“Demonstrating such confidence in their compositional ability, it is little wonder that attention continues to grow around this intriguing and unapologetically independent band.” - THE LINE OF BEST FIT
Thursday, April 22, 2021
With versions of this song being passed between the band members remotely, they found the collaborative process engaging and rewarding. “Writing together this way allowed us to stay in contact all the time, talk about the song and what we were individually and collectively trying to achieve with it. Even though we were unable to be in the same room, this way of working allowed us to create together and communicate more directly,” says Adam. “Having music to focus on during lockdown assured us that we wanted to keep writing songs together for many more years.”
Wednesday, April 21, 2021
Tuesday, April 20, 2021
Lead me back into the fold
I’m cautious but you know me well
Fell into another hole
It happens but I’ll never tell
Followed for a mile or two
Those pilgrims on the sunset road
All the way to Hollywood
We we caught in the undertow
Monday, April 19, 2021
Raised within the Welsh heartlands of Carmarthenshire, music has always been second nature to Gillie Ione Rowland aka Gillie.
Deeply influenced by place and now living within the burgeoning metropolis of London, Gillie blends the serenity of the Welsh countryside with the industrial undergrowth of city life, to create something hauntingly serene.
The amorphous, stretching experience of change can be difficult to capture, to process, to understand. At times it may feel like a single moment, but change occurs in an endless string of experiences. Through Pansy, Vivian McCall shares nine impressions of a year marked by that transformation, tribulation, and ultimately empowerment.
Saturday, April 17, 2021
Save Yourself (By Lucinda Williams) off Sharon Van Etten’s “epic Ten” a double LP reissue of the 2010 album featuring the original album, as well as track-by-track covers of the songs by Big Red Machine, IDLES, Lucinda Williams, Shamir, Courtney Barnett, St Panther and Fiona Apple. epic Ten is out April 16th.
Friday, April 16, 2021
Kowalsky began composing and performing electro-acoustic music using cassette tape loops, sine oscillators.His work explores multi channel, site-specific performances with a focus on psychoacoustic phenomena.
Nathaniel Rateliff stands in an old familiar place, sharing his pain. The Mercury Café is one of the first places Nathaniel frequented when he moved to Denver in 1998, hearing jazz, dancing, and eventually playing many shows there. For his Tiny Desk (home) concert, he's assembled a dozen players including a string section, backing singers, and some of his oldest friends: Joseph Pope III on bass, Mark Shusterman on keys, Luke Mossman on guitar and Patrick Meese on drums. On the opening song and the title track to his 2020 album, And It's Still Alright, they're restrained as Nathaniel sings about loss, including his friend and producer Richard Swift, but he's holding on. "I'll be damned if this old man / Don't start to counting his losses / But it's still alright."
But restraint lets loose on the chorus of "Redemption," a song about breaking free of the past and written for Apple original film Palmer, starring Justin Timberlake. The ender, a tune called "Mavis," truly is a grand finale, a song that conjures up images of The Band singing Bob Dylan's "I Shall Be Released" — and what a fabulous release it is.
• "And It's Still Alright"
• "All Or Nothing"
Wednesday, April 14, 2021
“Their take on fuzz pop is pretty glorious indeed” DIY
“The sarcastic snarling tune evokes Queens of the Stone Age and absolutely slaps” NME
“Fuzz-laden anthems…a deft pop explosion” Clash
“Feverish pop turns and frenetic guitar solos” Dork
“A tender and evocative road map...a beautiful record,” – Tom Johnson, GoldFlakePaint
“Growing from the low rumble of a bubbling stream, to the layered intensity of a glacial roar and back again, North America‘s sonically mesmerizing identity leaves listeners tranquil and satisfied, yet wanting so much more.” – Mitch Mosk, Atwood Magazine