On the heals of a successful set of EPs, the debut full-length album “Midnight Waves” by Paul Johnson AKA Canyon City was released September. 9th of 2016, Its further defining an immersive sound of finger-style guitar, harmony & minimalism in the context of conversational storytelling. A contemporary return to pure songwriting.
“Firework” technically came out in 2016, seriously I love this song I Love his voice . It’s about love and trying to make relationships work. But it’s also about the uncertainty of living life with other vulnerable people. I love both the guitar style and the subtle vocal of this artist. The whole sound is absolutely lovely.
Goodbye June is a rock band from Nashville, TN , The band is composed of cousins Landon Milbourn (lead vocals), Brandon Qualkenbush (rhythm guitar, backing vocals), and Tyler Baker (lead guitar) Goodbye June signed to Interscope Records in early 2016. The band has toured throughout the United States as well as Germany, Sweden, Finland, Holland, Belgium, France, and Spain. They won the 2014 Unsigned Only music competition with their single “Daisy” .
Goodbye June performing “Daisy”. available on Interscope Records
Anyone who thinks the days of glam, garage and blistering rock and roll are relegated to classic rock “deep tracks” satellite stations hasn’t spun Ron Gallo’s solo debut. The young ex-Toy Soldiers guitar-slinging singer-songwriter brought his tough Philadelphia bona fides when he relocated to Nashville, churning up a rugged racket of riveting riffs without the tentative self-consciousness you might expect from a first album. When he closes the set asserting “All the Punks are Domesticated,” with a laconic talk-sung sneer, it’s clear he won’t be ending up there. These songs, full of sweat and swagger, show why. check out the single release another new 7” coming out . This one is a split with our dear friends Naked Giants. Then we go on tour together
Willie Breeding hurts to listen to (in a good way, of course). The hooks of this Kentucky native’s songs cut immediately and don’t let up until the last note.This newcomer Willie Breeding will release his debut album of beguiling, off-kilter Americana Big Sky in early 2018.Willie’s remarkably good sorrow-laden voice is bait, and we are hungry fish. The arrangements are sumptuous and beautifully thought out – with haunting pedal steel, mandolin, fiddle and even the occasional Spanish horn melding with piano, a taut rhythm section and acoustic & electric guitars “- –
Written by: Willie Breeding and Caitlin Rose
Produced by: Duane Lundy and Willie Breeding
Guitars: Jeremy Fetzer
Keys and Bass: Jon Estes
Drums: Jon Radford
Strings: Mark Evitts
Cradling a “Purple Haze” smoothie outside The Post East cafe in East Nashville, Ron Gallo is talking about the tortured relationship that spurred him to write and record one of the year’s most searing and unfiltered alt-rock albums, Heavy Meta. “Loving somebody that is outside your realm of understanding is a pretty earth-shattering thing,” says Gallo, 29.
In 2013, around the time a burned-out Gallo decided to leave Toy Soldiers, the band he’d fronted for eight years, he entered into a two-year relationship with a woman who struggled with mental-health and drug-addiction issues. “It was a pretty dark time –not all of it — but, god, it was a heavy situation. I was frustrated and pissed off with humanity,” says Gallo, adding, I had met a girl that I was with for a few years. and that relationship was a real learning experience in a lot of ways. I started writing this record — a lot of the songs on it are two or three years old now and then things really got bad, to the point where she had to go away. So there I was in Philly — I’d been there for 10 years at this point — and I was like, if I stay here for one more week, I’m going to blow my head off. “Through the course of that relationship a lot of Heavy Meta was written.”
For someone not yet 30 who describes his upbringing in the Philadelphia area as “pretty basic, middle class suburban” — albeit colored by the divorce of his parents during his early teens — the lyrics that Gallo wrote for Heavy Meta sounded like the work of a man much older and irreparably world weary.
On Heavy Meta, he levels his jaundiced eye at the parents of unwanted children in “Why Do You Have Kids?”; dysfunctional relationships in “Young Lady Your’re Scaring Me” (a No. 30 hit on Billboards Adult Alternative Songs chart); Big Pharma in “Kill The Medicine Man”; and dead marriages in “Put The Kids to Bed”, Gallo’s latest single and video,
Spiked with surf and psychobilly guitar lines and feral hoots that would be home on Bruce Springsteen’s Nebraska album, the music on Heavy Meta is often as catchy and cathartic as the lyrics are dark — and the songs were made to be played live. In between a schedule that will see him and his band play 24 dates between Sept. 24 and Nov. 21, His path to Heavy Metaand how his worldview, but not his music, has changed dramatically since he wrote those songs. Just as abruptly as his ex-girlfriend dropped out of his life, she resurfaced months later — and rocked Gallo’s world once again.
“Temporary slave” – two old b-sides out today on 7″ and digital. side A is when I tried to write a mac demarco song a few years ago and side B is a Danzig cover. if you buy physical copy you get ball chain and frosted tips on the back cover.
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Temporary Slave
By Ron Gallo
Ron Gallo Music Publishing / New West Independent Music Publishing (BMI)
Am I Demon?
By Glenn Danzig
Glenn Danzig Publishing Designee (ASCAP)
’“Strangers” is one of the first songs I wrote for the new album,” Nashville based Katie Herzig explains.“Over time I fell in love with the simplicity and chillness of this song and wanted it to be the first on my record. Lyrically it digs into that vague feeling of discontentment that can chase us around in life, even when we have every reason to be content. I think when I wrote this song I was finding my way through that heaviness, but what I loved most about the song is that it felt like it knew how to get to me the other side of it. It gave me comfort over and over again as I worked on it and listen to it now.” Moment of Bliss is her sixth album and it shows. Her dynamic songwriting and maturity shines in “Strangers”. Recently, the criminally underexposed Herzig even gained an Emmy nomination for her song “Morse Code” that was created for the Netflix series “The Mr. Peabody and Sherman Show”. The Nashville artist has a rare gift of connecting with multiple audiences and generations. If you’ve not listened to her sound yet, do not delay in listening to such a talented artist in the midst of her best work.
One of the more anticipated new releases this year comes from Becca Mancari, a Nashville-based songwriter with ties to Brittany Howard of the Alabama Shakes as well as a vibrant solo career of her own. Good Woman, out October 6th, sees Mancari carving out a niche for herself within the looser fringes of Nashville’s increasingly crowded Americana scene, bucking current trends of “outlaw” and throwback country in favor of richly rendered songs that would be minimized by attempts to categorize them.
Ahead of the album’s release, Mancari has shared Good Woman track “Golden.” The track begins on a gentle note before swelling to a sparkling, layered chorus evocative of the song’s bittersweet message.
“When I wrote ‘Golden,’ I was living with a friend who was going through a divorce,” Mancari says. “Although she loved him, they were terrible together. Even still, in moments of kindness, they would come back together and remember why they loved each other. As far as they ran away from each other they came back together until they finally and forever put it away.”
While the song is inspired by the perspective of a friend, it still has deep personal significance for Mancari herself. “The other aspect of the song which is the most personal part, and one that I don’t talk about often, are the lines at the very beginning,” she adds. “I have a dear family member who deals with deep depression and thoughts of suicide. The lines, ‘And you’re living your whole life with your head in a noose,’ and, ‘Oh darling darling won’t you see this thing through,’ are the hardest lines for me to sing on the record.”
Aaron Lee Tasjan, aka ALT, is a songwriter and guitarist and performer. I’d stay away from him if I were you.
Aaron Lee Tasjan fell over and broke his wrist. “It could have been much worse” he said. “I could have broken my guitar”. This man is interested in his guitar and his music more than anything else.
I come not to tell you how incredible Aaron Lee Tasjan is but seeing this is his album I suppose I should make some sort of effort. After all, he’s made three cool albums and he came up with that great guitar riff that Jack White plays on I Believe In Elvis Presley record. Aaron rides into town with his guitar and his little amp and a bag full of gizmos and a wild suit that would make Lefty Frizzell wince. He’s got the tunes, he’s got the verbal, he’s got the humour and the heartbreak and the hat. “There must be some way outta here” as Bob said. And there is. ALT by name and altitude by nature.
Like Dan Penn and Neil Young, this is white soul that is beyond colour and full of colour, heart to art and vice versa, the voice authentic with the dust of the road. Songs of pain and redemption, of loss and longing and toleration and elucidation and maybe elevation, which way is up? And d’you mind if we have a laugh along.
The debut EP from this Nashville act is special. Following their Third Man Records debut single “Georgia Dust”, the band drew the attention of endearing fans and critics alike. Even though they are all around 21 years old, they craft music that soars past age and boundary. The act has been playing together in some form since the eighth grade and it shows. They have a loose and free form style that warrants their recognition. the original trio of Alex Benick (guitar, vocals), Asher Horton (bass guitar), and Ben Parks (drums) soaking in music from the East Nashville indie scene during their teens and a shared love of music like The Band, Wilco, and Buzzcocks. The group honed their craft performing live over two years before catching the attention of Jack White’s Third Man Records.
The Fat Angel Sings 