Posts Tagged ‘Secretly Canadian’

Faye Webster

Atlanta native Faye Webster is still only 21 years old, yet her music is so assured, so confident you could be forgiven for thinking it the work of a much more experienced artist. Through an association with the city’s Awful Records crew she’s come to wider attention, with each idea, each note, feeling incredibly well developed, highly thought through.

The single ‘Kingston’ marks her engagement with Secretly Canadian, and it comes as Faye Webster shares plans for a run of British shows. The first song since her acclaimed 2017 debut LP, ‘Kingston’ feels like a cosmic counterpoint to the warm Georgia landscape. The easy pace lingers just behind those faint country influences, with Faye Webster’s assured, calming vocal the embodiment of calm.

The visuals are a treat, too; flitting between pink flamingos and silver ice-skating outfits, it’s a sensual joy, a feast for the eyes.

“Kingston” by Faye Webster out now on Secretly Canadian

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If she prefers to stay inside, then Faye Webster makes music for her own kind: With all its droopy pedal steel, unhurried funk and a breezy island air that could sub in for your AC, Atlanta Millionaires Club is the perfect summer album for indoors-y types. Drawing on both her Americana roots and the bendy R&B of artists like Aaliyah (one of her cited inspirations), Webster creates a dramaticized retelling of romantic shortcomings that sounds like the sun crying. After her debut album Run and Tell and high school, Webster did what any aspiring songwriter would: she moved to Nashville. There, she studied songwriting at Belmont University before trying out graphic design, but when she found herself jonesing for a trip home every other weekend, decided to abandon collegiate life altogether and made plans to return to Atlanta, where she has since stayed put.

Since then she’s spent considerable time photographing various ATL stars like Offset and Lil Yachty. Webster released her second, self-titled album after college, which contains her first Spotify hit, the groovy “She Won’t Go Away,” a hazy country dream. But dreamier still is Webster’s third solo LP, Atlanta Millionaires Club, a steamy brush with R&B flourished with lots of twang and retro grooves. It’s weird and sleepy and full of droll one-liners like “I should get out more,” the chorus from “Room Temperature.”

“Room Temperature” by Faye Webster off ‘Atlanta Millionaires Club’ out May 24 on Secretly Canadian

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Los Angeles-based trio Cherry Glazerr released a new album, Stuffed & Ready, back in February via Secretly Canadian. This week they shared a remix of the Blonde Redhead-sounding “Daddi” by musician/comedian Reggie Watts. These days Watts is best known as the band leader on The Late Late Show with James Corden, but before that he had successful comedy and music careers and even once did a hilarious TED Talk.

The band’s Clementine Creevy had this to say about the remix in a press release: “I think a lot of rock musicians secretly would love to make a club floor banger – and Reggie helped us get there with his amazing booty shaking remix of ‘Daddi.'” Stuffed & Readyis the band’s fourth album and the follow-up to Apocalypstick, which was released on President Donald Trump’s Inauguration Day in 2017. Instead of focusing on political songwriting, the craziness of the last two years made 22-year-old Creevy turn inwards.

“I am telling my story of how I feel and where I am in life,” she said in a previous press release. “I’ve felt the need to explain my feelings…not just state them, but search for why I feel the way I do honestly. With Apocalipstick, I was an over-confident teenager trying to solve the world’s problems. With Stuffed & Ready, I’m a much more weary and perhaps a more cynical woman who believes you need to figure your own self out first.”

An initial version of Stuffed & Readywas recorded in early in 2018 with engineer/musician John Vanderslice. Creevy said that resulted in a “very live sounding, self-produced album, which was cool, but wasn’t exactly what I wanted to put into the ether right now.”

The band then turned to Carlos de la Garza, who had co-produced Apocalipstick. “I wanted a producer to push me,” Creevy explains. “I wanted to be questioned, to rip my songs apart and look at their guts and pour myself open again. And I wanted it to sound massive.”

Faye Webster is a ludicrously talented human being; not content with being on the verge of releasing her third album, Atalanta Millionaries Club, she’s also a decorated photographer. This week Faye’s shared the first single from that upcoming record, the inward glancing, “Room Temperature”.

Faye has suggested much of the upcoming album deals with feelings of lonesomeness, even when not on the surface of things, alone; Room Temperature hits straight to that point; “these aren’t even my clothes I just don’t change that much ’cause who’s to impress? There’s nobody around when I make my bed”. Although Faye has a background in the Atalanta hip-hop scene, it’s hard to imagine a record much further removed from that world; with a touch of Angel Olsen or Molly Burch, the track is delivered with a pallet of pedal-steel, pulsing bass and easy, skittering rhythms. That said, Faye has suggested the major influence on the album was Aaliyah, so when it comes to the Atalanta Millionaires Club, expect a record that’ll be nothing short of intriguing.

Atlanta Millionaires Club is out May 24th via Secretly Canadian

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Someone give Stella Donnelly one of those vintage ribbon microphones and an early slot at the comedy club. Actually, a guitar and a venue stage should suffice for now, but let it be known that this Australian singer/songwriter rivals Mrs. Maisel in her abilities to pair humor with heartbreak and absolutely command a room. She’s an ace with a crowd, but her real talent for wordplay shows up in the masterful lyrics on her debut EP, Thrush Metal, a name that only serves to sound “cool,” . That title might only be a slick word-pairing, but the music itself is chock full of meaning—wise words on awful men, victim blaming and dwindling relationships, as well as blossoming ones.

Boys Will Be Boys is my attempt at making sense of society’s tendency to blame the victims of sexual assault and rape and make excuses for the perpetrators. It was also my way of dealing with certain events that were occurring in my life at the time. The video itself was intended to express the burden of victim blaming and sexual assault on the victims themselves as the mundane aspects of life go on. A song is just a song but at the very least I hope it will open up difficult yet important conversations between family members, friends, government bodies, organisations and most importantly, boys and men.

It’s hard to decide which is more the standout track, the searing “Mechanical Bull” or “Boys Will Be Boys,” a #MeToo anthem for the ages. Thankfully, we don’t have to choose, but the latter is the song many needed to hear in 2018, especially after Brett Kavanaugh’s confirmation to the Supreme Court: “Boys will be boys” is not a viable excuse for, as Donnelly puts it, “invading her magnificence.” Nor is beer. In fact, there’s never an excuse. And maybe all of the tracks on Thrush Metal are standouts. This EP is a truly magnificent bud to Donnelly’s blooming discography.

Stella Donnelly’s ’Thrush Metal EP’, out digitally released on June 22nd 2018 on Secretly Canadian.

Stuffed & Ready

After releasing 2016’s critically acclaimed “Apocalipstick”, Cherry Glazerr spent the next 18 months touring the world on their own steam.

Btween diy all ages venues, rock clubs, large festival stages, and massive theaters with some of the world’s best and most beloved bands (the pixies, flaming lips, slowdive, and the breeders, among others), the band has really only stopped to work on their follow up, ttled “Stuffed & Ready”. while furiously building the band’s sound and ideas, With the amazing front person Clem Creevy she enlisted Carlos de la Garza to be the band’s studio co-collaborator as they evolved the songs and refined the recordings.

The LA-based trio Cherry Glazerr have released this song. Now I hope you understand what all the fuss is about. Led by 21-year-old frontwoman Clementine Creevy, the band have just announced this their fourth album, Stuffed & Ready, wll be out February 1st. Iggy Pop has been a fan of these guys for ages, so they’re definitely doing in the  right direction.

“Wasted Nun” from ‘Stuffed & Ready’ by Cherry Glazerr out February 1st, 2019 on Secretly Canadian

Richard Swift: <i>The Hex</i> Review

Richard Swift’s final album, The Hex, drops tomorrow, September. 21st through Secretly Canadian. Swift, a longtime collaborator of The Shins, The Black Keys and more, died in July at the age of 41. Listening to Swift’s final song, “Sept20,” is an experience in epiphany. It goes something like this: You listen to the song, a vaguely melancholy piano ditty elevated by Swift’s eerie falsetto, and maybe you feel a bit thrown off by the show tunes-y chorus. You might puzzle over where you’ve heard his name before. The first realization comes with seeing that today is Sept. 20, and that this song is supposed to be some microcosm of today. Then you see the single artwork, a scrawled note, and as you read along, you find Swift speaking the words into being. There’s scratches, cross-outs. It’s his lyric sheet.

What a final statement it is. The Hex is tuneful and confident, immaculately arranged and distinctively produced, and reflective of the man’s longstanding interests in old soul music, vintage pop, fuzzy rock ‘n’ roll and beautiful walls of sound.

It is also strikingly honest, which is perhaps no surprise, since it comes from an artist who had, according to that same family statement, been battling the effects of alcohol addiction over the past couple of years. He makes no bones about his situation in “Broken Finger Blues,” which sounds like a classic Motown track charmingly recorded at the bottom of a well. The sonic details that surround those lyrics — the snappy bass line, the commanding piano chords, the lush backing vocals — belie their harrowing essence. The same could be said for “Wendy,” a desperate love song to Swift’s deceased mother presented as a buzzy ‘60s doo-wop song, complete with “da do run run” refrains. And “Dirty Jim” is a highlight of The Hex, precisely because of the contrast between its sound — a jaunty piano-pop song — and its message, which is more or less a farewell to Swift’s loved ones.

Elsewhere, “Selfishmath” is swaggering life lesson shot through with a sinister bass line. “Sister Song” and “Nancy” find Swift encouraging the women in his life through the echoes of reverb and time. The latter — with its undulating synths and vocals by Swift’s daughters — is particularly affecting. And you can almost hear the man himself giggling at the juxtaposition of “HZLWD” — a gently rolling baroque-pop instrumental — and the grating spoken-word experiment called “Kensington!”

The Hex ends modestly with “Sept20,” which finds Swift at the piano, sounding Elliott Smith-ish and singing of health and poison wells and sickness and death. The song ends somewhat abruptly, without some grand final statement or crescendo to tie everything up neatly.

In a way, though, that’s exactly the right ending for Richard Swift, a quintessential musician’s musician, and a top-shelf man behind the curtain. He was better known for his studio acumen and production work than his own songs, yes, but his solo albums are revered among those lucky enough to have heard them. The Hex will only bolster his legacy.

End Of The Road 2018

Breaking out of Australia with the stark and poignant Boys Will Be Boys, Stella Donnelly was hailed an overnight feminist folk hero. Taking inspiration from the likes of Angel Olsen, and with a slight nod to the lyrical prowess of fellow Aussie Courtney Barnett, Donnelly’s debut and wonderfully titled Thrush Metal EP just got a re-issue on Secretly Canadian with full marks from most music press, including us. Most certainly one to watch and fawn over.

Donnelly played “Talking” in Conductors and Resistance, an art installation by the Israeli artist Ronen Sharabani that’s on display as part of the SXSW Art Program. Like Donnelly’s direct and feminist folk songs.

Stella Donnelly so far has only one EP to her name, but that’s been enough to make her sharp wit come through in sweet, quiet songs that rage loudly. The Australian singer-songwriter’s Thrush Metal EP was recently reissued in the U.S. with a bonus track, “Talking,” which she performs here surrounded by video of wires, a weaving machine and woolen yarns.

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The Thrush Metal EP originally came out last year, self-released by the artist on tape and digitally. Stella Donnelly quickly became one of Australia’s buzziest young singer-songwriters and now Secretly Canadian release the EP on Vinyl. Boys Will Be Boys is the standout track. Atop delicate, singsongy acoustic fingerpicking, Donnelly confronts a man who raped her friend and takes to task the accompanying victim-blaming. “Why was she all alone? / Wearing her shirt that low / And they said boys will be boys / Deaf to the word no,” she coos in the chorus, a slight vibrato flaring up at the corners of her lovely voice.

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Stella Donnelly is a stunning new singer songwriter talent. Powerful songs sung with a powerful voice. Listening, and watching with interest.

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