” And then you kind of have to see, well, what other bands would want to play with us? So we get paired with chamber pop and math rock. That’s not what we are, but also, who else would we play with? It’s confusing.

AF: What was the recording process like for this EP?

Matt: We recorded it in Ryan Weiner’s apartment. He’s in the band Tiny Hazard, a good friend of ours. We didn’t go into a studio at all. But that was two or three years ago.

AF: What made you decide to release it now?

Matt: Oh, we had every intention of releasing it. We’re just slow as fuck. And it’s not even like we’re working that hard. It’s not like we’re geniuses or anything, perfecting our craft. We’re just really irresponsible.

AF: Do you have any memorable moments from your tour this week?

Matt: Yeah, Richmond was memorable. We got shut down during our first song, by the landlord. He made a random visit to the apartment, and he shut it down and said, “The devil’s had its fun!”

Nate: We were playing a really quiet ballad, it was a very sweet song. Everyone was leaving and bummed as fuck, but then we realized, everyone was on their phones, making calls, sending texts, looking for a new venue. People weren’t like, oh, cool, I’m gonna go home.

John Stanesco (Bass Clarinet & EWI): What you see on the tour is, the DIY scene is so strong in so many cities and towns. I was thinking, I wish we had something like that in New York, but then I was thinking back to when Shea Stadium shut down, or when Palisades shut down, and there really is that community here. People band together to find new venues to hold shows that were rescheduled.

AF: Any upcoming Friend Roulette projects we should watch out for?

John: I think we’re trying to get back into really doing things, just putting out stuff really fast now. We’re not sure if we’re going to stick with the traditional EP, followed by a full length formula. We were talking about some other strategies to maybe just, keep releasing. And we’re also getting better as producers, getting better gear, where maybe we could self release stuff, you know, to keep in the public eye. So to speak. Rather than just waiting for the machinery of labels and PR to churn.

 

TRACK REVIEW: Rosie Carney “Awake Me”

“My whole life just seemed like a cloud of fog,” Rosie Carney states frankly on her website, sharing explicit details about the pain she’s experienced: bullying, sexual assaults, an eating disorder, being dropped from a major label at the age of seventeen. Now twenty, it’s no wonder  Carney, who hails from Ireland, has such a haunting voice. But on her single “Awake Me,” lyrics like “I’ve been a fool for more than half of my life, I’ve tried to hide/ Awake me,” seem to show that she is confronting and overcoming her past. Not that she needs to claim any great sorrow to be taken seriously as a singer – she’s able to express multitudes even when her voice hovers close to a whisper, and create mountains of tension just by lingering on a pause. All that accompanies her voice are simple, repetitive guitar arpeggios, but as her voice ascends higher and higher in spirals toward the end of the song, it’s easy to imagine her leaving behind the fog, the bullies, the stigma of mental illness – everything.

Find some release and resolve in the gorgeous track below:

TRACK REVIEW: Angel Olsen “Fly on Your Wall”

 

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Angel Olsen photo by Amanda Marsalis

If you’re reading this right now, chances are you’re one of the millions who is displeased (to say the least) with the recent election of Donald Trump. And what can help us combat our anger, sadness, and overwhelming show of emotions more than musical support?

Dave Eggers-backed protest org 30 Songs, 30 Days and record label collective Secretly Group are working in accordance to present Our First 100 Days. Essentially it’s a subscription service benefitting organizations threatened by Trump’s agenda (donations go to protect reproductive health, the environment, undocumented immigrants, the LGBT community, and the working class). A mere $30 gets subscribers exclusive, unreleased, or rare tracks from artists, including Mitski, Toro y Moi, PWR BTTM, and more. By day 100 of Trump’s presidency, the playlist will have 100 songs meant to inspire change and offer that musical shoulder to cry on that we all desperately need right now.

The first of these is Angel Olsen’s single “Fly on Your Wall,” and it’s a great way to kick off the project. Although Trump’s whirlwind of damaging policy makes it seem as though we’ve been stuck in some bizarre time lapse for years already, we’re barely two weeks in; “Fly on Your Wall” provides a valuable sense of grounding back in reality with a strident, march-like tempo. The guitar and bass chords hit hard and heavy right in the core with every pluck. Grungy and melancholic at first, the song builds toward optimistic revery as Olsen croons, “It’s only real in my mind” as though issuing a protective mantra. I want to take it as a sign that things aren’t as bad as they seem and that maybe there’s hope somewhere, but that’s mostly because that’s what I need to believe right now. At the very least, it’s a vital reminder that despite Trump’s promises to defund arts and humanities programs, there are many performers willing to stand up to him with a triumphant songs of resistance.

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PLAYING DETROIT: Frontier Ruckus “Our Flowers Are Still Burning” Video

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Frontier Ruckus
Frontier Ruckus

Matthew Milia and his gaggle of lovelorn folkies – otherwise known as Frontier Ruckus – return with a sardonic make-out party prelude to their forthcoming record Enter the Kingdom. The sad, sensual clip for latest single “Our Flowers Are Still Burning” offers a camcorder view of social loneliness ahead of the album’s February 17th release. A slow-dance, folk-ified, Big Star-esque confessional with a touch of reversed male gaze, “Flowers” instills hopeful resonance with listlessness revery, something the Frontier gang has championed and expanded upon.

Singer and guitarist Anna Burch documents the party through a vintage handheld, a perfect companion to Ruckus’ boxes-in-your-parents-attic aesthetic. The low-key gathering is standard Detroit, containing a quiet cast of characters who find temporary love, lust and casual catharsis in one another. Burch wanders upstairs to discover Milia alone, singing and soaking fully clothed in a running shower as spit swapping commences downstairs. Whether Milia is struck by social anxiety, heartache or an overwhelming sense of not knowing his role in the grand (and not-so-grand) scheme of things, Burch lovingly coerces him from his bath time meltdown with the promise of a cake decorated with sugary, saccharine letters spelling out the song’s title.

The band leaves the house party in the dead of winter, Milia still wet and without a jacket or a lover, but surrounded by his Frontier Ruckus bandmates, resigned to keep on trucking even in the harsh light of the morning after.

 

Grab a tissue or a kiss and take a sad soak with Frontier Ruckus below:

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LIVE REVIEW: Blue Healer at Rockwood Music Hall

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Set the scene in your mind: An intimate setting at Rockwood Music Hall complete with dimmed lights, a hazy atmosphere, and a collection of swooning, folky, country-esque music courtesy of Blue Healer. Can you feel the relaxation and good vibes? Great. Then you now understand exactly what it was like seeing them perform last Wednesday.

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It was a mixture of synths and keys as well as heavy basslines and distorted upright bass. At times, the music had an older glam rock feel, surreal and ethereal, reverberating throughout your mind. Then it would transform to a folk, country-esque show complete with energetic synths — pop folk, if you will. A lot of their songs called to mind tracks of Melee and The Black Keys.

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The trio hailing from Austin recently released their debut self-titled album and played an array of tracks from it (and also tracks not on it). They played their popular single “30,000 Feet,” which was full of airy vocals from frontman and bassist David Beck and otherworldly synths from keyboardist Bryan Mammel. They also slowed things down when they played “Only the Rain,” with synths that perfectly emphasized its gentle nature. When they played “Empty Bottles” is when I really felt The Black Keys vibes from them (never a bad thing).

Their last song, “Bad Weather,” was an empowering, anthemic note to end on. But fortunately, it also wasn’t quite the end, as the crowd pretty much begged for an encore, and Blue Healer happily obliged. So their real last track, “Like Diamonds,” ended up being a way more fun way to go out. It was energetic and upbeat, complemented by crashing cymbals and a big finale drumline as well as contagious energy from the band who genuinely looked like they were having the time of their life.

As a show I went into hardly knowing the band, I was pleasantly surprised and had a great time. It also helps when the band is skilled at their instruments and loves what they’re doing, too.

TRACK PREMIERE: The Hamiltons “Take the Hit”

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An instant pop classic with an old-fashioned twinge, The Hamiltons’ latest single “Take the Hit” is a timeless piece that’ll have you swooning. It’s a unique genre-mashing track in that it’ll transport you from smack dab in the 60s to the mid-90s over the course of a few lulling notes and jazzy vocals.

Based in London after relocating from Sydney, this sibling duo not only performs their own music, but also produce and write it. And their investment in their music is apparent in “Take the Hit”–it’s dripping with passion and affection, carefully honed to present you with an entrancing final product. With influences in jazz, folk, country, and cajan, it’s no wonder their sound is so eclectic.

TRACK OF THE WEEK: Heat Thunder “Wind Whips the Veil”

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Singer/songwriter Joe Montone, under the moniker Heat Thunder, is serving up tasty folk tracks, the latest of which comes in the form of “Wind Whips the Veil.”

An accompaniment of strings alongside acoustic guitar and Montone’s crooning vocals leads to a track you’ll want to either sway or cuddle to (or both). It’s passionate and fiery yet subdued and vulnerable, the perfect accompaniment to a chilly fall afternoon spent indoors sipping tea. Listening to “Wind Whips the Veil” brings you to a musical place that you might not have known existed before, a quality you can find in much of Montone’s music.

Heat Thunder recently opened for Anthony Green of Circa Survive on his Pixie Queen Tour and also released his latest EP, Phoenix. With so much going on lately, it seems that Heat Thunder might be a good artist to keep a tab on.

EP REVIEW + VIDEO PREMIERE: Catch Prichard’s “Eskota”

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Photo by Leif Huron
Photo by Leif Huron

When I first met Sawyer Gebauer – the weighty, valley-low voice behind Catch Prichard – he was called another name. He was in another country, manning a different musical project (the melancholy Europe-based Brittsommar), and far removed from his American roots. He was physically away from home, but also emotionally and culturally. Gebauer has often discussed “home” as a symbol in interviews, namely that you can never return to it in a pure sense. It is a theme so prevalent in his work that it informed a song title on his latest EP Eskota. But in spite of his itinerant past, it seems that he’s getting mighty close to a hearth of his own making.

In the past twelve months, the songwriter has re-tethered himself to American soil after five years gone. Gebauer settled in the Bay Area last fall after a cross-country road trip that centered on the recording of this very album, in a Texas ghost town no less.

That town, was called Eskota.

The story of Eskota’s making is just as mesmerizing as the record itself, to the extent that it’s difficult to examine them separately…much like it’s a chore at times to distinguish Sawyer Gebauer from Catch Prichard, the artist from the person. There is a vague picture, but one cloaked in so much romanticism that it is blurred.

What is clear is the intent. What Gebauer set out to achieve as he drove from Wisconsin to Texas was a simpler sound, one detached from the dense arrangements of his former band. It had to be stripped down and restrained – so in order to facilitate such a mood, he and engineer Brad K. Dollar set up shop for a week in an abandoned mercantile. In the heat they lazed by day and recorded by night, drinking beer to pass the time between.

The record itself bears an authenticity that perhaps wouldn’t have surfaced had the tracks been laid in a fancy studio. Despite its simplicity (the pared down instrumentation features only guitar, pedal steel, drums and the occasional bass and Moog lines), there is a lot to chew on – a soup of intricate production details born of the location. Take for instance “Howl,” ushered in by a creaking chair and built upon the chirping Texas night. “You Can Never Go Home Again” signs off with lilting pedal steel and a faraway cough, presumably that of someone in the makeshift studio. These elements tastefully season the album like a well-prepared meal.

There is a warmth in Eskota I’ve yet to encounter in Gebauer’s music, an openness and vulnerability that doesn’t always show in his previous work. These songs seem both universally narrative and deeply personal, covering heartbreak (“So Close To It), friends remembered (“Eskota”), and becoming a native stranger (“Hometown”). Sonically it sits in a saddle between country, folk and Americana of the early ‘90s. Gebauer’s ten-gallon voice resonates over the brightness of electric guitar and pedal steel, anchoring any sweet feelings we might have with a dose of blues.

Though it’s taken a lot of mileage for him to get here, it seems Catch Prichard has arrived. Maybe you can go home after all.

Catch Prichard will play Rockwood Music Hall on October 26th.  Tickets here.

Eskota is out October 21st via Devise Records.  Stream the video by Leif Huron below:

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ALBUM REVIEW: Camille Bloom “Pieces of Me”

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photo by Gaelen Billingsley
photo by Gaelen Billingsley

It was the philosopher Aristotle who said, “The whole is greater than the sum of its parts.” While I’m not certain that Aristotelian philosophy was at the forefront of Camille Bloom’s mind while songwriting, I can’t help but consider it a subconscious theme to her fifth studio LP Pieces Of Me, which she self-released earlier this month.

Despite having started her career in Seattle nearly fifteen years ago while transitioning out of another – teaching high school English à la Sting – it seems that Pieces Of Me has become the “a-ha!” moment for Bloom. The record has received widespread applause from the likes of Impose Magazine, No Depression, The Seattle Times, PopDose to name but a few. Now it has us on our feet clapping as well.

Pieces Of Me provides a remedy for a paradoxical problem: wanting to listen to a record that is diverse yet cohesive all at once. You’d be hard-pressed to find another album so adventurous in its genre-hopping. Some truly unique compositions crop up on both the bluegrass-infused title track as well as “Zombie,” a searing social commentary set to sinister, plunking jazz rhythms.

No shocker here, but some of my favorite moments occur on the album’s more forlorn cuts; take the somnolent piano ballad “Everywhere But Here” for instance, which sounds sweetly ominous with its cinematic strings and crescendo vocals. The pared-down “Turn Back to You” nourishes all of the hopeless romantic, sap-atoms I possess, and who could deny those harmonies? *Swoon*

Pieces stands tall like a well-constructed sandwich; varying ingredients piled between two hearty slabs of bread-though these slices would have to be gluten free, as Bloom informed the University of Washington’s Medicine Pulse podcast earlier this year: she suffers from celiac disease. The parallel pieces holding everything together are the album’s two versions of “Lift Me Up.”

Both commencing and closing the record, the opening iteration is a rapturous, stringed affair simultaneously hopeful and melancholy. However, the dance-remix closer paints the song in washes of synths and should absolutely be saved for the last dance. It’s the kind of late-night, low-lit pop-drama fit for Robyn herself.

Throughout Pieces you will find tasteful arrangements seasoned with swells of cello, warm trumpet tones, expertly plucked mandolin, and electric guitar so sexily understated it is baffling. While all of that might sound heady on paper, the instrumentation is grounded and never overpowers Bloom’s distinctly crystalline vocals. I suspect a large portion of the record’s success can be attributed to Camille Bloom’s new producer: Camille Bloom.

After years of recording with producers such as the acclaimed Martin Feveyear (who takes a mixing and mastering credit on Pieces) Bloom wanted to take a crack at doing it herself this time. After crowdfunding the record’s required budget and building a home studio on her farm property in Washington State, Bloom spent hours in the newly christened Silo Studio with engineer and percussionist Logan Billingsley laying down tracks, tweaking, and comping. The result is quite the accomplishment, not only reaffirming the artist’s chops as a songwriter, but her new byline as a producer to boot.

After listening to the record in full, one might ask: what are the pieces of Camille Bloom? Songwriter. Producer. Teacher. Singer. Wearer of brightly patterned shirts. Scorpio. Wife.

Even putting all of her qualifications into a list or resume seems reductive, and I am brought back to what that guy Aristotle said: “The whole is greater than the sum of its parts.” So no matter how wonderful each piece of Camille Bloom may be, what they add up to is something so lovely that even I struggle to put it into words. So I will just let her.

(Did I mention she’s my big sister?)

Watch the video for “Pieces of Me” below.

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PLAYING DETROIT: Anna Ash “Floodlights”

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Michigan native and L.A resident, Anna Ash is holding on, not back. A sincere sorceress of internal voyeurism, Ash’s fragile confidence stands firm ground and shines brightly on her sophomore record Floodlights released earlier this week. Slide guitar and dusty, feathered percussion dip and sway against Ash’s strikingly pure and piercing songbird soprano. Floodlights is a poignant display of a love run dry and/or a love gone awry that rolls with the patience of an impending storm on the horizon; lightening without the thunder.

Is Floodlights a country record? Maybe. It tangos with rock n roll attitude on occasion and yanks on some folky heartstrings, too. But beyond genre displacement, the record is a grand achievement in story telling, quietly exposing the deepest layers of epidermis with a tender honesty that doesn’t require categorization, only reflection.

Recorded in Minnesota, mastered on the West Coast and the reprisal of Ash’s Michigan band (Joe Dart, Julian Allen, and James Cornelison) Floodlights creation is as well traveled as the pictorial pastures and valleys the album dares to explore. “Player” is finger waving, audacious dose of told-you-so whereas Ash’s Lucinda Williams cover “Fruits of my Labor” is a sensual peach bite coated in sultry regret and the track “Hold On” is a bouncy series of what-if’s and hypothetical missteps. No ground is left uncovered on Floodlights but it isn’t until the title/closing track that we are forced to our knees after a perilously raw journey through Ash’s beautifully tormented history. Barely exceeding a whisper, Ash compares the shake of an old car to the way her voice warbles when she lies, professing that “It ain’t gonna kill you to sleep alone once and a while.” A heart wrenching, steering wheel clenching kiss goodbye to us, to them, to who she is or was, “Floodlights” as a singular track and as a collection rattles with a tender brutality that is relatable and malleable, melted and frozen.

Mostly Midwest premiered the album this week and is streaming it in it’s entirety now. Check out the playful track “Player” below:

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PLAYING DETROIT: Frontier Ruckus “27 Dollars”

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A summer fantasy written in the thick of a Michigan winter, Detroit’s favorite folky foursome Frontier Ruckus delivers a new track “27 Dollars” from their forthcoming LP, just in time to instill premature longing for a summer that still has a few hours on the clock.

Singer-songwriter Matthew Millia is no stranger to volunteering his vulnerabilities by means of his pleasantly troubled troubadour dance with intimacy to the rich, extensive Americana fabric of the Frontier Ruckus catalogue. Joined by David Jones, Zachary Nichols  and Anna Burch, Milia and company have tapped into a beloved era of mid-2000’s indie with a modern emotional intelligence that is fit for timelessness. A little Belle & Sebastian, a tad Okkervil River with a dash of seasonal repression and hopeful ennui, “27 Dollars” is an upbeat anthem for restless hearts and empty pockets; a true midwestern cocktail. The track bounces with banjo twang and swaying synths, eliciting a backseat tour through pot hole, pock marked streets with a cracked phone screen that you check incessantly despite finger tip splinters.

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TRACK REVIEW: Chasing Lovely “Always and Never Enough”

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Chasing Lovely have released a live version of their track “Always and Never Enough,” and it’s definitely enough to pull on your heartstrings and make you feel some pretty serious emotions.

Hailing from Nashville, sister duo Chloe and Taylor are able to weave a vivid tale with their voices and light acoustic guitar that’ll give you goosebumps. This folky pair advocate working toward positive change, and their music is a fantastic reflection of that. “Always and Never Enough” is an introspective peak into how they process the positive yet tragic elements of the human element and everyday existence.

Sit back in a comfortable chair, turn on “Always and Never Enough,” and listen to Chasing Lovely as they offer you a new perspective (which seems particularly necessary as of late).

PLAYING DETROIT: Ohtis “Runnin'”

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The return of Adam Pressley (Prussia, Jamaican Queens) and Sam Swinson’s beloved project, Ohtis, is really good news. Formed and broken-up in Illinois while currently reunited and divided between LA and Detroit, Ohtis premiered the first track “Runnin'” off of their forthcoming album Bobo, Dad, and Holy Ghost. 

“Runnin'” feels like something out of 2008. A story-driven, soft spoken Fleet Foxes-esque tale or a sad desert realization with dampened slide guitar wading in and out circa Wilco’s self-titled record.  Ohtis brings us a track that feels like a hand floating out of the window of a silent car ride, the wind pushing back against a palm telling it what direction to go, the only conversation being the sound of air escaping between parted fingers.

The track opens with: “The expression you were wearing of emotional pain / Like anybody struggling to keep themselves sane,” that set the tone of Ohtis’ painterly Americana breed of misery. It’s a song about surrender, drunk driving through the plains and crossed fingers for a lovers return. The chorus drifts away from uncertainty and sways towards an invitation into a new past with the line: “We together will be better than me.”

With “Runnin’,” Ohtis has delivered an atypical strain of heartbreak that hones in on what’s to be gained, not what has been lost. The experience feels as it was seen through two sets of eyes, although only one voice remembers everything the eyes had seen. It isn’t until a female voice sneaks into the final reprise of the chorus that you feel that resolve is near and the next adventure even closer.

Ohtis plays a set in Ferndale this Saturday, July 16 at 6:30 p.m. as part of Pig & Whiskey Festival.