Samantha Crain is a born-and-bred Okie with Choctaw heritage; she plays with a revolving cast of musicians, including fiddle player Daniel Foulks. While attending Oklahoma Baptist University, she registered for a semester-long songwriting retreat at Martha’s Vineyard. The experience helped Crain hone her craft, and after returning to Oklahoma, she went all-in on a music career. Crain released her debut EP, The Confiscation, in 2007 and her latest is, Kinda,
“Holding to the Edge of Night” is one of the new songs from Crain’s upcoming album “A Small Death.”
Young Gun Silver Fox is a hard-to-resist duo. One member (singer-songwriter Andy Platts) is from California, while the other (multi-instrumentalist Shawn Lee) hails from London; fittingly, the duo’s debut is called West End Coast.
You’ll recognize the sound — as the band’s label, Wax Poetics Records, puts it, it’s a “modern re-imagining of the classic West Coast AOR studio sound of the mid- to late ’70s.” In other words: yacht rock. With these new songs, Platts and Lee have lovingly recreated a sound and vibe from the past.
With their first two albums “West End Coast” (2015) and “AM Waves” (2018), Young Gun Silver Fox, formulated a modern version of the classic West Coast and soft rock sounds. The third album “Canyons” consequently develops the formula with ten well thought-out compositions, wonderful harmonies, incisive brass and inimitable sound images.
Just over two weeks ago Yellow Days shared his first new track in almost a year with ‘Treat You Right’. This was a precursor to a forthcoming new album set for release on Columbia Records. Now comes the first single proper ‘Love Is Everywhere’ alongside full details of the long-awaited album – ‘A Day in a Yellow Beat’ out on August 7th. Picking up swiftly from where ‘Treat You Right’ left off, ‘Love Is Everywhere’ is an enigmatic slice of sophisticated modern soul with the crisp crackles of old-school jazz influence seeping through.
With a life spanning southern California and Ghana, it’s no wonder that Moses Sumney’s music amounts to a totally unclassifiable product while rising above as an act of resistance in itself. His unmistakable and singular falsetto, which he uses as another instrument in the mix, serves him to probe his orchestral and deeply experimental indie rock. This very 2020 he released Cut Me, an EP comprising 4 deeply intimate songs about how to avoid romantic love at all cost and that position him as a new ilk of avant-garde pop star. Some days ago he released his double album grae.
UK band, Gengahr are currently in the country for a couple of shows in Sydney and Melbourne. While they’re visiting, they’ve stopped in at triple j for Like a Version. Giving us a rendition of Billie Eilish’s ‘everything i wanted’, they’ve put a massive indie rock twist on the 2019 tune.
As Chris Stewart finishes the latest record for his somber synth-pop project Black Marble, he’s reflecting on how he came to be interested in crafting his own music.
With his third record in its final stages, he finds himself in a similar emotional space as he was at the beginning: making music that his friends would love. It spread from there infectiously, following a wave of artists producing synth-driven drone-focused pop like Cold Cave and the Soft Moon. Stewart’s project found it’s place in the midst of goth, post-punk, industrial and gloomy pop, amplified by a warm, lo-fi atmosphere that makes his work intimately personal. Minimal synth stylist Black Marble has released his third studio album Bigger Than Life.