Posts Tagged ‘Samantha Crain’

This song is an anthem of sorts about the possibility of each new, seemingly meandering and unimportant day. I use the reference to Bloomsday, born from James Joyce’s “Ulysses”, as a substitute for any day, just a normal, nothing special, any day. The song is meant to inspire the agency we have over our participation in any day. Although it feels like much of the time we are being pulled along in life, we have the instrumentality to find within us light and belief.

I also have a music video for the song which you can view now! Because this song reminds me of the capacity I have for influencing my own day, the days of others, and a larger connectivity, I wanted to express that in the video as I was coming up with the concept. I wanted to write a visual story that showed the simplicity of that exchange. I had the idea of this cake being passed around in a very simple “pay it forward” fashion…one person is shown kindness, light, belief, wisdom… and can choose to pass that along to someone else.

FYI *We did not eat this cake afterwards as it had to be frozen multiple times between shoot days AND many fingers and clothing articles ended up in it or upon it, so it went in the bin…sadly* RIP Bloomsday cake.

Since I’ve been sequestered at home for the past year, I’ve been reminded of the specific beauty and complexity of Oklahoma and the fascinating things being made here and I want to share that with others. in celebration of vacationing in your own back yard, I’m giving away a mega-prize of Oklahoma-made products to someone. It will include art prints and objects by some of my favourite local artists, a guitar pedal from a local boutique pedal company, books by local authors and on local interest, local food products, and other goodies. All you have to do to enter is pre-save the album on your favourite streaming service – make sure to tick yes on receiving updates so we can contact you if you win!

My new EP ‘I Guess We Live Here Now’ will be out April 9th on Real Kind Records. Pre-order and listen to new single ‘Bloomsday’ now. Pre-order the Limited Edition 10″ vinyl record exclusively on Bandcamp now.

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There is something of that eerie Big Thief magic that surrounds Samantha Crain. Although there is only one Adrianne Lenker (and only one Sam Crain for that matter), the two share the ability to make the outside world stop, and pull you into one they’ve fashioned just for you. ‘Holding to the Edge of Night’ is a beautifully crafted, emotive and powerful moment of calm in the uncertainty that seems to encompass us all at the moment; a must listen for those who are craving a bit of escapism.

You’ll have to wait a little bit longer to get your mitts on the record unfortunately, which won’t be with us until the 17th July. Likewise, she’ll now be touring the UK around the release of the record but we can guarantee that it will be well worth the wait.

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Samantha Crain invited a small batch of talented Okie musicians to rehearse at Lunar Manor Recording Studio for an upcoming run of album release shows.

This rendition of “Oh Dear Louie” was captured by audio engineer Brine Webb and videographers Nathan Poppe and Tim Katz. ‘This album is dedicated to and inspired by the independent, strong, focused women who somehow continue to explode through the dark clouds of the weirdly oppressive art/music world. Every woman with a vision who didn’t veer from it amongst dissension. Every woman who was vulgar and loud and smart and ugly, in addition to the other aspects of their person – everything in opposition of what was expected of them.’ – Samantha Crain

Produced by John Vanderslice (Strand of Oaks, Spoon, The Mountain Goats) and exceptionally mastered by the legend Bernie Grundman, it’s a great sounding record, especially on vinyl. Samantha Crain’s fifth album ‘You Had Me At Goodbye’ is out now
Every physical order comes with a free second disc of the entire album recorded with just an acoustic guitar and Samantha’s voice. We’re down to our last few copies of these.

You can also find the song on Samantha Crain’s new album “You Had Me At Goodbye” which lands March 24th via Ramseur Records and Full Time Hobby.

Samantha Crain plays “Oh Dear Louis” (Live Performance Rehearsal)

Image of The Jesus And Mary Chain - Damage And Joy

The Jesus And Mary Chain are set to release their long-awaited new album ‘Damage and Joy’ on March 24th, their first since ‘Munki’, back in the summer of 1998. The Reid brothers have enlisted the help of super (as in cool, not megabucks!) producer Youth and he has coaxed and cajoled these perma-scrapping siblings (still, even now!!) into producing a magnificent distillation of everything we’ve come to love about their sound.

Fuzzed up trashy or broken and blue, Jim’s honeyed voice takes us over familiar territory while William scuzzes things up in the wings. The songs are all classic Mary Chain.
With the help of Isobel Campbell, Sky Ferreira and the Reids’ own sister Linda on vocals, there’s also a freshness to their palette, bringing their much imitated sound back up to date, here in the now.  It’s great to have them back!

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500 limited edition 12” on Cadillac pink vinyl. Manchester all-female five-piece Pins release a new EP Bad Thing, through Haus Of Pins and features Aggrophobe, their single with the legendary Iggy Pop. Following the release of their acclaimed second album Wild Nights last year, Pins went back into the studio to work on new tracks. Recorded in a studio on the Scottish Borders last October and produced by Mark Vernon and the band themselves, the EP features 5 new tracks, which includes a cover of Joy Division’s Dead Souls. The EP opens with the teasing Bad Thing before moving into the addictive Aggrophobe, featuring Iggy Pop’s iconic vocal, leading onto the chant-like pop of All Hail and the dreamy and synth-laden In Nightmares, before ending with Pins own take on Dead Souls. The four new tracks are synonymous with Pins’ sound but also showcase a vigorous, more mature side to the band, making up a solid and impressive musical body of work.

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Desperate Journalist release their second album, Grow Up, ostensibly eleven tracks of rocketing leftfield delights propelled forth with thundering rhythms, thunderously spectacular guitar and Jo Bevan’s thunderstruck vocals. Such is intense life with Desperate Journalist, one of the most potent, important DIY bands lurking on the underground scene right now.

Image of The Moonlandingz - Interplanetary Class Classics

They began as a fictional band from a fictional town featured on the Eccentronic Research Council’s 2015 concept album Johnny Rocket, Narcissist And Music Machine… I’m Your Biggest Fan. Now The Moonlandingz have lurched, sticky and bleeding, into the real world and are releasing the first great album of 2017. Interplanetary Class Classics, released on Transgressive Records, is a feast of swirling juddering synths, wailing guitars, motorik stomp and extraordinary songwriting. The Moonlandingz have proven themselves to be one of the best live bands in the UK (“Magnificent, cosmic and batshit!” said The Quietus. “Feral antics and louche anarchy!” said The Guardian) and now they’ve produced an album of proper weird catchy glorious filthy pop.
The Moonlandingz is Eccentronic Research Council’s Adrian Flanagan and Dean Honer in cahoots with Fat White Family’s Lias Saoudi (aka frontman Johnny Rocket) and Saul Adamczewski. They recorded the album with Sean Lennon at his studio in upstate New York. Also on the record: Randy Jones the Cowboy from The Village People, Rebecca Taylor from Slow Club, drummer Ross Orton, bassist Mairead O’Connor, Phil Oakey and YOKO fucking ONO, who sings and yowls on epic closer This Cities Undone.

Image of Sonic Jesus - Grace

Sonic Jesus is an Italian musical project lead by multi-instrumentalist Tiziano Veronese. Since signing to Fuzz Club, the project has released a split single with The Black Angels and been remixed by Sonic Boom aka Pete Kember. Their internationally acclaimed debut ‘Neither Virtue Nor Anger’; an industrial barrage of hypnotic, dark psychedelia. Sonic Jesus’ new album ‘Grace’ goes beyond the past boundaries, pushing towards enthralling melodic horizons and modern pounding beats, delivered by a new-found pop sensibility. There’s still a darkness brooding beneath the noise but these new tracks see the project take on a magnificent and insatiable new form.

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Limited to 1000 Copies. Long Time is the second single off Blondie’s new album Pollinator and comes backed with exclusive B-Side Breaks.

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On her first proper album as Jay Som, Melina Duterte, 22, solidifies her rep as a self-made force of sonic splendor and emotional might. If last year’s aptly named Turn Into compilation showcased a fuzz-loving artist in flux – chronicling her mission to master bedroom recording – then the rising Oakland star’s latest, Everybody Works, is the LP equivalent of mission accomplished. Duterte is as DIY as ever – writing, recording, playing, and producing every sound beyond a few backing vocals – but she takes us places we never could have imagined, wedding lo-fi rock to hi-fi home orchestration, and weaving evocative autobiographical poetry into energetic punk, electrified folk, and dreamy alt-funk. Everybody Works was made in three furious, caffeinated weeks. She came home from the road, moved into a new apartment, set up her bedroom studio and dove in. Duterte even ditched most of her demos, writing half the LP on the spot and making lushly composed pieces like Lipstick Stains all the more impressive. While the guitar-grinding Jay Som we first fell in love with still reigns on shoegazey shredders like 1 Billion Dogs and in the melodic distortions of Take It, we also get the sublimely spacious synth-pop beauty of Remain, and the luxe, proggy funk of One More Time, Please.

Image of Samantha Crain - You Had Me At Goodbye - Bonus Disc Edition

Fifth album (third for Full Time Hobby) from Samantha Crain, following 2015’s “Under Branch & Thorn & Tree” and the 2014 album “Kid Face.”

Written over 4 months at the back end of winter whilst at home in Norman, Oklahoma, You Had Me At Goodbye was penned whilst Samantha was working shifts at a pizza place to save up money for touring, recording, paying bills, and as a self-confessed ‘film nerd,’ binge watching movies. “Oklahoma is beautiful but my relationship with it is complicated. There are mountains, plains, prairies, rolling hills, high deserts and plateaus, with an amazing creative community of people making beautiful visual art, interesting films and loud music. But it’s extremely Christian, conservative, and whilst people say it’s ‘friendly,’ really, people are only friendly if you’re white and aren’t dressed unconventionally. I feel welcome and alienated all at once.”
Bolstered by the visionary production of John Vanderslice (Spoon, the Mountain Goats, Strand of Oaks), mixed and engineered by Jacob Winik (The Magnetic Fields, Hot Buttered Rum), Samantha returned to the Bay Area in California to, once again, record the album in analog at Tiny Telephone Studio.

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Iggy Pop had hit bottom after the messy breakup of the Stooges and he needed help, and when friend and fan David Bowie offered to lend him a hand, he was smart and grateful enough to accept. Bowie produced Iggy’s first solo album, The Idiot, and after Iggy set up a tour to promote the record, Bowie put together the band and tagged along as their keyboard player. Bowie’s presence insured a larger audience than Iggy had attracted during the grim final days of his band, and he was determined to prove he could deliver the goods without making a spectacle of himself or collapsing into a drug-sodden heap on-stage. Unfortunately, anyone familiar with Iggy’s body of work knows the last thing you want from one of his live shows is a professional-sounding performance without a sense of danger, and unfortunately, that’s what the audience got during this March 21st, 1977 show in Cleveland, OH, part of a three-night stand Iggy and the band would perform at the Agora Ballroom. Iggy & Ziggy: Cleveland ’77 finds Iggy in fine voice, and at a time when he had a lot to prove, he leaves no doubt he was a solid musician and showman, singing with a sense of control and dynamics he couldn’t approach with the Raw Power-era Stooges. However, Iggy also seems clearly afraid to push this material too far, and the caution robs the songs (nine of which are drawn from the Stooges‘ songbook) of much of their life force. Even worse, guitarist Ricky Gardiner doesn’t seem to know what to do with the Stooges material — he’s at least as skillful as Ron Asheton or James Williamson, but his attack is so toothless and polite that he reduces some of the greatest rock songs ever to mush. (Bowie’s keyboards are not nearly as ill-advised but they don’t fit the old material very well, though Hunt Sales and Tony Sales are a great rhythm section who do what they can to give Iggy the energy he needs.) Some of the material from this show also appeared on Iggy’s lamentable live album TV Eye Live.


”A fun thing I like to tell people about this song cites the 3rd verse. ‘Now the ferry way back 88, while John sang Crain and Hearst’. The ‘Ferry’ is in reference to my car, The Cripple Creek Ferry, which comes from a Neil Young song. 88 is a highway that cuts through Illinois. John Davey, a fella that sings on my record, is humming along with songs by Samantha Crain and Cary Ann Hearst (Shovels & Rope). Sort of a loaded couple of lines!

I wrote the song in the wake of moving out of a town in Michigan called Kalamazoo. There are references to places around the area like Water St., and Scio county. Getting Samantha Crain involved is a pretty simple task for Small Houses. She sings with me whenever we get the chance. When we were still recording, Samantha was on her way overseas to do a string of shows with Neutral Milk Hotel. I told her to make sure her layover was in Atlanta so we could fit in a day of catching up. I picked her up from the airport, we went straight to the studio, sang some songs, and within a few hours I was driving back towards the plane.”

Photo: Press

On July 17, Samantha Crain will unveil her fourth full-length record, “Under Branch & Thorn & Tree”via Ramseur Records. The all-analog release serves as much more than just another album in our musically saturated world; it’s a significant social statement made by an artist who’s using her craft for the betterment of the world. Needless to say, we can’t wait for the LP to hit the streets, and today (May 21st), “The phrase ‘beyond the pale’ or ‘outside the pale’ has always been of interest to me,” Crain admits. “It, more or less, refers to unacceptable behavior (in its origin, assuming anyone residing outside a particular area to be uncivilized or immoral). Any part of human behavior and life that includes a grey area of distinction, such as the categories included in this medieval situational phrase, catches my attention and thought.”


Crain doesn’t just focus on the phrase’s ancient meaning, though. “In the modern world, what is ‘acceptable behavior’ or ‘moral behavior,’” she asks. “I find it strange that a small minority of elite people are still capable of controlling the definitions of morality in our society. How do the common, so much larger in number and capable of brimming with passion, still manage to be cast out and downtrodden?”


On Samantha Crain’s new album, she explores the concerns laid out with “Outside the Pale” as well as issues surrounding the working class and gender equality. She currently has a handful of shows scheduled through May, June and July.


Samantha Crain and John Calvin Abney performed a live version of “When You Come Back” from Crain’s 2015 release “Under Branch & Thorn & Tree.”   a hugely distinctive talent. With her lilting voice and mature arrangements, the songwriter is capable of constructing entire worlds with just a few plucked notes.

Samantha Crain’s New album ‘Under Branch & Thorn & Tree’ will be released via Full Time Hobby on July 17th. A gripping selection of songs, the album contains the germs of an odd sort of protest.

Samantha Crain: “I don’t write protest songs in the traditional sense, but I’m always listening to the voices of people around me. These stories are told from the perspective of the underdog, the 99% of us that are working people. They might not be literal protest songs, but the lives of the people within these songs speak at the same volume if you listen.” this live shot version ahead of the album’s release, of ‘When You Come Back’. Sparse, fragile and wholly affecting


Singer/songwriter Samantha Crain first happened upon Bloodshot Records while working at a small record store in Perryville, MO, called Music Town. She rescued a Bloodshot compilation disc from the CD bins and played it in the store on a regular basis. With that footing, it wasn’t long before Crain was digging deeper into the Bloodshot catalog to find artists like the Old 97s, Robbie Fulks, Ryan Adams, and Neko Case.

“As time went on,” she says, “I grew to love and respect a lot of records that came out on Bloodshot: Mutt from Cory Branan, Harlem River Blues from Justin Townes Earle, Indestructible Machine by Lydia Loveless, Mirepoix and Smoke from Ben Weaver, and Bitter Drink, Bitter Moon from Murder by Death.”

Flash forward to 2014 to find Samantha Crain heading out on tour with a Bloodshot band, Ha Ha Tonka. Though she didn’t know them at all before, she says, “It took approximately one second of their sound check and one second of meeting their smiling faces for me to fall in love with them. Through the two months of touring with these guys, my band members and I all found our favorite songs in the set, and mine was ‘Cold Forgiver.’ It’s such a weird little tune, with this odd sorta key change, and these bouncy lyrics lines. So, when the opportunity came to record a cover of a Bloodshot artist, this song immediately came to mind. I hope we did it justice.”

Scroll down to see Crain perform in Bloodshot Records’ HQ in Chicago, IL.


Small Houses, the project of Philadephia-based Jeremy Quentin, impressed on 2013’s Exactly Where You Wanted To Be” for his delicate melodies and poetic lyrics. Now, Quentin has announced forthcoming Small Houses album “Still Talk; Second City”, an effort a year in the making that features collaborations with Mike Brenner (Magnolia Electric Co., Songs:Ohia), Erin Rae (The Meanwhiles) and more. In anticipation of the album’s release, Small Houses has shared album track “Seventeen in Roselore,” which features vocalist Samantha Crain.

“I originally wrote this tune as a duet for Samantha Crain and I,” said Quentin. “At the time, I didn’t hold too much weight behind the direction of the words. Later, the imagery would become the theme for the entire album.”

Still Talk; Second City is set for release on Feb. 10th via The Cottage Recording Co.

Samantha Crain will be performing at the Green Man Festival this weekend try to catch her she has some superbly written songs and a really engaging performance with a wonderful vocal, This is a clip from her recent visit in Newcastle recorded for the Amazing Radio Sessions.