Posts Tagged ‘Miya Folick’

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Miya Folick may be a relative newbie, dropping her first album Premonitions this year, but she shouldn’t be discounted. Following the release of two previous EPs, Premonitions is a record marked by her at times angelic and other times burly vocals and a lyrical voice that’s emotionally nuanced, purposeful and accessible. After watching her at last years Dot to Dot weekend, my immediate thought was that any headliner would be doomed to follow that performance. Her bubbly energy and impassioned, unusually operatic pop vocals clearly set her apart from the typical carefree indie-rock opener.

The audience, who had largely never heard her music before, was hanging on her every word in a way that many headliners would be jealous of—let alone a support act. If the crowd wasn’t already convinced she was something special, her fiery closing performance of “Give It To Me” certainly made that obvious.

Since she appeared on our list last year, the O.C. native has done nothing to diminish her standing as somebody we can’t wait to get an album from. A fierce talent.

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written by miya folick
produced by david tolomei and miya folick
miya folick – vocals, synth, programming
josh menashe – guitar
bryant fox – bass
garet powell – drums
derrick baseck – additional synth

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After releasing two EP’s—2015’s Strange Darling and 2017’s Give It To Me Los Angeles singer-songwriter Miya Folick has shared her debut album in the form of the starkly titled Premonitions, which is characterized by her jaw-dropping vocal range. Her larger than life vocals derive, in part, from her classical training, but she also has the kind of pipes that just don’t seem teachable. On songs like “Stock Image” and “Thingamajig,” she exhibits an otherworldly, operatic beauty, while on “Freak Out” and “Cost Your Love,” there’s a bouncy, sugary and simple joy marked by frenetic synths, grounding guitars and spry percussion. Even the largest songs have a clear sense of intimacy while introspective tracks like “Baby Girl” and “What We’ve Made” are distinctly grand. A lyric from “What We’ve Made” is a perfect metaphor for the album. She sings, “We make tiny happinesses in each moment,” which is exactly what this record feels like.

She handcrafts everyday situations into something angelic yet relatable and celebratory yet poignant. Her appeal extends well beyond the realms of pop as there’s a distinct, developed lyrical voice and a dynamic, extraordinary literal voice that makes 2018 feel much less scary and isolating and much more pure and magical.

Premonitions, the new album, is available now:

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Miya Folick has shared new single ‘Thingamajig’! Quickly gaining admirers across the globe, Miya Folick’s bold, operatic vocals are both divine and burly. Toggling from the angelic pop heights of “Stock Image” and the intoxicating delicate vocal loops of “Thingamajig” to the tempestuous, #MeToo-inspired call to arms of “Deadbody” and the fierce, buoyant “Freak Out,” worthy of closing the world’s greatest party, Folick is nothing if not dynamic. Premonitions proves she’s capable of framing her otherworldly, glistening pop as both intimate, grounding inner monologues and towering pop epics. The one constant is her success in morphing from one sound to another without having to bend over backwards in a way that feels gimmicky or jarring.

The new track follows on from her previous singles ‘Stop Talking’, ‘Stock Image’and ‘Deadbody’ and is taken from her debut album, ‘Premonitions’, due out 26th October. The album was co-produced with Justin Raisen (Sky Ferreira, Charli XCX, Santigold and Angel Olsen) and Yves Rothman.

‘Thingamajig’ is the opening track of the album and is a slower, more contemplative cut than some of her recent upbeat releases. Along with the track, Miya has shared a note explaining the meaning behind the song.

“Maybe you made a grave mistake out of selfishness or ignorance,” she explains. ”Maybe you were sheltered from the truth, maybe you couldn’t see the lessons presented to you. Maybe you ignored them deliberately. Imagine, next, that someone hurt you in the same way you hurt others and you were forced to confront the cruelty of your actions. That is ‘Thingamajig’. ‘Thingamajig’ is the deepest apology.”

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Thank you to everyone listening to and sharing Thingamajig. The day we recorded it, I was lifted out of my body for a moment and when I came back I was crying. I felt so overwhelmed by the magic of music in my life and so grateful to have been a part of such a beautiful song with Justin Raisen, Luke Niccoli and Yves Rothman.

Premonitions begins with “Thingamajig” something you can’t quite recall the name of, but you know exactly what it means and what it feels like. Like the pull of desire that comes with not quite remembering fully. The magnetism of something just on the tip of your tongue. I wanted the album to feel like that thing.

I think a lot about about memory-making as an act of creation, the words we use to describe a memory give shape to and sometimes mutate the memory itself. I believe that the way we choose to describe the events of our lives is not only a means of creative fulfillment, but an absolutely vital part of creating the world we want to live in. When we are dishonest in the present, we create a dishonest future. When we are honest in the present, we create a more honest future. I wanted this album to be the vehicle for a hopeful, truthful, generous, and loving world. I tried not to posture or pretend. I wrote about my life as I’ve seen it and how I’d like to see it, as both memory and premonition.

The producers, Justin Raisen and Yves Rothman, and I spent months collecting organic sounds to fill the world of this record. We threw away everything that felt false and tried to keep the soul of each song alive. I hope Premonitions gives you comfort and joy. I hope it feels like all the mysterious details of your lives, all your massive and mundane glories. I hope it reminds you that there is beauty in the details. Rainbows in your sprinklers. Drinking water from a hose. The way it felt to make a friend for the first time. Locking yourself in a bathroom to avoid everyone. Dancing until your shins burn. Leaving your phone in an Uber and making your best friend drive you an hour away to knock on a stranger’s door after locating it on Find My Phone. Losing a friend. Losing yourself. Remembering.

Releases October 26th, 2018

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“Stock Image” is wholehearted pop song, co-produced by Folick, Yves Rothman, and Justin Raisen (Sky Ferreira’s Night Time, My Time, Angel Olsen’s My Woman). Opening with lilting chimes and vocal coos, it quickly floors the gas to reveal an exuberant 1980s pop heart and a bassline with the same propulsive thrill of Robyn’s “Dancing on My Own.” Briefly, Folick dwells on sticky feelings of malaise—“Bathe myself in the afternoon/Won’t get out until the water’s cold and I am blue”—but she makes the decision to shake them off and “open up the door.” As drums boom, the song ramps into a driving synth chorus, with a swirling constellation of zippy electronic sounds, and Folick’s piercing voice scales giddy heights. In an excellent accompanying video, Folick dances through New York streets, showing familiar locales like Central Park and Brooklyn Bridge with an infectious, bright-eyed wonder, “Stock Image” is an alluring, catchy as hell invitation to join Folick in her heady worldview, and a reminder that everything can look better when seen through fresh eyes. It might even make you want to dance in the streets, too.

Stock Image is the conversation you have with yourself when you’re feeling lost and your color has faded. When you’re too focused on inhabiting a certain image and then suddenly you realize your insides are empty! I wrote it from a place of feeling shallow and gray and wanting to feel Full! Vibrant! I hope it makes you feel lush and colored in

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Last autumn Los Angeles-based musician Miya Folick released a new EP, Give It To Me, which was lauded asamong the best EPs Of 2017. Today, Folick has followed that up with a brand-new song called “Deadbody” which was co-written by her and Justin Raisen. It’s a skeletal track that builds to a towering chorus where Folick gets to show off her capacious voice: “Over my dead body,” she sings, booming drums behind her. It’s a wall of pure power. Here’s what she had to say about the song:

I wrote ‘Deadbody’ after reading article after article about people’s exploitation by people and power structures, and then talking to my friends about our own heavy experiences. I felt defeated by the weight and pervasiveness of the system we are fighting. I needed something to sing that felt hopeful but fierce. I wanted to growl and be demanding and defiant. ‘Deadbody’ was meant for me and you to sing together, to make us feel empowered, strong, and exhilarated by our own resilience.

Deadbody came from a place of frustration. I needed something to sing that felt hopeful but fierce. I wanted to growl and be demanding and defiant. I wanted something clear and stark. I made Deadbody for you and me to sing together, to remind us of our power, our strength, and our resilience. I want you to sing it loud and hold it in your heart. I made it for you

Thank you so much to my producer team @justinraisen @yves_above_so_below @lukeniccoli and to @terriblerecords for making this with me. And thanks to Waverly Mandel for the beautiful artwork.

Miya Folick

Miya Folick’s new EP, ‘Give It To Me’ is an electrifying and bold instalment into the Los Angeles-born’s catalogue. From the head-banging opening track, ‘Trouble Adjusting’ to the gentle cover of Joni Mitchell’s ‘Woodstock’Folick’s crafted a collection of songs that are both soaring and gut-wrenchingly honest.

Miya comments on the EP  I’ve been writing these songs for probably a year and a half, but it wasn’t really deliberately for an EP. I just wanted new material to play live and we’ve been performing a lot of that material for a while and they just don’t stylistically work for the album I’m working on. They were songs I didn’t want to disappear. I like that it works out that way – it feels like a nice collection of memories for us now.

The song ‘Give It To Me’ is the bold centre-piece , It’s one of those songs that just have some kind of magic. The song is not specific enough so that it relatable in a lot of different situations – I don’t really like to talk about what it specifically means because it doesn’t really matter. Plus it always changes for me. I don’t remember what I was talking about when I wrote it – I have no idea. Every time it means something new.

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There are many echoes of rock’s greatest women in Miya Folick’s new Give It To Me EP. “Trouble Adjusting” is basically a Hole song. “Woodstock” is literally a Joni Mitchell song. Folick can smolder like Sharon Van Etten and wail with the startling fury of Corin Tucker. Yet once you’ve beheld the LA musician’s latest recordings you won’t mistake them for anyone else. The EP leaves a profound impression even before you read the fascinating tidbits in her bio (raised Buddhist, reluctant former basketball player, met her band on Tinder). An in-your-face intensity animates these songs — a sense of deeper passion and higher stakes. Folick has grown from an enjoyable singer-songwriter with adventurous tendencies into an artist whose every disparate creation seems to be summoning elemental forces. When she screams, “Give it to me!” you feel compelled to comply

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It’s been a minute since we last heard from the Los Angeles-based Miya Folick, whose slow but steady stream of folk- and punk-infused releases have amounted to some well-deserved buzz and anticipation towards a full-length debut. You’ll have to keep being patient for that one, but in the meantime, Folick has put together the “Give it to Me” EP, its a follow up to the  2015 “Strange Darling” EP.

The new project Miya Folick’s first release on Terrible Records also takes a page from that decade, though here it’s a decidedly louder, more ruthless one, a la last year’s standalone releases like “Pet Body” and “God Is a Woman”—to say nothing of her and her band’s shredded-up live shows.

You know a song is great when you want to hear it again straight after your first listen, Miya Folick’s “Trouble Adjusting,” , is one of those songs, and that recall might have as much to do with its unhinged grunge hooks as with its subject matter .

“No underwear / I went to the laundromat / I just stood and stared / I’m sorry Mom / I’ve lived alone for so long / but I’m still having trouble adjusting,” she sings, her quiet anxiety unraveling into screams. “How am I to do it again / If I can’t recall how I was in the beginning?”

 

Here’s what Folick says about the new song and EP, due out later this summer:

“I was writing an album and realized there were a group of songs that didn’t seem to fit, but were also songs that I had been playing live with my band for a while,” she says. “I wanted a proper documentation of the particular sound and energy of our live show, to share but also for myself. My life has changed a lot in the last couple years and that has so much to do with these songs and the people who have been playing them with me. I didn’t even consider myself a musician two years ago. This song is probably a bit of a reaction to that—new people, new environments, new experiences all flooding into my life at top speed, and me trying to navigate them without losing myself. I’m very grateful for the life I have, but sometimes I’m not very good at living it.”

Listen to the Miya Folick’s “Trouble Adjusting” below.

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The Ones to Watch in 2016 list; include Singer Songwriter based in Los Angeles and Buddhist Miya Folick rubs shoulders with Mieke in more ways than one. Equally spiritual, this solo singer songwriter also goes in for opaque lyrics, set to tales of getting too drunk to have a coherent argument with her boyfriend. Words from the heart and soul, Folick’s 2015 debut EP Strange Darling and a successful CMJ performance makes her eligible for inclusion on end of year lists everywhere.

Miya- guitar, vocals, casio
Josh Grondin- guitar, piano
Jon Engelhard- bass
Cassidy Turbin- drums