Posts Tagged ‘singer songwriter’

There are 1,271 words on this record but it’s hard to find the right ones to send it into the world with. I’ve been waiting for this day to come for a long time and it feels surreal to say that “Breach” is yours now — I hope it gives you something. it’s given me a lot. Isolation is nothing new for Fenne Lily – in fact, she’s written an album of songs all about it. “It’s kind of like writing a letter, and leaving it in a book that you know you’ll get out when you’re sad – like a message to yourself in the future,” she says, referring to Breach, her Dead Oceans debut she wrote during a period of self-enforced isolation pre-COVID. It’s an expansive, diaristic, frequently sardonic record that deals with the mess and the catharsis of entering your 20s and finding peace while being alone.

Fenne was born in London and moved to Dorset as a toddler, where she grew up in the picturesque English countryside. She was a “free range kid,” as she calls it, after her parents took her out of school for a period at the age of seven. Over the following year, they taught her while the family travelled Europe in a live-in bus. Even after she returned to traditional school at 9, her home education never ended, extending to music. Her mother gifted Fenne with her old record collection, through which she discovered her love for T-Rex and the Velvet Underground and Nico.

Soon after she fell for the strange genius of PJ Harvey and came to worship Nick Drake, Joni Mitchell, and the richly crafted worlds of Feist, which inspired Fenne to pick up a guitar. It’s that journey to find peace inside herself that underpins the whole of Fenne’s second album. Its title, Breach, occurred to Fenne after deep conversations with her mum about her birth, during which she was breech, or upside down in the womb. The slippery double-sidedness of the word – which, spelled with an “A”, means to “break through” – drew her in. “That feels like what I was doing in this record; I was breaking through a wall that I built for myself, keeping myself safe, and dealing with the downside of feeling lonely and alone. I realized that I am comfortable in myself, and I don’t need to fixate on relationships to make myself feel like I have something to talk about. I felt like I broke through a mental barrier in that respect.” Even though it also carries implications of awkwardness, rebellion, and breakage, it’s a widereaching word, representing new beginnings and birth.


Breach is out on Dead Oceans
thank you to everyone who worked on this with me,

Released September 18th, 2020

Flowerkid has today announced his first move to obtain global recognition. The 19-year-old Sydney artist came to prominence with his track “Boy With The Winfields And The Wild Heart” and “Late Night Therapy” and has now earned attention from across the globe.

Flowerkid (aka Flynn Sant) will be managed by Wonderlick in Australia in partnership with Best Friends Music’s Danny Rukasin (co-manager for Billie Eilish and FINNEAS) for North America.

Flowerkid’s music is incredibly raw, honest and unique and he has a clear vision for how he wants his music to impact people and to help incite change,” said Wonderlick’s Stu MacQueen.

“It’s very exciting and inspiring to be involved in this project, and now with the addition of the brilliant Danny Rukasin, we have finally completed the amazing international label and management team. We look forward to flowerkid sharing this compelling music with the world very soon.”

“When I first heard flowerkid’s music, a recommended listen from Jason Kramer at KCRW, I was immediately blown away by how special and gripping of a voice he has, and the stories he is telling from a song writing perspective,” added Rukasin. “I am proud to be able to help develop and present this incredible artist to the North American market and to be collaborating with such a world class management and label team to help showcase this artist and his art to the world.” In addition to management, flowerkid has also announced label deals with Warner Music Australia for Australia & New Zealand (with A&R by Marcus Thaine), Atlantic for the US and Parlophone in the UK.

“When I first heard flowerkid’s music, a recommended listen from Jason Kramer at KCRW, I was immediately blown away by how special and gripping of a voice he has, and the stories he is telling from a song writing perspective,” added Rukasin. “I am proud to be able to help develop and present this incredible artist to the North American market and to be collaborating with such a world class management and label team to help showcase this artist and his art to the world.” In addition to management, flowerkid has also announced label deals with Warner Music Australia for Australia & New Zealand (with A&R by Marcus Thaine), Atlantic for the US and Parlophone in the UK.

The song, ‘Late Night Therapy’ is written, composed and sung by flowerkid,

Flowerkid featured in the acts to keep an eye on in 2020

El Tee writes honest songs about the perennial push-and-pull of holding space for yourself and giving it up for others. Listeners are swept up in stories delivered via introspective lyrics embedded in warm and nostalgic tones of instrumentation. El Tee’s songs saunter through intimate moments, and then drive hard and fast straight into the pit of your heart – all within the same few minutes.

The singer-songwriter – real name Lauren Tarver – explained the track’s origins in a statement. She noted that the song is “a very descriptive narrative” of a personal experience she had while travelling in New Zealand. Tarver also described the song as “emotional, to say the least” in a post to her Instagram.

‘Everything Is Fine’ joins two previously released singles on the album’s ten-song tracklist: ‘How I Like It’ in August last year, followed by ‘Keep Walking’ in March. “I went on a road trip with a friend, and was so full of anxiety the whole time,” she said. “It was bottled up and I couldn’t shake it. I literally felt trapped by the mountains of NZ.”

An American expat, Tarver recorded the album in her adopted hometown of Melbourne in 2019. Andrew McEwan engineered and mixed the album in addition to playing drums.


Melbourne-based singer-songwriter El Tee has announced her debut studio album, ‘Everything Is Fine’, days after premiering the record’s title track. Melbourne community radio station 3RRR premiered the single on Monday (May 11). The song’s accompanying music video the following day. Dan Cahill directed the video, having also worked on El Tee’s video for ‘Keep Walking’.

Debut album ‘Everything Is Fine’ out September 18th, 2020
Released September 18th, 2020

The Band:
Guitar (rhythm) by Lauren Tarver
Guitar (lead) by Tim Scott
Drums by Andrew McEwan
Bass and BVs by Mimi Gilbert
Written by Lauren Tarver

Indie singer/songwriter Anjimile has announced his debut album “Giver Taker”, out on September. 18th via Father/Daughter Records. The quiet, sprawling lead single “Maker” is now. Self-discovery shines through on this soft, acoustic ballad—laden with exceptional harmonies and synths. On Giver Taker, the gorgeous debut album by Anjimile, death and life are always entwined, wrapping around each other in a dance of reverence, reciprocity, and, ultimately, rebirth.

Giver Taker is confident, intentional and introspective. Anjimile Chithambo (they/them, he/him) wrote much of the album while in treatment for drug and alcohol abuse, as well as while in the process of living more fully as a nonbinary trans person. Loss hovers over the album, whose songs grieve for lost friends (“Giver Taker”) and family members (“1978”) along with lost selves (“Maker,” “Baby No More,” “In Your Eyes.”) But here, grief yields an opening: a chance for new growth. “A lot of the album was written when I was literally in the process of improving my mental health, so there’s a lot of hopefulness and wonder at the fact that I was able to survive,” says Chithambo. “Not only survive but restart my life and work towards becoming the person I was meant to be.”

Each song on the album is its own micro-journey, adding up to a transformative epic cycle created in collaboration with bandmate Justine Bowe of Photocomfort and New-York based artist/producer Gabe Goodman. “1978” and “Maker” both begin as Sufjan Stevens-esque pastoral ballads with Chithambo’s mesmerizing voice foregrounded against minimal instrumentation and swell into the realm of the majestic through the addition of warm, steady instrumentation (informed by the mix of 80’s pop and African music

Chithambo’s Malawi-born parents played around the house) and harmonies by Bowe. “In Your Eyes” starts out hushed and builds to a crescendo via a mighty chorus inspired by none other than The Lion King. The allusion is fitting: each song encapsulates a heroic voyage, walked alone until accompanied by kindred souls. The choirs present throughout are equally deliberate. Chithambo grew up as a choir boy himself, and several songs (notably “Maker”) grasp not only towards reconciliation between his trans identity and his parents’ strong religious beliefs, but towards reclaiming his trans identity as an essential part of his own spirituality. (“[Less] Judeo-Christian, more ‘Colors of the Wind.’”) There is a boldness to this borrowing and shaping, a resoluteness that results from passing through hardship and emerging brighter, steadier. As a closing refrain on “To Meet You There” might sum it up: “Catalyst light of mine / now is your time.”


Giver Taker was recorded in Brooklyn, Boston, and New Hampshire by Goodman, thanks in part to the Live Arts Boston Grant by the Boston Foundation.
Released September 18th, 2020

All songs written by Anjimile Chithambo
Produced by Gabe Goodman & Justine Bowe

Anjimile From the album, Giver Taker, out September 18th, 2020. Father/Daughter Records

After 4 years in the making, today we are thrilled to announce the release of Hachiku’s debut album “I’ll Probably Be Asleep” which is out Friday November 13th. Anika started working as an intern at Milk! Records 5 years ago and it’s been a pleasure to watch her musical career grow and go from playing small single releases at the Old Bar to playing packed out performances at Iceland Airwaves.

Her time and dedication to making an amazing album have really paid off – if you ask us. During this quite extraordinary year we are hoping this album will bring some joy to everyone’s lives and we are so excited to witness where the next 5 years will take Hachiku. Ahead of the album, a new Hachiku track & video is out today! ‘I’ll Probably Be Asleep’ was directed by Roxie Halley who says “It draws on the camp, colourful and psychedelic visuals of cult 70’s horror, while dealing with honest emotional themes at its core.

“Hachiku’s globe-trotting has made for more worldly pop, and her songs have a homespun feel that is both intimate and magical, assured and hard to pigeonhole.” – Brooklyn Vegan

“Hachiku’s music sounds like if Wes Anderson recorded Beach House’s second record Devotion.” – The Music

“Her music is brave, bold and extremely well-crafted. Not only the sound and the production, but the writing, while innocent at times, evokes real and raw emotions. Hachiku may well be the Björk of the bedroom pop generation” – SXSW Music Preview

“There is nothing undercooked about this majestic piece of music, a haunting ethereal plod through raw emotion, with Ostendorf’s icy voice rhythmically plucking each syllable.” – The Guardian

‘I’ll Probably Be Asleep’ is out now on Milk! Records and Marathon Artists. From the forthcoming album ‘I’ll Probably Be Asleep’ out November 13th, 2020.

Imitation might be the sincerest form of flattery, but ordinarily, artists who draw too hard from one source let down their own muse, and short-change the listener too. Not so Boston-based, Texas-raised Anjimile, whose debut album introduces a fully formed, confident voice – one that sounds slightly familiar.

Non-binary, trans and of Malawian heritage, this intense indie singer-songwriter identifies foremost as a Sufjan Stevens fan. Their hypnotic orchestral folk songs “Come Howling After” an unfathomable god. Like Stevens, Anjimile’s vocals can whisper, swoop and trill lines like “It’s a miracle to behold, it’s a miracle to be held in your arms”.

But derivation is not the whole story here. Tracks like “Maker” or “Ndimakukonda” boast compelling African instrumentation and cadences, putting significant stylistic space between Anjimile and Stevens. Throughout, the production – also by relative unknowns – is pin-sharp and generous.

Although the alternative take on masculinity provided by Moses Sumney might be another valid comparison, these nine songs chart Anjimile’s own self-development and recovery, both from a relationship (Baby No More, Not Another Word) and addiction; this is no one’s story but theirs.

Writing a song about a fading romance is never easy. Writing a song about a fading romance where you bear the brunt of the blame is even harder. Writing a song about a fading romance where you bear the brunt of the blame, but the song still simmers with the kind of alluring energy that makes it feel like it’s not a song about a fading romance at all feels practically impossible — but that’s exactly what Anjimile does on “Baby No More.” Anjimile first released an acoustic version of the song on his 2019 Maker Mixtape, but this new take streamlines the nimble pluck of its lead-guitar riff and buoys it with the pure dance-floor groove of shuffling drums, an elastic bass line, and some sublimely tasteful keyboard plunks. Anjimile balances the song’s bubbling energy and the suave tinge in his voice with lyrics that boast a brutally frank edge: “Am I dead? Must be dead/Am I sick in my head?/Am I wrong? Must be wrong/Best get gone/I can’t be your baby no more.”

The new track will appear on the Boston-based singer-songwriter’s upcoming album, Giver Taker, out September 18th via Father/Daughter Records. In a statement, he explained that he wrote the song a few months before getting sober, when the relationship he was in was suffering because he was no longer taking care of himself: “I quite literally felt like I was losing my mind, vis-à-vis alcoholism,” Anjimile said.

“Active alcoholism and committed romantic relationships generally do not mix well, and ‘Baby No More’ is more or less what happens when you’re not a good boyfriend,” Anjimile said. “Although it’s got a very groovy and relatively lighthearted musical vibe, some of the lyrics are quite dark.”

“Baby No More” is the second offering from Giver Taker, following, “Maker,” which was released in July. The album marks Anjimile’s label debut, though it does follow a string of independent releases he’s shared over the past few years.

Giver Taker is released on 18th September

Georgia-born, Nashville-based singer/songwriter Molly Parden has a new EP on the way, and she shared the video for the first single from the project. The Rosemary EP will arrive November. 13th on Tone Tree Music. But in the meantime we can enjoy “Kitchen Table,” the video for which is a dark series of high-contrast scenescapes. While spooky, it’s also strangely calming to watch. “Kitchen Table” has the lush, unhurried sway of a Faye Webster (whose backing band Parden once played in) tune and the delicate vocals of your favourite indie-folk singer. If Parden’s tender voice sounds familiar, that might be because she’s offered her pipes as backup vocals to more than 50 records since moving to Nashville in 2013. She’s also performed with the backing bands for Sam Outlaw and David Ramirez.

Molly has toured the world as a bassist, guitarist, and singer—joining the backing bands of Atlanta’s indie songstress, Faye Webster; west coast troubadour Sam Outlaw; and Austin Texas’s boozily existential poet, David Ramirez. While at home in Nashville, Molly paid her bills as a waitress, and in the studio with her voice—providing her uniquely fragile and captivating harmony vocals on over 50 records in just a few years. Though Molly rarely recorded or performed her own songs, the few songs she did release garnered millions of plays on online streaming platforms and a small body of devoted listeners throughout the world. Her growing number of fans and champions finally encouraged Molly to team up with long time friends Juan Solorzano and Zachary Dyke, both having made their marks on Nashville’s indie music scene as producers and multi-instrumentalists themselves, to properly record and release a record of her own.

The result was “Rosemary”—an EP of fragile indie tunes that are as haunting as they are comforting, beautifully raw and yet just out of reach. From the effortless, transcendent melancholy of “Feel Alive Again,” to the flirty pop nostalgia of “Who are We Kiddin’,” each of Molly’s songs enchants the listener with a disarming union of aloofness and intimacy—timeless tunes in a postmodern soundscape. If it weren’t for the persistent reminder of a distressed 808 snare loop, a tune like “These Are The Times” wouldn’t be out of place on one of Chet Baker’s classic records from the 50’s:

Molly – vocals
Juan Solorzano – electric, bass, acoustic
Tommy Perkinson – drums
Matthew Wright – keys

“Rosemary” EP out November 13th 2020

This week, singer songwriter Fenne Lily released a new single “Solipsism” it’s from her forthcoming album “Breach”, out September. 18th via Dead Oceans Records. The new track follows the release of previous singles “Berlin” and “Alapathy” and standalone tracks “To Be a Woman Pt. 2” and “Hypochondriac.” “A lot of situations make me uncomfortable — some parties, most dates, every time I’m stoned in the supermarket,” Lily says. “‘Solipsism’ is a song about being comfortable with being uncomfortable and the freedom that comes with that. If you feel weird for long enough it becomes normal, and feeling anything is better than feeling nothing. I wanted this video to be a reflection of the scary thought that I’ll have to live with myself forever. It’s surreal to realise you’ll never live apart from someone you sometimes hate. Dad, if you’re reading this you killed it as shopper number 2.”

The new single ‘Solipsism’ is now in the world (via Dead Oceans) alongside a bonkers video ft. my dad and Willie J Healey. It’s for anyone who has been or still is scared of everything — for anyone who feels like Louis Theroux at parties — for myself looking back on 21 as a weird time, not the end of the world.

Thank you to Joe Sherrin on bass and guitars, Josh Sparks on drums, Brian Deck and Ali Chant for producing and mixing, Tom Clover for directing and the 40+ shoot day team who worked tirelessly to bring my dumb ideas to life

“Solipsism” the new song by Fenne Lily off ‘Breach’, out September 18 on Dead Oceans Records.

Like everyone, I’ve been thinking a lot about the times we’re in. Sometimes those thoughts come to me as lyrics:

“These days have made a change in me”

I had written a song with that line in it a while back, and recently, I listened back and I realized that it felt very relevant to me now. “Time is Wasting” became the nucleus around which I imagined a mini-album / EP / whatever that brought together several recordings and a few live performances from the last several years that I was proud of but hadn’t found a recorded home for. See Here, I Have Built You A Mansion is a collection of eight of those songs.


There is a lot of time and distance and farewell on these recordings. “Miles Away” is all about physical and emotional distance. “Brothers In Arms,” one of my favourite Mark Knopfler songs, is a pathos-filled, Shakespearian rumination on battle and memory; this version was recorded during a soundcheck. I initially wrote “Be of Good Heart” for Joan Baez’s final album, but I loved it so much that I wanted to do a recording with my band as well. “Haunt,” “Heaven Knows,” and “Waiting on You” were recorded with the Royal City Band during the Gathering sessions. And “Lawrence, Kansas,” which was recorded live in Lawrence, Kansas, is one of my earliest compositions and a reminder of how much I miss playing live with my incredible band.


I am indebted to the phenomenal musicians and producers that I am lucky enough to work with and call my friends. I am also very grateful to you for listening and giving me the opportunity to continue making music. Finally, a huge thank you to my incredible family! Be of good heart everyone. – Josh

Based out of London, Laura Fell is a songwriter by night, and a psychotherapist by day. Laura is the first signing to the fabulous music-blog, turned soon-to-be fabulous record label, Ballon Machine, and is gearing up to the November release of her debut LP, “Safe From Me”, a record described as, “a search for answers from a woman always expected to have them to hand”. This week Laura has shared the first single from the record, “Bone Of Contention”.

“Bone of contention is an exercise in anger”, explains Laura, a song about, “allowing myself to sit with my anger, and ending up finding clarity and power within it”. While Laura started her creative journey writing poetry, it’s arguably the skilled arrangement here that shines brightest, as Laura’s lithe lyricism is combined with steady acoustic guitars, the warm pulse of upright bass and the contrasting flutter of lightweight synths, that dance atop the mix like leaves blown around by the wind. Ambitious musicality, sitting alongside an undeniable way with words and a voice every bit the match of Nadine Shah or Aldous Harding: on this evidence Laura Fell is a talent the world won’t be able to ignore for long.


Fell’s dedication to this journey of self-discovery was unquestionable from the off, so much so that her peers questioned her sanity. Holding down three jobs to fund the record, Fell was determined that the songs would go far beyond their acoustic guitar genesis, assembling classically trained musicians to fully realise her vision.

Safe From Me is out November 20th via Balloon Machine.