gorgeous video<\/a> shot in the reserve of Neyaashiinigmiing 27, Ontario\u2014reframes the idea as one of earthly bliss, not unlike the Belinda Carlisle hit. Though inspired by artists as diverse as icons like ABBA and Fleetwood Mac or peers like Julia Jacklin, Angel Olsen, and U.S. Girls, Falcon Jane\u2019s sound touches on spaces all its own. <\/p>\n\n\n\nIt’s one she’s had to grow into, having no formal vocal training. “I can\u2019t do a bunch of fancy stuff with my voice. I think I am still growing into it. It\u2019s always changing,\u201d she explains. \u201cAt first that felt like a barrier for me, so I decided to embrace the uniqueness of it, and that felt like a doorway. That was like 10 years ago, so I\u2019m a better singer now, but I still push myself to keep learning and trying new things. There are vocal techniques I use on Faith <\/em>that I couldn\u2019t dream of doing when I was recording my last album, Feelin\u2019 Freaky<\/em>.”<\/p>\n\n\n\nSara May wrote her first song at 16, which officially opened the creative floodgates. \u201cI think I wrote about one hundred songs that year,” she remembers. “I had been playing guitar since I was about 12, but it never really stuck with me until I could play my own songs.\u201d Later, blogs like GoldFlakePaint, Atwood, and The Grey Estates would situate her sound in the “Plez-Rock” genre (short for Pleasant Rock), a term coined by the band members to describe \u201cchill, groovy music that\u2019s got a harder rock edge to it.\u201d<\/p>\n\n\n\n
Feelin\u2019 Freaky<\/em> marked Sara May’s adoption of the Falcon Jane moniker. \u201cI have always loved the name Jane\u2014wish it was my real name\u2014and I\u2019m also intrigued by the ‘every-woman’ attributes it has, for example: Jane Doe, Plain Jane, Dick and Jane. The first time I said, \u201cFalcon Jane\u201d out loud it just felt right to me,\u201d she says.<\/p>\n\n\n\nDescribing herself as \u201cguarded,\u201d the pseudonym has allowed her a gateway into new (and old) unexplored sides of herself. \u201cIt\u2019s nice to be able to talk about my musical project with a bit of separation. So, I can say, ‘Oh I\u2019m working on Falcon Jane stuff today,’ or ‘the new Falcon Jane record sounds really good,'” May explains. “It also leaves room for more creative collaboration. Falcon Jane has been a variety of different bands and combinations of people over the years, and the musicians are always part of ‘Falcon Jane’\u2014not just [my] backing band.\u201d<\/p>\n\n\n\n
Though this release contains contributions from other musicians and mixing help from Evan Gordon (SLEDD, Islands, The Magic, Skeletones Four), Faith<\/em> was mostly performed by May and her partner Andrew McArthur. Despite its scaled-back nature, May says there’s \u201call kinds of music magic to the songs,\u201d including McArthur\u2019s little sister, who makes a \u201csuper cute\u201d cameo appearance on several of the album’s songs.<\/p>\n\n\n\nOnce completed, May discovered that she had made the album she needed most. “Once the record was done, I noticed the word ‘Faith’ appearing over and over again in the songs,” she says. “I think it was a theme I was personally dealing with a lot over the course of 2019 while we were recording; learning what to believe in, and how to believe in myself.”<\/p>\n\n\n\n
Follow Falcon Jane on Facebook<\/a> and Instagram<\/a> for ongoing updates.<\/em><\/p>\n","protected":false},"excerpt":{"rendered":"Graced with a strangely stunning voice\u2014youthful and emotive, gloomy and perceptive\u2014Falcon Jane (singer-songwriter Sara May) has just released a sophomore album, Faith, the follow-up to 2018’s Feelin’ Freaky, via Pittsburgh-based label Darling Recordings. On it, cathartic verses ascend to soaring heights as the Ontario-based artist ponders existential questions about life, death, and what lies beyond. […]<\/p>\n","protected":false},"author":120,"featured_media":37838,"comment_status":"closed","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"_acf_changed":false,"_jetpack_memberships_contains_paid_content":false,"footnotes":""},"categories":[10488],"tags":[11305,11303,3776],"acf":[],"jetpack_sharing_enabled":true,"jetpack_featured_media_url":"https:\/\/www.audiofemme.com\/wp-content\/uploads\/2020\/11\/FalconJane_20_Brendan-George-Ko-FULL-1-e1605558084326.jpg","_links":{"self":[{"href":"https:\/\/www.audiofemme.com\/wp-json\/wp\/v2\/posts\/37847"}],"collection":[{"href":"https:\/\/www.audiofemme.com\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/www.audiofemme.com\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/www.audiofemme.com\/wp-json\/wp\/v2\/users\/120"}],"replies":[{"embeddable":true,"href":"https:\/\/www.audiofemme.com\/wp-json\/wp\/v2\/comments?post=37847"}],"version-history":[{"count":3,"href":"https:\/\/www.audiofemme.com\/wp-json\/wp\/v2\/posts\/37847\/revisions"}],"predecessor-version":[{"id":38355,"href":"https:\/\/www.audiofemme.com\/wp-json\/wp\/v2\/posts\/37847\/revisions\/38355"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/www.audiofemme.com\/wp-json\/wp\/v2\/media\/37838"}],"wp:attachment":[{"href":"https:\/\/www.audiofemme.com\/wp-json\/wp\/v2\/media?parent=37847"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/www.audiofemme.com\/wp-json\/wp\/v2\/categories?post=37847"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/www.audiofemme.com\/wp-json\/wp\/v2\/tags?post=37847"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}