Posts Tagged ‘singer songwriter’

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“Big Colors” was all done two years ago. When Ryan Adams announced his new album with the song of the day named “Fuck The Rain” and the circulating messages that two more records were also already recorded. Then with accusations of sexual misconduct towards the female sex by, among others, Phoebe Bridgers and his ex-wife Mandy Moore prevented the release of the albums. After a letter of apology and councilling the first part of the planned album trilogy was first published in digital at the end of 2020, and in March of this year also haptically with the release of “Wednesdays”.

Emerging from the depths of the 2019 #MeToo scandal, Ryan Adams is back and ready to rock. While his most recent record, “Wednesdays,” was a lesson in acoustic soul-baring, “Big Colors” goes in a completely different direction with it’s 80s rock vibes.

it is his 18th studio album and is a striking change of direction from the last, an upbeat record rich in drums and synth encapsulating the 1980’s vibe spectacularly and produced with Don Was and Beatriz Artola. The now 46-year-old American has never disappointed. Adams has released seventeen albums since 2000, a bad one wasn’t included, but some great ones like “Heartbreaker”, “Gold”, “Love Is Hell” and “Cold Roses”. His 18th album “Big Colors” has mostly the better songs than the original predecessor “Prisoner”, released in 2017 and tested by us. The relaxed, mentioned at the beginning “Fuck The Rain” is certainly one of them, but is surpassed by the subsequent “Manchester”, which once again shows what swarming rock music Ryan Adams is capable of. Even more smouldering is the stringed “It’s So Quiet, It’s Loud”, a not even insanely spectacular song, but with its catchiness and its dreamy euphoria suitable as a potential single.

There are many standout tracks on this album. “It’s so Quiet, it’s Loud” echoes back to Easy Tiger/ Cardinology era with its jangly guitars and soaring vocals at the end of the song. With “What am I?”, Adams is showing us that he still knows how to croon with his beautiful acoustic accompaniment and stop me in my tracks. “I Surrender” and “Middle of the Line” are classic Adams rockers and the ones I keep replaying. But we have to talk about “Power.” From its first 80s electric guitar line and Adams’ raspy voice, It’s not a new vibe, but Adams does it well. The 80s are a good look for him and he described the whole record as “the soundtrack to a movie from 1984 that only exists in my soul.” While he had dipped his toes in the water for his reimagined version of Taylor Swift’s “1989” record, now Adams has jumped all the way in.

With the title track as an opener as well as “What Am I” and “In It For The Pleasure”, Adams proves his art in restrained and subtle song writing, while the “I Surrender”, equipped with clanking and radiant guitar riffs, pushes into anthemic Springsteen areas. And if you want to hear a noble and elegant pop-rock song again, you can enjoy “Showtime” to the fullest. Musically, Ryan Adams does everything right again. “Big Colors” belongs in the front third of his best albums.

“I’m just dreaming in big colors now, loading my brushes with this love I found, so where do we go from here?” Well Ryan, we go on whatever journey you take us on next. It’s been bumpy, but I’m hanging on for the ride.

This item is a pre-order and has an expected ship date of August 18th, 2021

Molly Burch - Romantic Images [Texas Edition Bone & Magenta Swirl colored vinyl]

“Romantic Images”, Molly Burch’s third album, marks a distinct evolution for Burch, both emotionally and sonically.

My new album, Romantic Images, is out July 23rd on Captured Tracks, The first single “Control” out now!

Recorded in Denver with Tennis’ member Alaina Moore and pat riley producing, the collection celebrates the timeless delights of a well-crafted pop song, flirting with Blondie, Madonna, and even Mariah Carey as it forges a joyful soundtrack to liberation and self-discovery. Burch deliberately worked with more women collaborators than ever before on the album, and the results are transcendent, revelling in the passion and the power of the divine feminine. the collection prioritizes ecstasy and escape, and Burch’s commitment to collective catharsis in her lifted, airy delivery manages to exude both thoughtful introspection and carefree abandon all at once. the shadow still lurks on the album, to be sure, but the light ultimately wins, and the result is an intoxicating collection all about coming into our truest selves.

My second single Heart of Gold is out now! Please listen ideally in a convertible with the top down and then look in the mirror and tell yourself you have a heart of gold.

Official video for “Heart of Gold” by Molly Burch off new album ‘Romantic Images’ out July 23rd, 2021.

Official video for “Control” by Molly Burch off new album ‘Romantic Images’ out July 23rd, 2021.

May 11th, 2021, marks the return of Shannon Lay with the official video for “Rare To Wake” a gorgeous new single which is now available at all DSPs, and first material since the release of her acclaimed 2019 label debut “August”.
 
Shannon says of “Rare to Wake”: “Change is a constant in every aspect of our experience yet sometimes it is difficult to accept. Without change we cannot become who we are meant to be and with change comes the upheaval and transformation of who we were. There is an inevitable discomfort that comes with challenging the environments, roles and identities we embody throughout our lives. Trust that part of yourself that knows you’re on the right track, even when it’s challenging. That trust and love helps to guide and reassure us as we explore new realms.
 
Wherever you are in your adventures let this song be a reminder to never be afraid to receive and accept the changes that beckon you to grow and evolve. Allow yourself to awaken and embrace your many destinies.  When your heart feels heavy ask yourself what needs to be cleared out.  That new found space will be occupied by something better, something brighter, something that lifts you up; make way.” You can watch the new video for “Rare to Wake” which was directed by Kai MacKnight 

Today marks the return of Shannon Lay with the official video for “Rare to Wake,” which serves as “a reminder to never be afraid to receive and accept the changes that beckon you to grow and evolve.”

“Rare to Wake” by Shannon Lay (Release Date: May 11th, 2021)

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A man walks into a bar, and his best friend tells him that his ex-girlfriend is back in town; the man considers the highs and lows of their relationship until she wanders in and he sees her again. Canadian singer-songwriter Andy Shauf’s transfixing latest album is constructed around this narrative, but The Neon Skyline is also about the everyday details that we hold onto, that help define us, and which help us move on from loss. Fans of Sufjan Stevens and Jose Gonzalez should stumble into Shauf’s gorgeously rendered folk-pop storytelling with little hesitation

For nearly ten years, La Blogotheque has changed the way people experience music. We film beautiful, rare and intimate sessions with your favorite artists, and the ones you are soon to fall in love with. Come, stay a while, and be taken away.

All singer-songwriters are storytellers of a sort, but neither term does justice to what Andy Shauf accomplishes on The Neon Skyline Each of its 11 tracks are chapters from the same narrative, vignettes that cohere into something like a novel or an indie film. The arc is simple: guy runs into his ex at the bar, flashes back on falling in and out of love, awkwardly flirts for a while, and heads home. But Shauf ties those scenes together with emotional insight and an artful touch, sound tracked by luscious retro pop-rock arrangements that make the story feel timeless despite its meticulous sense of place.

Andy Shauf released one of 2020’s most highly praised albums, Neon Skyline.

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Nearly one year ago to this day, Lucy Rose graced the stage of Manhattan’s (Le) Poisson Rouge and with her signature, self-deprecating humility and wry humor, she addressed the audience assembled there. “I don’t know how you have found out about my music. I don’t know what’s wrong with you to want to spend an evening listening to my sad songs,” she joked. “But I can’t tell you how much it warms my heart that you guys have all come out this evening to support us in this way.” She then launched into an acoustic, goosebump-inducing rendering of “Shiver,” the final single released from her 2012 debut album “Like I Used To”.

Listening to her sad songs, and it was a thrill to bear witness to a musician so intimately connected to—and in control of—her craft. Her words dislodged something in the deeper recesses of my heart and mind that made me reflect more lucidly on things in my own life—the highs, the lows and everything in between. I sipped my beer faster, in the hopes of relieving the lump in my throat and calming the flutters in my gut, to no avail.

As I and my fellow spectators experienced first hand the power to make you feel something when you hear them is inherent within Lucy Rose’s songs. And it should come as no surprise, as she has suffused her songs with uncompromisingly raw and vulnerable emotion since the earliest days of her career.

Her superb third album Something’s Changing (2017) exemplifies her penchant for the confessional strains of song writing, albeit with a balance of the sombre and sanguine underpinning its compositions. Less than two years on from its precursor’s release, Rose’s Tim Bidwell-produced fourth album “No Words Left” finds her baring the conflicts of her soul with an even more pronounced clarity and self-awareness. Her crystalline voice is noticeably prominent atop the stark yet sublimely melodic arrangements of acoustic guitar and piano, punctuated by strings that heighten the emotional tension of her musings.   

“In every way I’ve approached writing, recording and now releasing music, it’s been different,” Rose said of the album when she officially announced it back in January. “I’ve lost all consciousness in caring and it’s been liberating. It is what it is. It’s a feeling, it’s a song, it’s a sound, it’s a part of me which I can’t decipher whether it’s good or bad, but it’s sincere.”

Indeed, the eleven songs that comprise No Words Left are refreshingly devoid of pretense and calculation. Instead, they illuminate Rose’s troubled inner monologue and feelings of detachment, as she wrestles with her self-worth as an artist, a woman, and a lover. This is arguably most clearly manifest on the album-concluding “Song After Song,” in which she grapples with self-doubt, reflecting, “Help me, I’m living out my dream / Or so it seems / When I see that look in your eyes / I know that I’m telling myself a lie / Oh, a lie / Maybe I’m not as good as the girl I hear next door / I hear her now / Ooh, she’s playing her guitar / Through a bedroom wall.”

Her confidence is—at least temporarily—revived, however, on the piano-driven, saxophone-enhanced “Solo(w),” inspired by her decision to exit last year’s tour supporting fellow UK singer-songwriter Passenger. “I realised that I’d rather play to 20 people who cared, rather than 1000 people who didn’t,” she confided to The Line of Best Fit in a recent interview. “I’m not saying that all of them didn’t, but you can’t hear the ones that care.”

“Treat Me Like a Woman” is a cathartic meditation on gender dynamics, inspired by Rose’s perceptions of how others view and engage with her as a woman. “You treat me like a fool / Or do you treat me like a girl? / Treat me like a fool / Or do you treat me like his wife?” she inquires in the opening verse, before admitting, “I’m afraid and I’m scared and I’m terrified / That this is how it will be for all of my life.” Informed by her personal experiences, her words surely resonate with most—if not all—of her female listeners who harbour the same feelings of marginalization.

The album’s lead single “Conversation” is a stirring rumination on the challenges of sustaining love, beyond the initial flush of newfound romance (“If you look at what we once had / Well it feels many moons away”). An intimate confession directed toward her partner, “The Confines Of This World” finds her striving to hold it together for him, confiding, “’Cause all I ever wanted was for you to feel proud / And everybody’s telling me I’m losing my mind / And all I ever wanted was for you to feel calm / Now everybody’s worried that I’m losing my faith.” Her hope is later restored on the plaintive piano ballad “Nobody Comes Round Here,” as she wistfully declares, “When I’m dreaming you’re still with me / And then I open up my eyes / They open up wide.”

Contrary to the album’s title, and as if her growing legion of devotees ever doubted it for a second, it’s more evident than ever before that Ms. Rose has plenty of words left to share with the world and a whole lifetime of songs to sing ahead of her.

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Singer Songwriter Folk guitarist Gregory Alan Isakov has taken time away from working on his follow-up to 2018’s Evening Machines to record and share a new live video for “She Always Takes It Back”. The soft-sounding original ballad was the final track on Isakov’s 2013 studio album, The Weatherman.

Set in a darkened studio setting, Isakov and his solo acoustic guitar guide viewers on a gentle ride through the 2013 original with the use of his fingerpicking style and trademark melodies. Isakov has made a career out of those subtle but heartwrenching melodies, and he shows he hasn’t lost any of his abilities even with all this time away from performing.

Isakov was scheduled to embark on a run of spring and summer tour dates last year, in addition to dates supporting the Zak Brown Band, but those shows never ended up taking place with the arrival of COVID-19.

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The 22-year-old singer/songwriter from Montclair New Jersey, Annie Blackman first started making and releasing music when she was still in school. Her debut album, “Blue Green“, released back in 2016, served as a soundtrack to her school days. Now five years on, having opened for the likes of Soccer Mommy and Field Medic, Annie is set to release a string of singles through the wonderful Father/Daughter Records, the first of which, “Why We Met”, came out this week.  A compulsive archivist, Blackman draws inspiration from her own diaries, schoolwork marginalia, and the hallowed grounds of the Notes App on her iPhone. Loving, liking, and longing inform Blackman’s lore. With measured vocals and hypnotic production, Blackman faithfully leads us through her world of faded dorm room furniture and pensive walks-home.

Blackman’s upcoming set of singles, to be released by Father/Daughter Records, chronicles her later college years, and subsequent foray into post-grad life. She has teamed up with friend and producer Evan Rasch (Skullcrusher, Runnner, Harvey Trisdale), who outfits the songs with plush slide guitar and shadowy ambiance to help realize her evolving vision.

Why We Met was recorded with friend and producer, Evan Rasch, whose production style melds perfectly into the evolution of Annie’s song writing, as she shifts from youth into young adulthood. The track seems to build around the rhythmic quality of Annie’s guitar-playing, which is slowly enveloped in waves of luxurious slide-guitar and a cornucopia of ambient sounds, bringing to mind the likes of Skullcrusher .

Blackman’s latest single, “Why We Met,” is a study in slow motion. As she watches the song’s subject nurse a beer, Blackman takes us inside her gaze, wading through a mundane moment of asymmetrical beauty. “You’re looking up and I’m looking at your neck/ tilted back/ Clock the curvature,/ the bottle starts to sweat,” she sings. “You’re scared of leaving/ and I wonder why we met.” Despite lush, intently searching guitar, glowing through Blackman’s hazy lilt, the question of how to love aptly goes unanswered. As with all of Blackman’s music, her new project promises sincerity, scope, and the capacity to make her listeners feel known.

Lyrically, this feels like a deeply human study on the idea of connection; Annie repeatedly nothing, “I don’t know how to love you”, as eyes meet with a certain uneasy sense of parting, “you’re scared of leaving, and I’m wondering why we met”. Throughout, the track fizzes with an emotional intensity, the images may be hazy, the details blurred by an overwhelming sense of an ending, yet the feeling remains. This is an open-hearted piece of song writing, beautiful, bruised and ready to make a real impression on anyone willing to give it their time.

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“Why We Met” is out now via Father/Daughter Records

Norway’s Girl in Red is unleashing the darkness from within on her inky latest single “Rue.” “I wrote this song for my loved ones who are affected by my mental health. I will always try my best to get better for them, and I am forever grateful for their presence in my life,” writes Marie Ulven Ringheim of “Rue”  an ode to the Euphoria character of the same name – with Girl in Red’s haunted vocals rising like the spires of a gothic cathedral.

Norwegian lo-fi artist Marie Ulven scored a viral hit with her first ever song, I Wanna Be Your Girlfriend, in 2017, which has since been played 80 million times on Spotify.
Born in the quiet North West Norwegian town of Horten in 1999, her early obsessions were The Simpsons and finger boarding, until she was given a guitar at the age of 12.

Her stage name was inspired by the first girl who broke her heart – who will forever remain unaware of the tribute. “I haven’t told her and I’ve never said her real name anywhere,” she said.

Ulven has been called a queer icon, but she hopes her lyrics will one day be unremarkable. “We need queer art to make it normal,” she told the New York Times.

For fans of: Beabadoobee, Florence + The Machine, The 1975

I’d never heard of Brooklyn’s Cassandra Jenkins before her latest album, but she’s well-credentialed. She was set to tour with Purple Mountains before David Berman’s suicide and has also worked with The Hold Steady’s Craig Finn and The Fiery Furnace’s Eleanor Friedberger. Berman is referenced on ‘New Bikini’ – “After David passed away/My friends put me up for a few days/”

An Overview on Phenomenal Nature” sounds dubious on paper, an indie-folk record that celebrates nature, adds monologues about how men have lost touch, and incorporates the kind of new-age textures you’d expect on a 1980s Van Morrison record. But it’s lovely in practice, pretty and warm. Jenkins’ vocal is intimate and she’s a good enough lyricist to keep things interesting, casually dropping the word “panoply” into ‘Crosshairs’ and titling a song ‘Ambiguous Norway’.

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Jenkins’ main collaborator is producer and multi-instrumentalist Josh Kaufman. Kaufman’s a member of the amazing Bonny Light Horsemen and who has worked with The National, Taylor Swift, and Josh Ritter. The arrangements are often key with lovely woodwind parts, while the dual lead guitar parts on ‘Ambiguous Norway’ are gorgeous.

A gorgeous, shimmering set of songs that combines ultra-smooth pop sounds (recalling the softer moments of Destroyer’s “Kaputt”) with sweet ambient textures. Fantastic song writing work, as well. A joy to listen to, and a clear early contender for 2021’s album of the year. 

For UK Dinked special edition, go here: dinkededition.co.uk/cassandra-jenkins-an-overview-on-phenomenal-nature

The Band of Musicians:

Cassandra Jenkins– vocals, guitar
Josh Kaufman– guitar, voyager, harmonium, banjo, synth, bass, piano, organ
~and~
JT Bates– drums, auxiliary percussion
Eric Biondo– drums
Michael Coleman– synth
Stuart Bogie–  flutes, saxophone
Doug Wieselman– sax
Oliver Hill– violin, viola, string arrangement  
Annie Nero– bass
Aaron Roche– synth
Will Stratton– guitar
Ben Seretan– drone

All songs written and performed by Cassandra Jenkins
Produced and mostly engineered by Josh Kaufman
at The Boom Boom Room, Brooklyn, NY

Released February 19th, 2021