Posts Tagged ‘Aly Spaltro’

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Indie rock singer-songwriter Lady Lamb (aka Aly Spaltro) has released two new singles, “We’ve Got a Good Thing Going” and “Arizona,” over the past few weeks. She is currently in the midst of a European tour and recently added a series of “evening with” events that will take place at various City Winery location across the United States later this year.

“We’ve Got a Good Thing Going” was inspired by Spaltro’s experience watching a young woman fearlessly bungee jump off the side of the Stratosphere Tower in Las Vegas.

“It was nearly 1am, closing time, and I was pressed against the back wall of the observatory as I watched her suit up alone with a look of total calm,” Spaltro said. “It really made me reflect on my fears – my fear of living, in some cases. This song is my way of confronting my anxiety and deciding I’d like to make more of an effort to be fearless, because life and I have a good thing going.”

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“Arizona” is a nostalgia power ballad, its key statement and question, “It was all so lovely / It wasn’t all bad / Was it now, looking back?” The weight in Spaltro’s voice is moving. Not in an emotional sense so much as every syllable feels lived in and pored over. Her vocals legitimately, almost tangibly push the listener. Lady Lamb is currently touring Europe with support from singer-songwriter Tōth (aka Alex Toth).

“Even in the Tremor” marks Aly Spaltro’s latest full-length LP following 2015’s After and it’s a remarkable achievement because, among other things, it’s the first time in her career that Aly Spaltro is singing explicitly about herself. Between confessing a tantrum in a batting cage (Little Flaws), telling the story of her parent’s kiddie-pool baptism (Young Disciple) and singing openly about untangling her girlfriend’s wet hair (Deep Love), Even in the Tremor is deeply rooted in the people and places, extraordinary and mundane, that have shaped Spaltro into the self-determining artist she is today.

Known for her keen observations of others, Spaltro now turns her multifaceted ruminations inward; She calls out from dreams, peers into churches, has fits of rage, and struggles to get out of her head long enough to love herself and those around her. Commitment to creating only what is necessary and urgently felt is the key to appreciating Spaltro’s fearless songwriting, as emotional as it is philosophical. Even in the Tremor signifies the arrival of her most sonically soaring and brutally honest album to date.

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My new record Even In The Tremor is out now!!
All my love and power and joy is in these songs and I hope they inspire the same in you. Thank you for listening and supporting my work, it fills me up.

Released 5th April Ba Da Bing Records,

Image may contain: one or more people and close-up

Image may contain: 1 person, close-up

To many, Lady Lamb the Beekeeper (aka Aly Spaltro) is an enigma. Her songs are at once intimate and unbridled- both deeply personal and existentially contemplative. Spaltro is a fearless performer who can command a pitch-black stage with nothing more than her voice. Yet, when the band bursts in and the lights come up, what began as a demonstration of restraint shifts seamlessly into an emphatic snarl.

It was in Spaltro’s home state of Maine that she first found her voice among thousands of films in the independent rental store where she worked the closing shift. After hours, Spaltro would create songs completely uninhibited by musical conventions, learning to play and sing as she hit record.

10 Years of Mom + Pop: CoversLady Lamb“Come Save Me” (Jagwar Ma Cover).

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Lady Lamb The Beekeeper is the recording project of Maine-based singer-songwriter Aly Spaltro. She’s gearing up to release her sophomore album “After” next year, and has led things off with a hell of an uplifting lead single. “Billions Of Eyes” soars high, making jangly folk-pop into something anthemic. The lyrics are especially something great, balancing between idiosyncratic and poignant: “And I could tell the story of how/ My great grandmothers sister was deemed a saint/ How they exhumed her body after years of being buried, and they found she hadn’t even begun to sully/ So they moved her again, straight into the Vatican.” It’s fitting that the single is accompanied by a lyric video, featuring kitschy illustrated postcards of some pastoral locales, mixed in with some bats and other darker things

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Aly Spaltro began playing music in her hometown on the coast of Maine when she was 18 years old, jamming in secret and teaching herself as many instruments as she could get her hands on. When her collection grew too large for her room, she asked her boss at Bart & Greg’s DVD Explosion whether she could keep her new equipment in the store’s basement. “He was the first person that I ever told that I was writing music,” she says, on the phone to discuss After, her new album as Lady Lamb

“I basically asked him if, after my closing shift, I could lock up and then stay and play there after hours, and he was really supportive.”
Every night after 11 o’clock, Aly Spaltro would go down into the basement and start her “nightly routine”: She would take all of the instruments out at once – guitars, bass guitars, banjos – and arrange them around her, picking up whichever one appealed at that moment and recording as she went. “It had a huge influence on how I write music because I could be so loud,” she says. “I feel very fortunate that in those early years, I was able to crank my amp and plug in a mic. I was 18, you know, so I had a lot of feelings.”

Now 25, Aly Spaltro lives in Brooklyn and is preparing to release her second studio LP, a collection of surrealist folk rock that grounds the dream-like imagery of her past work in the hard specifics of concrete events. Although she doesn’t find the city itself particularly inspiring, the new environment left a clear impact on the sound of the record. “I’ve written a handful of softer, quieter songs, just from having to be quiet in an apartment,” she explains. “But then I’d realize, ‘Oh, my voice didn’t have that kind of range or softness to it [before].’ That’s been helpful.”

Nevertheless, After marks a return to the initial creativity Spaltro experienced in her basement practice space all those years ago. Rather than recording the songs live with a band, she tracked the guitars, bass, keys and banjos herself, then brought in string and horn players to add a new layer of instrumentation. The process took about two months. “The big difference with this album is that I went into the studio with a very clear vision of what sounds I was going for,” she says. “Most times I end up doing a lot of subtracting. I’ll make things really, really big and then one of my favorite parts is figuring out what sections need to become minimal again.”