Sometime around 1966, my mother who worked at a Drum store Yardley’s in the centre of Birmingham told me about a band called The Yardbirds. She bought an LP on her way home from work and played it on our family Dansette stereo usually reserved for Sinatra Jack Jones and Matt Monroe.
“Having a Rave Up With the Yardbirds” was released on the Epic label in 1965. It’s an underrated record and well worth revisiting or discovering. The Yardbirds are rarely mentioned these days in the template of musical discussions concerning rock history, and then only for the guitar slingers comings and goings of Clapton, Beck, and Page. It’s amazing how sophisticated this young group sounded and how original they were. In 1965, most groups couldn’t help but be influenced by the Beatles, but the Yardbirds had their own thing, in particular, long, dynamic one-chord vamps that could build an audience to a frenzy.
On “Rave Up”, these tracks are paired with catchy pop songs that sound cinematic and – certainly – ambitious. Side one is a studio record with Jeff Beck on guitar, Keith Relf on vocals and harmonica, Chris Dreja on rhythm guitar, Paul Samwell-Smith on bass, and Jim McCarty on drums.
Side two contains all live tracks, with Eric Clapton replacing Jeff Beck in the guitar chair. Interestingly, the album has “I’m a Man” represented twice – side one with Jeff Beck, and side two with Clapton.
Side one opens with “You’re a Better Man Than I.” It’s hooky and nice enough, but not necessarily my favourite song on the LP. “Evil Hearted You” follows with a memorable melody and some wonderful thrashing guitar work by Beck.
The record really gets in gear on “I’m a Man.” Recorded in 1965 at Chess Studios in Chicago, this track exhibits the Yardbirds’ one-chord-vamp excursions that combine a driving gospel aesthetic, along with 21-year-old Beck’s aggressive psychedelia.
Beck was always great, and to my ears he just keeps getting better. This kind of dynamic performance had to be developed organically, in the community of late-night teen erotica, in a nightclub with a crowd manipulated by band dynamics.
The track is super-eventful, too, with ascending progressions, guitar mania, and jarring, but successful, tempo changes. It’s followed by the album’s only original band composition, “Still I’m Sad,” a unique recording that combines Gregorian chant-style backing vocals, an Ennio Morricone–like musical arrangement, and a terrific lead-vocal performance.
Side two has my favourite Yardbirds track, “Smokestack Lightning,” where the Yardbirds again play a hypnotic, frenzy-inducing vamp. Everyone is very familiar with Clapton’s history, but this track is particularly impressive.
Clapton is totally in the pocket, and bends and grinds the theme lick for all it’s worth. He makes this vamp as addictive as potato chips, and every two bars this listener wants more. Despite being a bit musically schizophrenic, Having a Rave Up With the Yardbirds has many high points. Sure, the music alternates between radio hits and blues explorations, and yet it all hangs together.
Yin and yang seemed to be more accepted back in the day, with groups like Cream, Zappa, the Beatles, and others presenting dual personalities, and with no explanation needed. That said, Having a Rave Up With the Yardbirds never feels herky-jerky.
Realizing how young these guys were at the time, I’m impressed by how evolved the Yardbirds sounded. I would bet these performances against the 1966 Rolling Stones and many blues groups of that era, because the Yardbirds rose above reverence and mimicry and explored their own thing.
One of the few bands on this list who’ve actually already released their case for being one of 2021’s most intriguing bands, Cheekface released their brand-new album, “Emphatically No”, through New Professor Music. The record finds the Los Angeles-based trio contrasting the mundane nature of everyday living to the background of a world in chaos, it takes a dark-side to find comedy in the face of the void, yet somehow Cheekface seem to manage it, on Best Life they note, “everything is normal”, with the conviction only someone who knows that to be a complete lie can manage.
Cheekface is a catchy band from Los Angeles with clever lyrics like “life is long like a CVS receipt.” Think Parquet Courts meets They Might Be Giants, maybe.
Musically, Cheekface seem to exist in the lineage of American talk-singers, from Jonathan Richman through to Stephen Malkmums, and more contemporary artists like Car Seat Headrest and Savage Mansion. This a record of strutting bass-lines, guitars with the angularity of post-punk, only without all the po-faced seriousness normally associated with the genre. At the centre throughout are the dual vocals of Greg and Amanda, trading comical lyrical barbs as they discuss geopolitics, mental health crises and narcissistic fascists, mentioning no names of course. If that’s all sounding a little self-congratulatory, worry not, like Jeffrey Lewis or Scott Walker, Cheekface aren’t looking down on the world, they’re very much part of the joke, as Greg notes, “no one else is the punchline of these lyrics…if me and Mandy are poking fun at anyone, it’s us”. If the current state of the world needed a soundtrack to poke a little fun at the darkness, then on “Emphatically No”, Cheekface might just have written a perfect contender.
Greg Katz: This is obviously a song about the negative messages your brain sends to you when you are suffering with a mental illness. It was the last song we wrote before we started recording stuff for this album. We recorded almost the whole album at New Monkey in LA with Greg Cortez recording and mixing, including this one.
I remember when me and Mandy were writing this one, getting the hook was pretty easy, but I was having a really hard time coming up with a melody for the verse. I must have improvised, like, 25 different ideas that didn’t work. Then Mandy was like, “Well, I think it should be this!” And she sang the first four notes of the song. I was like, “Why did you let me torture myself trying to come up with something when you knew what it was supposed to be the whole time?” I’m incredibly grateful to have Mandy as a writing partner, even though she sometimes likes to watch me suffer.
Amanda Tannen: I’m so thankful to have found Greg in Los Angeles after moving from NYC. From when we started the band up until March, almost every weekend we would get together to write songs. Whatever song came out that day normally would reflect how we were feeling that week. I remember while writing this one I was getting more comfortable with saying “no” in general. But also feeling judged by so-called “self help” fads. You can say “no” to anything supposedly good for you, or bad, reminding myself that only I can make that decision for myself.
2. “Best Life”
GK: This is one of three on the album that we recorded in Brooklyn with Jeff Berner at Studio G. The opening line, “Everything is normal,” had been in my notes for quite a while, and I’d written several songs trying to use that line. But that lyric finally found a home in this one. The guitar lick that plays eight bars in, that was what started the song idea. I think I was trying to channel the slippery lick from “Satan Is My Motor” by Cake.
AT: We were in Brooklyn in mid-February at the end of traveling to three cities to play. To top it off we recorded with Jeff at Studio G, at the end of the trip. I’m so happy we fit it in! It was so much fun for me to be back recording in Brooklyn. It had been over a decade since I had recorded anything in the city. We even started the day off with some good bagels. Perfect day.
3. “Call Your Mom”
AT: At the time of writing this one I think we had a handful of mid-tempo songs. For personal reasons, we needed a fast one. Punk songs are good for my mental health.
GK: The title lyric, “They want your attention 24/7? Resistance is easy, call your mom,” is about how the federal government tries to insert itself into our lives constantly and consume all our attention to consolidate power. Ignoring it is an act of rebellion, in my opinion. This song has a ripping guitar solo from Devin McKnight of Maneka (and ex-Speedy Ortiz) fame, and the laser gun sounds are him on guitar too.
4. “Crying Back”
AT: I consider this one a chill walking-while-wandering song, which I can always use more of in life. I remember my one mixing note was more shaker. Love the shaker in this one, it takes center stage. Echo’s got talent.
GK: My favorite part of this song is that the pre-chorus is the same chords as “Cruel to Be Kind” by Nick Lowe. That was not intentional. But we had learned the song at band practice once for fun, and Mandy pointed out that we ripped off the changes for this. The lyric “No pockets for your phone in your surgical gown” was written on my phone in a hospital emergency room after I got in a car wreck.
5. “Wedding Guests”
GK: We wrote this one with our friend Brijesh Pandya, who’s an amazing drummer and songwriter in LA. He was like, “I have this monster riff saved in my phone that I don’t know what to do with,” and it became this song. He also kicked in the lyric about “a man, a plan, a plain bagel, and an omelette” and a couple more of the good punchlines in the verses. I remember when we were recording this song we were listening to “99 Problems” and “Crazy in Love” to see how to give the song some more lift in the chorus, hence the bell loop that you hear there. That’s the Mellotron Hammond sound beaming through at the end. The other keys were a toy Casio.
6. “(I Don’t Want to Go to) Calabasas”
GK: One influence we came back to a lot while writing this album was Minutemen. They don’t get the credit they deserve as both an influential LA band and a thoughtful political band. This one is a pretty direct reference to them, down to the lyric “What makes a man want to be a referee” that references their What Makes a Man Start Fires? album title. This didn’t make it into the final version, but we also recorded some mariachi trumpet overdubs and Greg Cortez on nylon guitar as a nod to Calexico’s version of Minutemen’s “Corona.” Cooler heads prevailed and those ended up on the cutting room floor, i.e. a muted Pro Tools channel.
AT: While writing this, Greg had to explain to me where Calabasas was. The LA area is still new to me after nine years. I remember starting the lyrics by riffing off of bottled water brands.
GK: Calabasas is a place, but it’s also, you know, a metaphor.
7. “Original Composition”
GK: This one nods to Minutemen’s “History Lesson Part 2.” I thought the guitar solo should be one note, but Mandy said it should be two notes, and she was right. Echo really knocked the drum groove out of the park on this one, in my humble opinion. I improvised the whistling hook at the beginning and end of the song when I was waiting for the mic to come on to record vocals, but it ended up sticking, even though I don’t like songs with whistling in them.
AT: Another walking song. Whistle while you walk. I love guitar solos, this one needed two notes. Simple.
8. “No Connection”
GK: Another song where the Mellotron gets a look. That’s the Mello plucked strings at the top and the Mello harp glissando. Echo played the toy piano on that nine chord that opens the song. Before writing this one, we’d covered “Bad Liar” by Selena Gomez at a few shows, and it has a sample of “Psycho Killer” by Talking Heads that plays through it. I think that really called our attention to the super simple disco kick drum pattern in “Psycho Killer” that gives it so much power. We used that kick drum pattern in the chorus of this song and in a few other places on the album, including the next song on the album, “Emotional Rent Control.” Also, I want to go on the record saying sorry that the guitar solo in this one is so long.
AT: When asked if the guitar solo was too long, I said no, should it be longer? And yes, up the fuzz pedal. If you can’t tell, I’m a huge Dinosaur Jr. fan. While recording this batch of songs we would take dinner breaks and eat vegan taco salads. Mmm, Cheekface taco night. We try to keep dinner light, combatting the dreaded food coma.
GK: In my old band, we lost a half day to burrito comas in one session. Never again! In my meandering experience, you forget to eat in the studio, then you overeat when you realize you’re starving. Terrible for the blood sugar flow, and it means you play worse as the day goes on. So now I always pull up to the studio with a fresh baguette, a couple bags of baby carrots, roasted almonds and a couple tubs of hummus. I spread them all out in the control room to start the day. Keeping a low-level semi-healthy nosh going throughout the session means that no one is ever tracking during a calorie crash. That’s our tip for the other productivity-conscious bands out there.
9. “Emotional Rent Control”
GK: This one we started writing a few weeks after Ric Ocasek died. We definitely wanted to give a direct nod to The Cars. There’s a lot of Cars-inspired moves in our songs, like the Moog solo in “Dry Heat/Nice Town.” So with this one we wanted to go straight for a “Just What I Needed” vibe to pay respects to the legend. Also I’d been listening to “Highway to Hell” a lot by AC/DC around the time we wrote this, so this one has the tom-tom thumping pre-chorus like that song, and also the bass dropout after the chorus that lets the air in. Last thought: every single one of Mandy’s bass lines is pretty great, but this one is especially nasty.
AT: Sometimes we write songs by looping a riff over and over—bass or guitar. After playing that riff a while, I end up picking what I think beat one is, but a lot of the time it’s not the same one Greg is thinking, it can make the interplay between guitar and bass have a push and pull in places, which I love.
10. “Big Big Friend”
GK: This was the last one written that went on the album, it was written at the top of 2020, and it was recorded last, in February 2020, and it kept evolving pretty much until we recorded it at Studio G in Brooklyn. The quiet guitar solo with the harmonics was in the original demo, but the loud guitar solo right after was added in the last band practice before we recorded it. It’s a song about how hard it is to thrive in a big bureaucracy like a university.
11. “Loyal Like Me”
GK: This one is the oldest song on this album—we wrote it before we recorded our first album, Therapy Island, but it didn’t make the cut for whatever reason. It was one of several efforts to do something like “Anything Could Happen” by The Clean, which is one of the greatest indie rock songs ever, but it didn’t come out very similar. The song is about how I take other people’s generosity for granted. It’s a sad song to me because I feel guilty about doing that, but I guess everyone else does it too. Echo does some pretty nifty drumming under the second verse.
12. “Do You Work Here?”
AT: We wanted to write a darker-sounding song, with some big distortion. I remember I was listening to a bunch of psych rock at the time—B.R.M.C., The Warlocks, Black Angels, and Autolux, who are one of my favorite LA bands. The effects to Greg’s voice were added at the end and fit so well.
GK: Oh yeah, Greg Cortez killed it with the reverb and delay throws in the mix. I think we were like, “Why don’t you try some delay throws?” And he was like “OK, where?” And we were like, “We don’t know, everywhere?” The stuff you hear was all his first pass.
13. “Don’t Get Hit by a Car”
GK: One day we came into our practice space to write, and I think Mandy had just watched a documentary about A Tribe Called Quest, and she was like, “All their songs have that same groove, can we try something with that feel?” So we started that new-jack drum groove and draped the chords from “Sweet Jane” on it. To me it sounds more like “Jack & Diane” than it sounds like either of the actual inspirations. Not gonna lie, I feel really exposed by the lyrics on this one, hence we buried it at the end of the album. But shouts to Lena Dunham, hope she doesn’t take us on The People’s Court for name-dropping her. It’s all love, Lena!
Originally Released August 12th, 2020 Music and lyrics by Cheekface
Amanda Tannen on bass guitar and backing vocals Greg Katz on vocals and guitar Mark Echo Edwards on drums and percussion
Although one of the few artists signed to the brilliant Keeled Scales who have not officially announced they’re releasing a record this year, Renée Reed might just be the most intriguing of the lot. Renée is a musician very much in the family tradition, her Grandfather was an Accordion-playing bandleader, her Uncle a renowned folklorist, her family home and her parents businesses, epicentres for Creole and Cajun-music. In many ways Renée continues the family tradition, and yet in others she’s entirely re-inventing it; very much a product of the modern world, Renée’s music takes the deep-set roots of her forebears and crashes them into contemporary sounds from Cate Le Bon to Françoise Hardy.
Although Renée has been drip feeding her music into the world since back in 2016, last year was something of a step-up, with the release of a pair of intriguing singles. The first offering, Out Loud combines a disarmingly rapid flutter of choppy guitars and percussive vocal inflections, while “Until Tomorrow” is a meandering Southern-folk song, Renée’s tremulous vocal accompanied by a slither of guitar, reminiscent of Vera Sola or labelmate Tenci. With the tantalising promise of, “plenty more to come”, Renée Reed is well placed to be one of 2021’s break-out stars.
Renée Reed grew up on the accordion-bending knee of her band-leading grandfather Harry Trahan; in the middle of countless jam sessions at the one-stop Cajun shop owned by her parents Lisa Trahan and Mitch Reed; soaked in the storytelling of her great uncle, folklorist Revon Reed and his infamous brothers from Mamou; and surrounded by a litany of Cajun and Creole music legends, both backstage at the many festivals of Southwest Louisiana and on the porch of her family home.
And while Renée’s music is certainly informed by these deep roots, her dark dreamlike folk has more in common with contemporaries like Cate Le Bon and Jessica Pratt. It’s also not unlike the intangible magic contained in Mazzy Star’s songs. Renee Reedis her stunning debut record.
released July 3rd, 2020 Written and performed by Renée Reed.
Signed to the ever-excellent Dalliance Recordings, Ailsa Tully’s music seems to exist at the centre of a particularly beautiful storm. Existing between the worlds of minimal electronica, folk and choral-music, Ailsa finds influence as much in the rolling greenery of her native Wales as she does in the music of contemporaries like Gia Margaret and Mary Lattimore.
Ailsa’s most recent single, “Drive”, was her first for Dalliance, and suggested an artist more than ready to take their place in the limelight. Inspired by a desire to escape the banal and embrace a more exciting future, Drive is a song of escapism, perfectly delivered by Ailsa’s stunning vocals and gorgeous entwined layers of bass and guitar. Ailsa’s music feels like a blessing, a moment of blissful calm in a fast moving world, and with the promise of a new single early this year, and hopes for a whole lot more, she looks well destined to become one of 2020’s most exciting new voices.
Ailsa has received support from BBC Radio’s Huw Stephens, BBC Introducing and Hoxton Radio. Her most recent accomplishment is signing to Dalliance Recordings
A new face on the thriving Bristol Music Scene, Clara Mann first came across music when growing up in the South of France surrounded by Classical sounds, including everything from choral pieces to chamber music. Inspired Clara went on to become classically trained in both piano and voice, elements she incorporates into her new-found sonic world, which could be loosely classified as folk music. Teaming up with Sad Club Records, Clara recently shared her debut single, “I Didn’t Know You Were Leaving Today”, the first taste of an EP, due later this year. Clara Mann’s luscious new single ‘Thoughtless’ is out 20th January with her beautiful EP ‘Consolations’ out 24th February.
Recorded in an isolated collaboration with the help of Benjamin Spike Saunders and Bugs’ Alice Western, I Didn’t Know You Were Leaving Today is a slice of beautifully gentle folk, as Clara’s rich vocal is accompanied initially by a gentle flutter of acoustic guitar, before being joined by the warm buzz of distant violins. It’s a sound akin to contemporaries like Dana Gavanski or Shannon Lay, yet like those artists it also has a timeless quality, equally indebted to Shirley Collins or Molly Drake. Despite the lofty comparisons, there’s a freshness and an integrity to Clara Mann, a voice bringing something new to a genre as old as the hills, and quietly marking herself out as an artist with a hugely bright future.
Tucson, Arizona interdisciplinary artist Karima Walker walks a line between two worlds. Aside from her long resume of collaborative work with artists in the diverse fields of dance, sculpture, film, photography and creative non-fiction, Walker has long nurtured a duality within her work as a musician, developing her own sonic language as a sound designer in tandem with her craft as a singer/songwriter. The polarity within Walker’s music has never been so articulately explored, or graced with as much intention, as on her new album, “Waking the Dreaming Body”.
Waking the Dreaming Body was written, performed and engineered entirely by Walker, with the exception of some subtle upright bass from C.J. Boyd on the song “Window I.” Producing the album on her own wasn’t Walker’s original intention, though; after flying to New York in November 2019 to develop some home-recorded tracks with The Blow’s Melissa Dyne, a sudden illness forced Walker to cancel the sessions and return home to Tucson to recover, and soon after, the COVID-19 pandemic ruled out the possibility of a return trip to New York. Instead, Walker decided to finish the album herself in her makeshift home studio. She spent the following months recording, processing and arranging her self-described “messy Ableton sessions” into densely harmonic arrangements of synthesizer, guitar, piano, percussion, field recordings, tape loops and her own dulcet singing voice, allowing trial, error and intuition to guide her way. The final result is a 40-minute dream-narrative of her conscious and subconscious minds that oscillates between the rich textures of her ambient compositions (as in the instrumentals “Horizon, Harbor Resonance” and “For Heddi”) and the melody and poetry of her melancholic, Americana-tinged song writing (as in the lyrics-focused tracks “Reconstellated” and “Waking the Dreaming Body”), their ebb and flow recalling liminal states of half-sleep where images and emotions are recalled and forecasted from the previous night’s dreams. Night falls in regular intervals throughout the album, forming a natural dialogue between waking and dreaming.
Walker explains:
“I wanted these songs to stand alone as complete worlds, and this required a shift in my usual way of writing. I found myself trying to escape from an excess of interiority by exploring outward, by thinking about the mirroring that happens when you seek connection to others and to the natural world—when you try to bring the outside in. I sought to make arrangements that swell at certain moments and barely hold together at others, moving with my breath and other rhythms connecting my body to the natural world. Ultimately, I was seeking to draw myself out, to reconstruct my personal narrative.”
“I see myself as an in between person I guess,” Walker continues. “Though I haven’t very explicitly brought my own personal history into my music, I think it’s there, and it continues to show up in its own ways and time. I am Arab, half North African/Tunisian on my mother’s side, but was raised in a very white context, with a lot of white passing privilege, especially as I’ve gotten older. But my journey into making music was so different. I kept falling in love with musicians and artists for a while before I realized that maybe I wanted to be so close to these people because they were doing something that resonated deeply in me. So there’s a way in which making music has been a way for me to overcome divides that I couldn’t quite articulate in other ways.
“Waking the Dreaming Body” is out February 26th, 2021 on Keeled Scales / Orindal Records.
All songs written, performed, mixed & produced by Karima Walker
The veteran San Francisco songwriter (of The Fresh & Onlys fame) is putting out a record called “You Are Still Here” this March, and on it features “Give Me Yours”, a single that came together while Cohen waited six hours for a plane out to Denver. He’d already had the chords and arrangements mapped out, but the lyrics came pouring out after Cohen had ordered a tequila soda and chicken sandwich at the airport to pass the time. Oh, and did I mention that he’d also popped “an edible” before leaving his house?
Penned while “on the verge of hallucinations,” as Cohen described it, the track reads like a paranoid fever dream. “They’re gonna drink our drinks/ They’re gonna eat our bones,” Cohen sings in the opening verse, referencing his own airport meal but in exaggerated terms.
“This ‘they are coming to get us’ attitude is a by product of the despair and hopelessness I felt being at the mercy of corporate airlines in what I deemed an irreversible front to my artistic freedom,” he explained and in my half-delusional state I adopted the ‘us against them’ desperation that permeates the album.”
Although fuelled by agony and anxiety, musically “Give Me Yours” actually sounds like a bouncy ball of sunshine. Cohen trades in his Fresh & Onlys garage rock for guitar-led folk-pop that’s much softer yet has an irresistible charm. The percussion snaps and the rhythm sways like something out of the ’60s, and it’s all smiles by the time you reach the extra peppy guitar that pops around all over the chorus. If only my breakdowns at JFK and Newark sounded this good.
Fresh & Onlys frontman Tim Cohen wrote “Give Me Yours” during an airport layover and then fleshed it out in the studio. He’s always had a way with a hook and this one’s no different.
His new album, You Are Still Here, arrives March 26th via Bobo Integral.
Prolific New Zealand-born, Melbourne based singer-songwriter Sarah Mary Chadwick is releasing “Me and Ennui Are Friends Baby” on February 5th via Ba Da Bing Records, and the latest single is “Full Mood,” which Sarah says “is about a Valentine’s Day date I went on. The owner of the bar we were at tried to get us both to fuck her, but she wouldn’t let me be in charge so we didn’t. I remember afterwards we were walking down the road and it was streetlights and still at 3am and everything felt great and shining and I remember thinking that I wish my dad could’ve done this, got drunk and kicked around the city at night when it’s all sparkly, holding onto someone who lights you up, not been stuck in silent dark rural New Zealand, watching other people’s lives on TV, drinking half glasses of box wine while his frowning wife ironed.”
“Me And Ennui Are Friends, Baby” is the latest full-length from New Zealand-born, Melbourne-based singer-songwriter, Sarah Mary Chadwick, whose brutally honest song writing has cast her contrary to the gentleness of most current music. Comprised entirely of minimal solo piano arrangements, the album is despondently clear-eyed and smirkingly self-deprecating, completing a trilogy of records that started with The Queen Who Stole The Sky recorded on Melbourne Town Hall’s grand organ, and her only outing to date featuring a full band, Please Daddy. Each record has followed Chadwick’s internal processing after a traumatic event, with Chadwick’s zeal for psychoanalysis front and centre. On Ennui, Chadwick presents an exacting intensity with her choice to pare back to piano and vocals. It’s in this stark setting that she focuses on the attempt she made on her life in 2019.
Directed by Tristan Scott-Behrends
Starring Daniel Villarreal & Sarah Mary Chadwick “Only Trumpets” Clip featuring Daniel Crook & Xavier Jimenez March ‘Full Mood’ is the third single from forthcoming album ‘Me And Ennui Are Friends, Baby’, out February 5th 2021 through Rice Is Nice Records & Ba Da Bing.
Title Fight co-frontman Ned Russin has shared a second single from his upcoming Glitterer album, “Life Is Not A Lesson”, which arrives 26th febuary via ANTI-Records (pre-order). Like lead single “Are You Sure?”, the just-released “Didn’t Want It” is a little closer to the loud, driving Title Fight sound than the last Glitterer album was, and it’s another very promising taste.
“‘Didn’t Want It’ was the first song I wrote for the new record,” Ned says. “Despite having no road map for how the rest of the songs would turn out, this track established a lot of the qualities that would be further explored as I continued to write – more present and fuzzed out guitars, minimalistic chord changes, and uncertain, longing lyrics.” It comes with an animated lyric video by Rob Fidel, which you can check out below.
“The Baby Remimagined”, a reimagining by her friends and contemporaries of Samia’s 2020 debut LP, The Baby Reimagined is a song-for-song reinvention of the debut album from Samia. It features old friends and new connections forged over mutual admiration. While some remix albums struggle to justify their existence, this one is a testament to the song writing at the core of Samia’s work. In any hands, these songs are special. And in the carefully selected hands at work across this release, these songs are transcendent.
“The Baby”, is due out Friday (1/15) via Grand Jury, and the latest single is Christian Lee Hutson’s folky, contemplative take on “Does Not Heal.” Hutson’s reimagined version of “Does Not Heal” marks his first release of 2021,
“Does Not Heal” · Samia Cover by Christian Lee Hutson released on Grand Jury Music Released on: 2021-01-11
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The Fat Angel Sings 