Posts Tagged ‘Philadelphia’

Swearin' to Release New Album This Year, Share North American Tour Dates

Philadelphia-based indie-rock band Swearin’, featuring Allison Crutchfield, Kyle Gilbride, Jeff Bolt and Amanda Bartley, will release their first new music since 2013’s Surfing Strange this year.

The band recently played their first live shows in three years, opening for Superchunk on tour in the northeast U.S. Swearin’ have now signed a record deal with Merge Records and are set to release a new album later this year.

Gilbride said of the band’s reunion, forthcoming album and recent record deal:

If time were real, it would have healed our wounds, but it’s not, so we decided to make a rock record. And to make one the way we always have! Quickly, at home, and for no one in particular. Fortunately for us, Merge hadn’t dismissed us as an oddity from earlier in the decade and said, “sup with that record?”And with their help, we’ve been reintroduced to polite society. Sometimes a band takes on a life of its own, and it seems this one came back to us when it was ready, and in its new form, to stay for the foreseeable future.

The band also announced a new joint tour with Mike Krol in August on the West Coast, Swearin’ will play a pair of U.S. shows with Ought in as well.

Their record label, Merge, hinted that fans should stay tuned for upcoming Swearin’ news by following the band on Facebook and by following Allison Crutchfield on Instagram, too. after releasing two beloved full-lengths, 2012’s Swearin’ and 2013’s Surfing Strange, the Philadelphian band quietly put things on hold.

It was due, at least in part, to the band’s main songwriters, Allison Crutchfield and Kyle Gilbride, ending their romantic relationship. but when the band found themselves in a room again years later, the conversation turned back to Swearin’. “without any hesitation or inhibitions,” said Crutchfield, “we asked, ‘what would it take from each of us? what would we want to accomplish if we decided to be a band again?’” they realized that what they all wanted was to not just play shows, but to make a new record. they wanted to do something that reflected the people they’d become during those intervening years. before long, Crutchfield and Gilbride had a new batch of Swearin’ songs, ones that meshed with the sound they’d originally developed together but boldly pushed things forward. Fall Into the Sun is a Swearin’ record that doesn’t try to obscure the passage of time but instead embraces it. “getting older, your tastes change, and what you want to do changes,” said Bolt. that can be seen in songs like “big change,” where Crutchfield says goodbye to Philly and the scene that she came up in, or in “dogpile,” where Gilbride offers the line any aging punk can relate to: “by pure dumb luck i’ve gotten where i’m going.” “there was a lot on our minds, and it was a super fertile time to put a bunch of songs together,” said Gilbride. it’s true of the material found on Fall Into the Sun, but it’s noticeable in the album’s production, too. much like the band’s previous albums, Gilbride anchored the recording and producing of the record, but this time around, the band worked to make the process feel more collaborative than ever before. “i feel like this was the first time i could look at a Swearin’ record and say that i co-produced it, and that felt really good,” said Crutchfield. Listening to Fall Into the Sun, Swearin’ is a more confident, collaborative version than the one people first came to know.

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Released October 5th, 2018
Swearin’ is
Jeff Bolt 
Kyle Gilbride 
Allison Crutchfield 

All songs written by Allison Crutchfield and Kyle Gilbride

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This is the second compilation in the Don’t Stop Now series. It is still an expression of love, anger, hope and protest. Let it serve as a reminder that the fight for justice is not over, that the celebration of diversity is essential to progress, that we must work together for what is fair and good. Can’t stop. Won’t stop. Don’t stop now.

This time around all of the proceeds from this compilation benefit
RAICES (Refugee & Immigrant Center for Education & Legal Services)
They promote justice by providing free and low-cost legal services to under served immigrant children, families, and refugees in Texas.

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Read more about the work Raices does here.www.raicestexas.org/about/

Released November 5, 2018

This compilation is an expression of love, anger, hope and protest on inauguration day. Let it serve as a reminder that the fight for justice is not over, that the celebration of diversity is essential to progress, that we must work together for what is fair and good. Can’t stop. Won’t Stop. Don’t stop now.

All proceeds from this compilation benefit the American Civil Liberties Union, an organization that defends individual freedoms in the face of government abuse, including speech and religion, a woman’s right to choose, the right to due process, and citizens rights to privacy. Each dollar donated will help protect the people of the United States, especially those most vulnerable, from the reckless authority of a Trump presidency.

Released January 20, 2017

For nearly ten years Restorations have been writing heavy-hitting, guttural rock with gargantuan riffs filtered through a thick, noisy wall of sound. They fearlessly examine the human condition through the lens of seasoned Philly punks.

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Band Members 
Dave Klyman – Guitar and Keys
Ben Pierce – Guitar and Keys
Jon Loudon – Vocals and Guitar
Dan Zimmerman – Bass
Jeff Meyers – Drums
released November 6th, 2018

Recorded on October 15th, 2018 in Chicago, IL.

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The very foundation of Empath is enough to guarantee some buzz. Formed by members of All Dogs and Perfect Pussy, the band of schooled DIY punks quietly released their two-song debut Crystal Reality way back in 2016, but it wasn’t until this year that they were able to commit to the project more seriously. Their breakthrough tape, Liberating Guilt And Fear, channels the pop punk and hardcore that fueled their previous projects, but there’s a candy-colored sheen to these songs that glimmers beneath scuzzy production. It’s a promising start for a band predestined to turn heads.

Empath is Catherine Elicson, Garrett Koloski, Emily Shanahan, and Randall Coon

Kurt Vile kicks back in the Catskills before the release of his seventh solo album, 'Bottle It In.'

Kurt Vile an American singer, songwriter, multi-instrumentalist and record producer. He is known for his solo work and as the former lead guitarist of the rock band The War on Drugs, both in the studio and during live performances, Vile is now accompanied by his backing band, The Violators, which currently includes Jesse Trbovich (bass, guitar, saxophone), Rob Laakso (guitar, bass) and Kyle Spence (drums).

Influenced by bands like Pavement, Neil Young, Tom Petty, and John Fahey.  Kurt Vile began his musical career creating lo-fi home recordings with frequent collaborator Adam Granduciel in Philadelphia, with whom he has participated in early work by The War on Drugs as well as various solo projects. Focusing on his solo career, Vile released two albums, “Constant Hitmaker” (2008) and “God Is Saying This to You..”. (2009), compiling various home recordings dating back to 2003. Vile signed to Matador Records in 2009, and released his third album, “Childish Prodigy”, that same year. The album was his first recorded in a studio and with the full participation of The Violators.  “I’ve always been prolific,” he says. “It just took me until I was 29 for someone to actually put my music out.”

In 2011, Vile released his fourth studio album, Smoke Ring for My Halo, which significantly increased his exposure. His fifth studio album, Wakin on a Pretty Daze, was released in 2013, with Laakso replacing Granduciel in his backing band. In 2015, Vile released his sixth studio album, b’lieve I’m goin down…. The lead single from the album was, “Pretty Pimpin”Vile’s best performing song to date,  His project in 2017 saw him release “Lotta Sea Lice”, a collaboration with Australian singer and guitarist songwriter Courtney Barnett.

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The War on Drugs (2003–2008)

In 2003, after staying in “Boston” for two years, Vile moved back to Philadelphia and began collaborating with musician and songwriter Adam Granduciel The duo subsequently formed the Indie rock band “The War on Drugs  in 2005. Regarding his friendship with Granduciel, Vile noted, “We’re essentially best friends. He was backing me up in my band when he started working on his own music, so I thought I’d return the favor.” Granduciel and Vile released their debut studio album, “Wagonwheel Blues” in 2008 and embarked on a tour in support of its release.

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Constant Hitmaker (2008)

At this time, Vile’s debut solo album,“Constant Hitmaker” (2008), released on “Gulcher Records” Vile subsequently decided to leave The War on Drugs to concentrate on his solo career. The album was compiled from various home recordings and one studio recording of the song “Freeway”. In 2009, Vile noted, The War On Drugs got put out on a bigger label first, so, in the some claim that The War on Drugs was my first, main band. But that’s just the way it looks. I’ve made more music than Adam has, and have been doing my Kurt Vile thing for a little bit longer. And Constant Hitmaker came out around that same time. Right when that [War on Drugs] record came out, I went to Europe with them, and also opened as Kurt Vile. That was right when I decided I wanted to concentrate on doing my own thing. Despite Vile’s departure, Granduciel remained a member of his backing band, The Violators, with Granduciel noting, “There was never, despite what lazy journalists have assumed, any sort of falling out, or resentment.

Constant Hitmaker the debut studio album by American musician“Kurt Vile” released in 2008 on Gulcher Records”  and Woodsist. Self-produced, and recorded between 2003 and 2007, the album is primarily composed of lo-fi home recordings that Vile had previously issued on “CD-R”

Following the album’s release, Vile stated that Constant Hitmaker is “like a Best-of, sort of, but leaning toward the “Psychedelic pop”stuff, kind of my later material.”

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God Is Saying This to You. (2009)

In April 2009, Mexican Summer released “God Is Saying This to You..”.; a collection of Vile’s home recordings dating back to 2003 on vinyl only. Upon its release, Vile had already recorded a studio album, Childish Prodigy, which Vile described as “definitely not as lo-fi” as his previous releases, After shopping the record to various labels, Vile signed with Matador Records in May 2009. Vile noted, “It’s a perfect fit. They were my number one choice. I don’t really consider my music indie rock or think that Matador cater only to indie rock, but I still feel I can relate most to Matador, more than any other label. Not to mention the fact that they are way on top of their shit.”

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Childish Prodigy (2009)

Recorded with backing band The Violators, “Childish Prodigy” was released on October 6th, 2009, and increased Vile’s exposure significantly. Support slots with Dinosaur Jr, Thurston Moore and Fucked Up followed the album’s release. Regarding his new position, Vile stated, “Obviously there’s more touring, more press and more hype which I won’t say is not deserved. There’s like a faction of people, too, who like to talk shit, which is kind of new. When I was more independent, there were people who got really excited and there still are but once I got more press people started to comment on blogs. People like to talk shit. […] It’s like climbing a ladder. I like to climb it really slowly. I could probably get really professional right away, but I like to take baby steps and find my own way.”

Philadelphia guitarist / vocalist Kurt Vile first came to music enthusiasts’ attention with the release of 2008’s ‘Constant Hitmaker’ on the gulcher imprint. the homemade hitmaker (also reissued on vinyl through woodsist) was a psych pop gem. his debut Matador album, ‘Childish Prodigy’ ups the fidelity only a little. this absorbing, addictive and richly detailed album covers an immense amount of ground compared to its predecessor, from the pounding stomp of ‘Hunchback’ and the hypnotic beat of ‘Freak Train’ to the unexpected, soaring trumpet in ‘Amplifier.’

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Smoke Ring For My Halo (2011)

Vile released his fourth studio album, “Smoke Ring for My Halo”, in 2011. The album peaked midway in the charts and was placed highly on many end-of-year lists, and in 2013 it was named at number 475 in NME’s ‘500 Greatest Albums of All Time’  Later in 2011, Vile released a companion EP, So Outta Reach, and appeared on his former band The War on Drugs‘ second studio album, Slave Ambient. Shortly after the release of Smoke Ring for My Halo, longtime Violators guitarist Adam Granduciel departed from the band to fully focus on The War on Drugs, with Vile noting, “Adam, he plays in The War on Drugs, his record came out a little after mine did, so at first he toured, and now he’s obviously busy with that and now he’s working on his new record.

The deluxe double cd version of ‘Smoke Ring for My Halo’ comes with a new colour cover. the deluxe cd includes the ‘So Outta Reach’ ep on a second disc. the ep contains 5 original songs initially recorded during the sessions for ‘Smoke Ring for My Halo’ album but not used , which were reworked with producer John Agnello this summer. in addition, the ep contains a cover of Springsteen’s ‘Downbound Train.’ the Philadelphia singer / songwriter  returns with his second proper album (2008’s ‘Childish Prodigy’ was a compendium of sorts). It’s a gorgeously layered record. ranging from the tender breezy folk in ‘Jesus Fever’ to the tuff urban guitar riff of ‘Puppet to the Man’ Vile’s distinctive philly-accented vocal ties together a sweeping and evocative project – a true american psychedelic folk album. this is no pastoral listening experience however – when Vile sings, ‘society is my friend: he makes me lie down in a cool bloodbath’ he sounds both exhausted and distanced from the ringing harmonics of his guitar and Mike Zanghi’s pounding drums. even the gentler songs, such as ‘On Tour’ and ‘Baby’s Arms’ have a distinctly dark lyrical tone. the closest that Vile gets to some kind of acceptance is in the central track, the rueful ‘in my time’ “i know when we get older, i’m dying, but i got everything i need here now, and that’s fine, now… that’s fine. recorded at the Magic Shop , the album is a massive step forward for one of the country’s most beloved (not least by other musicians) rock songwriters.

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Wakin On A Pretty Daze (2013)

“Wakin on a Pretty Daze” was released on April 9th, 2013. Regarding the current line-up of his backing band, Vile noted, “I’m playing with Jesse [Trbovich] and Rob [Laakso]. […] Rob Laakso is the newest member and Jesse has been a member forever. They’re steady members. Our drummer is no longer with us, but other than that, different friends played drums on the record and we’re doing rehearsals with that right now. But other than that, the Violators are me, Jesse, and Rob and we’ll see how it evolves.” Priestess drummer Vince Nudo subsequently joined the band on drums and percussion, after performing on two of Wakin on a Pretty Dazes tracks.

Steve Gunn joined the band as an “auxiliary Violator“, during the band’s May 2013 tour dates, with Vile noting, “It’s impossible to just talk about Steve. He’s too good! He’s so good; just listen to him. What can I even say about him that touches that? I just want to listen to him.”

On September 24th, 2013, Vile announced the release of a new EP, “It’s a Big World Out There (And I Am Scared)”, and also a deluxe edition of “Wakin on a Pretty Daze”.

Kurt Vile is slowly, quietly becoming one of the great American guitarists and songwriters, of our time. This 69-minute double album is comprised of sweeping, expansive songs that are both very intimate and conversational. Wakin On A Pretty Daze is a timeless record that would have sounded great 30 years ago, sounds great today, and will still sound great in another 30 years’ from now. Beautifully produced by John Agnello, the record is filled with hazy, swooning guitar lines and dreamy, beatific, and occasionally sardonic vocals. It is summed up by the staggeringly gorgeous 9-minute opener, Wakin On A Pretty Day. The record has other connections to Kurt’s home town. Steve Powers (ESPO), the renowned Philly street artist, painted the cover mural on an abandoned building near the Northern Liberties. The album is being announced via a mini-doc of Powers creating the mural with Kurt’s commentary, and the two of them talking about Philadelphian music and visual arts. The mural will be re-created in London, Los Angeles and New York. First edition CD housed in a mini-gatefold like the LP cover,

Kurt Vile | Steve Gunn (Released July 14th 2017)

Kurt Vile and Steve Gunn collaborated for their contributions to Three Lobed Recording’s Parallelogram series. The two artists, originally connected by mutual friends and geographic proximity, have long pushed the other’s continued artistic development. Despite sharing many live stages over the years, this installation of Parallelogram represents the first time that the two have worked together in the studio. Vile’s side sees him recast tracks by John Prine (“Way Back When”) and Randy Newman (“Pretty Boys,” featuring some truly electric guitar flourishes from Gunn) as if they were KV originals. The theme of reinvention continues with Vile tearing through a solo banjo rendition of his “Red Apples” (originally from his “God Is Saying This To You…” LP), retitled here as “Red Apples For Tom Scharpling.” Gunn takes on a late period Nico track, “60/40,” and pulls a lysergic rocker out of the track’s goth-ish roots. The bulk of Gunn’s contribution is the epically winding “Spring Garden,” a track in the vein of some of his other long-form guitar excursions. Featuring signature contributions from Vile and Mary Lattimore, this hypnotizing cut is unmistakably a new classic in Gunn’s catalog.

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b’lieve i’m goin down… (2015–2017)

On March 6th, 2015, Vile announced that he was working on his sixth studio album, with recording taking place across different locations in the United States. “b’lieve i’m goin down..”. was released September 25th, 2015, on Matador Records. Vile has described it as “All over the place. Everything you can imagine I’ve done… That’s where I’m at now, that I can sort of tap into every world and make it cohesive.

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Whole Lotta Sea Lice with Courtney Barnett

The new album’s writing and recording stretched out over many months, during which time he also made another full-length LP with his friend Courtney Barnett (2017’s delightful Whole Lotta Sea Lice) and attempted to finish a film score he’s since abandoned. About a year ago, feeling overwhelmed by all the demands on his time, Vile delayed the release of Bottle It In from spring 2018 to October 12th. If he hadn’t, he says, “I was prepared to have a serious breakdown. Pretty normal.”

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Bottle It In  (2018)

On Bottle It In, Vile does his best to come back to earth. If his last solo record was a dark, lonely night of the soul, this one feels more like a friendly jam session with his longtime backing band, the Violators (multi-instrumentalists Rob Laakso and Jesse Trbovich, plus drummer Kyle Spence). Beneath the easygoing charm of its surface, though, Bottle It In is an album with serious ambitions. On highlights like “One Trick Ponies” and “Loading Zones,” he sounds like he’s simultaneously swinging for another modern-rock hit and searching for an inner peace that’s just beyond his grasp. Among the songs Vile recorded with Everett is Bottle It In‘s nine-minute-plus centerpiece, “Bassackwards,” a slow-burn psychedelic dream with an undercurrent of dread. In part, he tells me, it’s a song about his fears for the future in a time of global warming and skyrocketing hate. “The world is backwards as fuck right now,” he says.

Vile is also featured on the song “Let Me Get There” and Hope Sandoval & The Warm Inventions” released in 2016.

Vile sings lead vocals on The Sadies song “It’s Easy (Like Walking)” on their 2017 album Northern Passages.

In 2017, Vile and Courtney Barnett recorded the collaborative album “Lotta Sea Lice” , released on October 13th. The lead single “Over Everything” was released on August 30th, 2017 accompanied by the music video directed by Danny Cohen.

In 2018, Vile announced his seventh solo studio album, “Bottle It In”, due for release on October 12th, 2018.

Check out the these EP’s
The Hunchback
Square Shells
So Outta Reach
It’s a Big World Out There (And I Am Scared)

LP5000, is the sardonically titled follow-up to 2014’s LP3, “No, I don’t wanna hear that name again,” Jon Loudon sighs during “Melt,” as the dreamiest but bleariest Restorations song yet recreates the feeling of breaking a promise to yourself not to check Twitter the moment you wake up.

Over the course of its catalouge, it’s become evident that Restorations’ output is more than the sum its parts, with cathartic choruses, gratuitous guitars and honest admissions of anxiety declared at decibels that reach the rafters. While this Philadelphia five-piece shares characteristics of its contemporaries, the kind of bands making guitar-and-gravel-voiced celebration rock.

At just seven tracks,LP5000, the group’s first album in four years, is a cohesive distillation of what the band does best: In under 30 minutes, there’s both heft and heart, incendiary musicianship and insightful meditations on the relationships we forge and the toll time takes on us and our surroundings. The lead-off track, “St.,” offers an invitation for the uninitiated; like the band’s logo, it’s a welcoming open door of sorts: “I’ll tell you what you already know / You can’t do this all on your own.” Restorations still stand alongside bands like the Constantines and Menzingers on a thorny branch of the Tree of Springsteen. It doesn’t take much to pierce this armor of red flannel and Born to Run vinyl, to release repressed feelings of masculine shame and creeping obsolescence that explain why these guys sound like they have to drink themselves to sleep every night. “Remains” is a rollicking realization that the place you once knew has become unrecognizable (“And now you can’t afford to live in the town you were born in”). The stunning single “The Red Door” twinkles, balancing defeatist impulses with a shaken sense of perseverance.

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The peaks of LP3 were pure wish fulfillment for workingman’s dread: “Imagine that focus in real life/Imagine going outside,” Loudon roared over Telecaster feedback on “Separate Songs,” a call to throw your laptop from a moving car. “Misprint” could make anyone cooped inside a compact stuck on the interstate feel like they were cruising down some bucolic back road instead. Those moments don’t ring false in 2018, but they do seem like emotional luxuries we can no longer afford. “Threw your back out just trying to stand up straight,” Loudon sings now during opener “St.” Regardless of how hard they thrash and throttle, Restorations land on the resilience to make it through this shit, one day at a time.

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Throughout I’ll Sing, Shannen Moser reveals a strong understanding of relationships – not only the influence they have on us but also the inner turmoil they create. “Haircut Song” is a deeply poignant, often haunting portrayal of the power this human connection has over us. Recalling a relationship, she presents us with a different kind of love song: You said I’m doomed to love you, and that’s the truth/It’s a sort of ***ed up way to say it, but I loved you too. As the song progresses, she lays bare her desperation when things go sour: A Broken heart will convince itself of many things/I will silence my own beating heart, that’s the sh*t you don’t want to hear/I would sell myself out for a lifetime of “I love you, love you, my dear”. The song is beautiful, sarcastic and heartbreaking all at once. It hits all the right receptors in the brain, leaving you wanting more; this is ok, because the rest of I’ll Sing delivers the goods.

Although Moser’s lyrics are her greatest asset – giving I’ll Sing an extra bite through witty storytelling – there’s no denying her skill as a musician. Effortlessly blending folk, blues and country, there’s a good deal of variety throughout her songwriting. Sometimes, we get nothing but the dialed-down plucking of a guitar, but “Hallelujah” busts out the banjos and enters borderline ho-down mode as it progresses. Whichever method she employs, all the songs are given an extra jolt of life by her soaring vocals and relatable themes of love and friendship. “One For Mama” is a real tear-jerker, with bluesy guitars and strings making way for the croon of Momma, I’m never too old for your love. And as she closes with the Americana-tinged title-track, she makes it apparent she plans on making the best of life – pressing on and “singing” even in its most vicious moments. It’s one hell of a way to conclude such a powerful album; the slower pace allows her voice to really capture the moment in perhaps her most alluring performance here. If any of the tracks could be called soulful, this is it. It’s only one piece of the gorgeous puzzle, though. In its entirety, I’ll Sing is overwhelmingly affective – one of those albums that connects with you on a personal level. There are other notable songwriters this year, but few of them, if any, have as much to say as Shannen Moser does on her gripping sophomore effort.

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released September 7th, 2018

Recorded by Cameron Konner & Eric Muth in Philadelphia. Vocals and guitars- Shannen Moser

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Philadelphia has churned out a great many indie rock and indie punk bands over the last few years, Swearin’, Hop Along and Cayetana among them. Another of those Philly-based groups is Mothers, who’ll release the follow-up to their 2016 debut, When You Walk A Long Distance You Are Tired, this month. On the second single, “PINK,” frontwoman Kristine Leschper, originally from Athens, Ga., melds indie folk singsong with focused punk to create a winding, nearly seven-minute thrasher. The band describes their sophomore LP as “an assemblage of personal vignettes and imagine scenarios that examines consent, escape of the body, power & powerlessness, and the act of making.” “PINK” is the new single off our upcoming record out September 7th on Anti Records.

“PINK” by Mothers from the album ‘Render Another Ugly Method,’ available September 7th

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Since 2014, Zoe Reynolds has been making music under the Kississippi moniker, but the release of her debut full length, Sunset Blush signals a change for the artist.

Following a series of demo releases and EPs, Reynolds believes she has finally found her voice, calling Sunset Blush an honest recognition of the music she always wanted to make.
The album fully immerses listeners in Kississippi’s sincerely heartfelt world, with Reynolds sharing every strength and struggle that fueled her writing.
The album’s namesake comes from a flavor of boxed wine that’s frequently appeared throughout Reynolds’ adulthood; consumed on rooftops reached by ladders or in between sets at house shows.
The album enlivens these moments saturated in nostalgia for listeners, Sunset Blush is more than just a debut, it’s Reynolds’ reassurance to herself and others that even when things are at their worst, brighter days are ahead, and you have the strength needed to get through it.