Whitney
Julien Ehrlich and Max Kakacek could hear the staggering differences in the songs they were writing for their third album as Whitney, SPARK—the buoyant drum loops, the effortless falsetto hooks, the coruscant keyboard lines. They suddenly sounded like a band reimagined, their once-ramshackle folk-pop now brimming with unprecedented gusto and sheen. But could they see it, too?In the ad hoc studio the Chicago duo built in the living room of their rented Portland bungalow, a shared 2020 escape hatch amid breakups and lockdowns, Julien and Max decided to find out. Somewhere between midnight and dawn every night, their brains refracted by the late hour and light psychedelics, they’d play their latest creations while a hardware store disco ball spun overhead and slowed-down music videos from megastars spooled silently on YouTube. Did their own pop songs—so much more immediate and modern than their hazy origins—fit such big-budget reels? When the footage and the tunes linked, Julien and Max knew they had done it, that they’d finally found Whitney’s sound.Max and Julien are back in Chicago now, sharing a cozy walkup with a little studio, where they’re already building songs for the next Whitney album. Now that they let the past burn, everything is new for Max and Julien. SPARK is not only Whitney’s best album; it is an inspiring testament to perseverance and renewal, to best friends trusting each another enough to carry one another to the other side of this season of woe.Links: Instagram | Twitter | Facebook
Alex Cameron
The shimmering star of Alex Cameron continues to shine bright from the gutters of show business four albums into his prolific career as an entertainer. And yet, people still have questions. Is he really 6 ft 4 inches tall? Why do none of his suits fit him properly? If he really is Australian, then why does he speak in a strange sort of European world news accent?And while the answers to these questions may or may not be of any interest to anybody – there they remain – shot into the sky like flares as red hot as the notes from his business partner and horn player Roy Molloy’s alto saxophone.Maybe Alex is the one looking for the answers. Maybe he’s the one who asked the questions. One thing is for sure, the person writing these words is not the man himself. And I can assure you, I was compensated fairly for the work. Don’t believe me? Just ask his band – the sultry six piece (Cameron and Molloy included) of exceptionally multi talented musicians with whom the business associates tour. Juice, Henners, Kramer and Parsons. A dynamic force equal parts hip thrusting rhythm and tongue tantalising tunes.Fresh off the world’s biggest stages – Roskilde, Primavera, Laneway. This act has seen it all. Now it’s your turn to see them.Catch Alex Cameron, Roy Molloy, and their band of perpetual freshness in your town soon. They sell out shows. Don’t find out the hard way. Links: Website | Instagram | Twitter | Facebook | Spotify | YouTube | Bandcamp
Snail Mail
On her 2018 debut album Lush, seventeen-year-old Lindsey Jordan sang “I’m in full control / I’m not lost / Even when it’s love / Even when it’s not”. Her natural ability to be many things at once resonated with a lot of people. The contradiction of confidence and vulnerability, power and delicacy, had the impact of a wrecking ball when put to tape. It was an impressive and unequivocal career-making moment for Jordan.On Valentine, her sophomore album out November 5th on Matador, Lindsey solidifies and defines this trajectory in a blaze of glory. In 10 songs, written over 2019-2020 by Jordan alone, we are taken on an adrenalizing odyssey of genuine originality in an era in which “indie” music has been reduced to gentle, homogenous pop composed mostly by ghost writers. Made with careful precision, Valentine shows an artist who has chosen to take her time. The reference points are broad and psychically stirring, while the lyrics build masterfully on the foundation set by Jordan’s first record to deliver a deeper understanding of heartbreak.On “Ben Franklin”, the second single of the album, Jordan sings “Moved on, but nothing feels true / Sometimes I hate her just for not being you / Post rehab I’ve been feeling so small / I miss your attention, I wish I could call”. It’s here that she mourns a lost love, conceding the true nature of a fleeting romantic tie-up and ultimately, referencing a stay in a recovery facility in Arizona. This 45-day interlude followed issues stemming from a young life colliding with sudden fame and success. Since she was not allowed to bring her instruments or recording equipment, Jordan began tabulating the new album arrangements on paper solely out of memory and imagination. It was after this choice to take radical action that Valentine really took its unique shape.Jordan took her newfound sense of clarity and calm to Durham, North Carolina, along with the bones of a new album. Here she worked with Brad Cook (Bon Iver, Waxahatchee). For all the album’s vastness and gravity, it was in this small home studio that Jordan and Cook chipped away over the winter of early 2021 at co-producing a dynamic collection of genre-melding new songs, finishing it triumphantly in the spring. They were assisted by longtime bandmates Ray Brown and Alex Bass, as well as engineer Alex Farrar, with a live string section added later at Spacebomb Studios in Richmond.Leaning more heavily into samples and synthesizers, the album hinges on a handful of remarkably untraditional pop songs. The first few seconds of opener and title track ‘Valentine’ see whispered voice and eerie sci-fi synth erupt into a stadium-sized, endorphin-rush of a chorus that is an overwhelming statement of intent. “Ben Franklin”, “Forever (Sailing)” and “Madonna” take imaginative routes to the highest peaks of catchiness. Jordan has always sung with a depth of intensity and conviction, and the climactic pop moments on Valentine are delivered with such a tenet and a darkness and a beauty that’s noisy and guttural, taking on the singularity that usually comes from a veteran artist.Website | Instagram | Bandcamp | Facebook | Twitter
Caroline Rose
Superstar is an underdog story, and one not far off from Caroline Rose’s real life. After a years-long struggle to release what would ultimately become 2018’s LONER, deemed “a singular artistic statement from it’s unforgettable album art all the way down” (Pitchfork), Rose found herself in the midst of a new widespread audience, one both delightfully intrigued and perplexed about how and where to place her. That, combined with a developed set of studio skills and a challenge to “make something from nothing,” marked the beginning of Superstar. Gone are the polished Hollywood hunks and starlets of olde. Here is a shamelessly odd hero, or rather anti-hero, on a quest to become a someone.Inspired by cult classics such as The Bitter Tears of Petra Von Kant, Mulholland Drive and the mockumentary Drop Dead Gorgeous, Superstar plays out like a film with a beginning, middle, and an open ending. In album opener “Nothing’s Impossible,” the protagonist receives a mistaken phone call from the glamorous Chateau Marmont hotel. Taking the call as a sign toward a star-studded future, they (gender neutral pronoun) leave behind everything in pursuit of a newly established destiny.What ensues is a cinematic paradox that in one moment finds them strutting down a neon strip in full Saturday Night Fever hip-swing donned in their finest threads, and the next sipping a dirty martini at the rundown apartment complex pool, dwelling on life’s unfortunate turns. It’s a narrative Rose pulled directly from the somewhat shameless desires of her own growing ambition, as well as the public breakdowns of several notable celebrities. “To me, the satire is in what we’ll do and put up with in order to be successful. I wanted to make a story out of those parts of myself that are for the most part undesirable, then inject them with steroids.”Rose worked on the album in order of the story’s timeline, ensuring each track represented a chapter of the narrative in her head. Songs bursting with self-aggrandizement often reveal moments of vulnerability. “Feel The Way I Want” leads us with boisterous confidence through heartache by refusing to let pain get the best of us. Disguised as a Prince-infused bop, “Do You Think We’ll Last Forever?” expresses the uncertainty and anxiety that come with seeing a new partner, ending in a full blown freakout of bottled up nervous energy. The S&M-fueled love song “Freak Like Me” and the darkly comedic “Command Z” ultimately expose a fragile person coming to terms with their own humanity. Rose sings, “I looked around at all the people there / as I thought everyone we know will know will someday be dead / God, I just don’t want it to end / Undo, I’m gonna do it again”.Rose began formulating the songs and ideas for a sequel-esque follow-up to LONER in between the band’s near-incessant touring schedule, from playing sold out headline shows across the country and beyond, to becoming fan favorites at some of the world’s biggest festivals. “Two years ago I started touring with nothing, not knowing if I’d even have a career. Then all of a sudden we were playing to hundreds of people in a town I’d never heard of. The whole thing was fascinating. It got me thinking, just how much can you build from nothing?” As a result, Superstar was written, recorded and produced by Rose in her 10’x12’ home studio, as well as on a portable rig she’d set up in green rooms while on tour.Links: Website | Instagram | Twitter | Facebook
Jon Ward Beyle
A compelling songwriter and natural performer, Jon Ward Beyle expertly draws on the sounds of acoustic Americana and folk as well as the energy of rock & roll to back his honest, cut-to-the-bone lyrics. Having honed his craft through live performances the past four years, Beyle’s debut full-length album Worth Stopping For is set to bring him into the folk-rock spotlight. Worth Stopping For, released on December 2nd, 2021, shows Beyle’s versatility as both a songwriter and a performer. Armed with an eclectic mix of foot-stomping, thought-provoking, intensely transparent songs and a backing band of strong local musicians, Beyle never hesitated to push the envelope while exploring various themes and musical styles throughout the recording process. Beyle has become a staple of the Triangle, NC music scene playing such venues and festivals as Cat’s Cradle, Shakori Hills Grassroots Festival, The Pour House Music Hall, The Pinhook, and The Station. Additionally, Beyle is the host of the popular weekly music series Beer & Banjos in Carrboro, NC aimed at highlighting traditional and acoustic music from the state of North Carolina. Links: Website | Instagram | Facebook | Spotify | YouTube
Rebekah Todd
Rebekah Todd’s brand of “Cosmic Soul Rock” is a force to be reckoned with! Based out of North Carolina, Rebekah and her band bring a fresh energy to each performance, which carries fans to a place that can only be described as transcendental and unforgettable. Pulling from a wide range of influences from Hiatus Kaiyote to Tedeschi Trucks Band, Todd focuses on the art of expression, above all else. Todd currently has three releases under her belt; an EP, two LP’s with a third full length album “Realign” set for a Fall 2022 release. Todd has received countless awards and recognitions including 2013 Carolina Music Awards “Best Female Musician,” 2016 winner of Floyd Fest “On The Rise” Competition, 2017 Wilma Magazine’s “Woman to Watch,” 2018 Encore Magazine’s “Best Female Musician” and much more. The band is adored at festivals and Rebekah is known for exhilarating performances with acts such as Keller Williams, Big Something, Vince Herman, Andy Frasco, Yo Mama’s Big Fat Booty Band, The Fritz and has been billed alongside acts such as Karl Denson, Mavis Staples, Dr Dog, Dumpstaphunk, Artimus Pyle, Shovels & Rope, Hiss Golden Messenger, Citizen Cope, Sarah Shook & the Disarmers and Rusted Root. In addition to having her own podcast (Rebekah Toddcast), she has been featured on Michael Franti’s podcast “Stay Human.” Keep your eyes peeled for this rising star, as she aims towards the sky with no limits!Links: Website | Instagram | Twitter | Facebook
Movements
Reflecting personal changes from a whirlwind five years, Movements realize the full scope of their storytelling, musicianship, and vision on their second full-length album, No Good Left To Give [Fearless Records]. Not only does the music address the emotional push-and-pull of relationships, but it also explores loss, love, mental health, and even intimacy through a prism of newfound clarity soundtracked by post-punk grit, alternative expanse, heartfelt spoken word, expensive rock, and subtle pop ambition. The Southern California quartet—Patrick Miranda [vocals], Ira George [guitar], Spencer York [drums], and Austin Cressey [bass]—quietly worked towards this moment since forming in 2015. Following the 2016 EP Outgrown Things, the group cemented a singular sound on their 2017 full-length debut, Feel Something. Eclipsing 40 million total streams by 2020, it immediately connected by way of “Daylilly” [11.1 million Spotify streams], “Full Circle” [6.1 million Spotify streams], and “Colorblind” [5.5 million Spotify streams]. Along the way, the four-piece received acclaim from Brooklyn Vegan, AXS, Rock Sound, Culture Collide, and more. In between packing shows worldwide, they joined forces with Alzheimer’s Association for the “Deadly Dull” video and covered “Losing My Religion” by R.E.M. for the Songs that Saved My Life compilation. Recorded with longtime producer and frequent collaborator Will Yip [Title Fight, Turnover], they introduce this chapter with spectral and soaring “Ghost” and unassumingly intimate “Skin To Skin,” among other anthems.Links: Website
Andrea Gibson’s You Better Be Lightning Tour
Andrea Gibson (they/them/their) is one of the most stirring and influential spoken word artists of our time. Best known for their live performances, in which they regularly sell out large capacity rock clubs and concert halls, Gibson has changed the landscape of what it means to attend a “poetry show” altogether. Gibson’s poems center around LGBTQ issues, gender, feminism, and mental health, as well as gun reform and the dismantling of oppressive social systems. Their live shows, in which they are often accompanied by musicians, have become loving and supportive ecosystems for audiences to feel seen, heard, and held through Gibson’s art. Gibson is the author of six-full-length collections of poetry, including You Better Be Lightning (Button Poetry 2021), which has sold over 25,000 copies worldwide. Winner of the Independent Publisher’s Award in 2022 and 2019, Andrea is also a three-time Goodreads Choice Awards Finalist. In 2017, Penguin Books published Take Me With You, an illustrated collection of Gibson’s most beloved quotes, and in 2019, Chronicle books published their first non-fiction endeavor, How Poetry Can Change Your Heart. In addition to their publishing accolades, Andrea has released seven full-length albums, combining their socially active spoken word with musical collaborations. They are the winner of the first Women’s World Poetry Slam, Gibson has gone on to be featured on BBC, Air America, CSpan and The Good Life Project.Website | Facebook | Twitter | Instagram | Spotify | YouTube
Stephen Day
The pandemic hasn’t left anyone’s life unchanged. In February 2020 Stephen Day was gearing up to tour his 2019 album Guess I’m Grown Now. He and his band were prepping for his first show in Asia then ready to return to the states for his first headline tour a week later. As news on COVID-19 started to spread and the world began to shut down, Day’s view of the immanent future, like everyone else’s, was no longer certain. On March 7th flights to the Philippines were canceled, then SXSW along with his official showcase slot that was no longer, and he and his team had to make the decision to cancel his tour. Like that, Day, along with the rest of the world was in a new digitally driven community. Over a year later as the world starts to re-open the 25 year old Nashville resident has taken the time to reflect on his place in culture, business, and art. “It felt like the world around me and the world inside me was begging for me to dig deeper, in a way asking me to accept the calling of being an artist and I did my best to answer back.” Since the shutdown Day released his first self-produced project Original Song’s and Sound, collaborated with Allen Stone, and passed 43 million streams on his catalog. American Songwriter called his track “Every Way (Supernatural),” “a huge musical leap forward” and went on to add that it “signals rebirth and renewed creative force.” The five song EP made alone in the confines of his bedroom lend to the crooner vocal performance his fans have come to love as well as moving his sound into a contemporary space. Since the start of 2021 Day has written, recorded, and finished his second full length album which will be out this fall. The project was co-produced by Micah Tawlks (COIN, Hayley Williams, Liza Anne) and Day. Eager to get it out to fans Stephen says, “I put so much of myself into this record in hopes that we could all grow a little closer together after the year and a half we’ve had of being separated. It feels like the easiest way to re-enter and rebuild a more social and communal world is by remembering how to give away a little bit of yourself to someone and trusting them with it.” The project represents a new era for Stephen that isn’t afraid to push boundaries sonically or in subject matter. He’s come a long way since his 2016 debut and looking forward to the future ahead.Links: Website | Instagram | Twitter | Facebook | Spotify | YouTube
Field Medic
Field Medic is the lo-fi folk project of Kevin Patrick Sullivan. At eighteen, he discovered the music of Joni Mitchell and Bob Dylan, who changed his perspective on what a song could be and led to him developing his own style which he describes as “freak folk/post country with an emphasis on finger style guitar and lyrics.”Sullivan initially embraced lo-fi because he felt that his home recordings were a truer method of expressing what he was creating than anything he could do in a studio. Drawing inspiration from new wave and rap, Sullivan pushed the boundaries of what a folk song could be, incorporating new elements in each subsequent release from analogue drum machines to Casio keyboards to banjo. The immediacy of that recording process and the freedom of experimentation inherent within are central to Field Medic’s character, extending through his music to his freestyle, improvised mixtapes and his poetry.Links: Website | Instagram | Twitter | Facebook | Spotify | YouTube
