Browsing Tag

folk

Grizzly Bird – Backpacker: A Soulful Sojourn Through the Indie-Folk Landscape

Grizzly Bird (AKA Hans Gnendinger) presents ‘Backpacker‘, an attentive commentary enveloped in a melodious indie folk journey. This single, nestled within the anticipated album ‘Creatures‘, stands out as a synthy, lyrically driven exploration of the backpacking subculture, infused with a wit and insight that is both refreshing and thought-provoking.

Gnendinger, a stalwart of the Berlin folk scene, brought his Bavarian roots and urban experiences to bear in this track. His storytelling, honed through years of songwriting and life’s vicissitudes shines through in the light-hearted track which delves into the essence of human nature and our quest for meaning, all while maintaining a lightness of touch that is characteristic of Grizzly Bird’s style.

The lyrical wit reminiscent of John Grant, combined with the tongue-in-cheek reverie akin to Alex Cameron, positions ‘Backpacker’ in a unique space within the indie genre. Gnendinger’s voice carries the narrative with an effortless grace through the Radiohead-esque soundscape which exhibits Gnendinger’s skill with the acoustic guitar and his ability to weave complex emotions into his compositions while the synthy backdrop adds a contemporary edge to the folk foundation

In essence, ‘Backpacker’ is a mirror held up to a generation that seeks meaning in the nomadic, Beatnik lifestyle. Grizzly Bird, through this track, offers a perspective that is both critical and empathetic, urging us to question the romanticism of backpacking while also acknowledging its allure.

The official music video for Backpacker will premiere on February 16th; stream it on YouTube.

Review by Amelia Vandergast

Holly Lovelady alchemised around the rough terrain of reality in her scintillated by synths folk-pop ballad, Helvellyn

Holly Lovelady’s latest folk-pop single, ‘Helvellyn‘, is a meticulously crafted piece of aural alchemy. Lovelady, with her arcane vocal harmonies reminiscent of Stevie Nicks and synth lines echoing The Human League, brings a fresh, artful approach to the genre.

‘Helvellyn’ is a scintillatingly spiritual modern ballad that seamlessly blends electro-pop with folk melodies while delving into the highs and lows we’re all fated to traverse. Her enchantingly ethereal vocal timbre effortlessly weaves through the melodies, allowing you to instantly feel at home in her profound presence.

Lovelady’s musical roots, nurtured in the cosy embrace of her grandparents’ home, are evident in the depth and authenticity of her sound. Her journey from covering classics to creating her own path in the music industry is reflected in the song’s metaphorical exploration of the rough terrain of reality.

The single stands out for its balance of artfulness and accessibility. It resonates as an ornate feat, an affecting blend of modern and traditional, without falling into the trap of becoming a dusty relic of bygone eras. Lovelady’s skill in modernising the ballad form while maintaining its soulful core is nothing short of remarkable.

With support from BBC London, BBC Merseyside, and Radio 6, and following a year of personal and creative growth, Lovelady is poised to make a significant impact on the alternative pop scene. ‘Helvellyn’ is more than just a feather in her cap; it’s a bold statement of her artistry and a beacon for the future of modern ballads.

Helvellyn was officially released on February 6th; stream the single on Spotify.

Review by Amelia Vandergast

Lounna orchestrated the sound of spring into her indie-folk Americana release, Peak Season

Lounna

Lounna orchestrated the sound of spring into her latest indie-folk reverie, Peak Season; a single that resonates with the soul’s longing for renewal and connection.

The Pittsburgh-based multi-instrumentalist, drawing inspiration from the likes of Bear’s Den and First Aid Kit, infused her latest single, taken from her Garden for Winter LP, with a unique blend of indie, folk, Americana and naturalism, and signalled her departure from her more whimsical approach to songwriting from her debut. By delving into more profound themes of mental health, resilience, and hope. The single is a harmonious amalgamation of lyrical depth and orchestral richness, with crystalline vocal harmonies commanding the ensemble with an effortless grace.

The track opens with a melodic embrace that gently uplifts the listener, symbolising the shedding of winter’s weariness. Lounna’s voice, soothing yet potent, weaves through the instrumentation with a narrative that echoes candour and resounds through universal relatability.

The orchestral backdrop, carefully crafted with Slate’s collaborator Daniel Blake, adds a panoramic dimension to the song, allowing each instrument to converse and complement the vocals, rather than overpower them. Peak Season allows you to stand at the shores of your own introspection while washing over you as a cathartic release from the clutches of life’s darker moments. It’s a sublime feat of originality and expression, that has left us with bated breath to see what’s to come from Lounna.

Stream Peak Season from February 16th on Bandcamp.

Review by Amelia Vandergast

In Conversation with Phil Coomer: Unveiling the Healing Power of Love in Songwriting

https://www.youtube.com/watch?v=eNRKiL6PZT0

In an insightful interview with A&R Factory, Phil Coomer delved into the creative process behind his latest single, “All the Medicine I Need.” The song, born from a personal moment of realisation, transcends into a universal anthem about love’s healing power. Coomer shares how an injury and his girlfriend’s return sparked the song’s conception, highlighting love as the ultimate panacea. The interview also touches on influences like John Prine, the joy of songwriting, and themes in his upcoming album, offering a glimpse into Coomer’s artistic journey and the profound impact of relationships in his music.

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Can you tell us a little bit about your latest single, All the Medicine I Need?

“I tend to write about how I feel or how others feel and All The Medicine I Need does not vary from that methodology.  Because I had done a good job of injuring my left arm in the fall of 2023, I was looking for some kind of medicine that would help relieve the pain I was having in my arm.  I wasn’t having much luck but about that time my girlfriend came home from an extended trip abroad.  Her attention and caring made me forget all about the pain I was having.  I realized that she was all the medicine I needed.  When I was working on songs again, I thought that because I felt that way maybe others did too.  So, I started working on the song and it turned into being about the normal day in a regular person’s life and the restoration that tends to come when we are with our person our significant other.”

It’s such a great extension of the ‘love is a drug’ adage; was it difficult to transform the lyrics from a personal feeling to a universal sentiment? 

“Very quickly I realized that I could easily change the song from being about her and me to being for everyone.  The song is about any healing or restorative relationship.  He-her, her-her, him-him, parent-child, child-parent it always works no matter who sings to who.  It was as simple as changing “the girl” to “the one.”   I did talk to her about the change, and she said I should definitely change the lyrics so the song could speak to everyone’s feelings.  But she knows it’s her song.”

We love that the song started from a soulful epiphany and built from there; is that usually how your music comes to fruition?

“Yes, and I wish I could have epiphanies more often. I said earlier that I usually write about my feelings or the feelings of others. I don’t know why I’m wired that way.  Maybe others are too.  I was working on a song from a recent trip to NYC to the World Trade Center Memorial and to Strawberry Fields in Central Park the John Lennon Memorial and was just getting nowhere I was writing junk.  Finally, I decided to write from the perspective of a woman who had lost someone and to let her tell the story and It just flew out my mouth and onto the paper. It became, easy and natural yet different, wicked and soulful.  That song is called “Still Lives.”

Were there any particular artists who inspired the sound and style of the single?

“Yes, I think so. Musically to me it is very akin to a John Prine song in simplicity and matter of fact-ness.  There’s even a little Prine humor in the 1st verse line “and I guess elevators too”

What is the most rewarding aspect of the songwriting process for you?

“There is always some euphoria when you’ve framed in a new song and think it’s complete enough to play for someone else.  But I think a few months out when you’ve played the song in front of hundreds of people and it’s actually now part of you and there some sustained affection for the song that’s pretty nice too.”

How has your approach to songwriting evolved over the years, leading up to this release?

“I’d say that I moved more from writing the ballad or story of what occurred to the feeling or the impact the notion had on who is there or who found out and what it did to them.  It seems more endearing to me to show the effect of impact to us.”

You mentioned All the Medicine I Need will feature on your upcoming album; what other themes does the album explore?

“All The Medicine I Need is the first recording of the next project and a couple of the other songs are “Kissing Lessons” – written after seeing a bulletin board ad I came across at college.  Another song is called “Different Ride” which is what occurred to me when I’ve come across people who are still alive yet their fate is already written.”

Watch the official music video for Phil Coomer’s latest single, All the Medicine I Need, on YouTube.

Interview by Amelia Vandergast

Nick Cody rearranged a loveless world through the folk strings in his cover of Nick Cave’s Nobody’s Baby Now

If you thought Nick Cave’s rendition of Nobody’s Baby Now from his 1994 album, Let Love In, hit hard, brace yourself for the evocative impact when delving into the bitter-sweet folk reimagining by Nick Cody featuring Towse, Harry Orme, Corwin Zekley.

Atop the Bob Dylan-esque instrumentals, the harmonised to-the-nines vocal arrangement pulls at the heartstrings with devastating precision. Though the lyrics have always been tragic in their forlorn romanticism when depicting a woman living a loveless life, Cody innovatively found a way, through the beguile within orchestral folk crescendos, to impart even more empathy for the female protagonist.

It takes an exceptionally talented artist to find more room for resonance within an already hauntingly captivating single. Clearly, Nick Cody can consider himself amongst the few sonic visionaries with the ability to breathe new painfully provocative life into already stunning scores – even though his humbleness, evidenced in this reworking, would never allow such an ego to show in his work.

Nobody’s Baby Now will debut on Valentine’s Day; stream the single on SoundCloud and wait for the LP, which is scheduled to drop on April 26.

Review by Amelia Vandergast

Dreams and reality blur in Baz Edmondson’s artfully alternative folk single, The Shepherd’s Lullaby

Baz Edmondson’s sophomore release, ‘The Shepherd’s Lullaby‘, is an ornately tender foray into a euphonically artful world where dreams and reality blur into a harmonious symphony.

This single, beating in the heart of Bournemouth’s folk scene, is a testament to Edmondson’s stripes as a singer, songwriter, and storyteller. It is an intricate blend of traditional folk and art rock, showcasing Edmondson’s unique ability to take feelings and transform them into musical experiences that resound like no other.

The gentle piano keys, placed at the forefront around the orchestral strings and other folk synthetics amplify the sentiments in the sleep-dusted serenade which sees the instrumentals ebb and flow into crescendo, bringing a sense of grandeur while never overpowering the release.

Edmondson’s vocal delivery is reminiscent of Thom Yorke’s fervour, imbuing the song with a raw, emotional depth that is both captivating and haunting. The navigation through the highs and lows of the melody is a journey you will want to take with Baz Edmondson time after time.

For those seeking to rediscover the feeling of their soul being whole, Baz Edmondson’s intricately artful folk world is a journey worth embarking on.

The Shepherd’s Lullaby was officially released on January 31; stream the single on Spotify.

Review by Amelia Vandergast

Phil Coomer prescribed love as a drug in his latest release, All the Medicine I Need

https://youtu.be/eNRKiL6PZT0?si=2dDJrrguCrbBzFlA

The folk-pop evocateur Phil Coomer used all his award-winning song-writing stripes to decorate his latest single, All the Medicine I Need, with a sense of sentimentality that will see your soul swell with gratitude for everyone who sweetens your world.

As the orchestral strings quiver, the tenderly fingerpicked acoustic guitar strings amplify the warmth spilling from Coomer’s folky Americana harmonies which shine with crystalline soul as they emanate the soft and intimate folk vocal style of the late 60s and carry the same affecting mesmerism of Nick Drake.

Even when artists pen their own material, it isn’t a given that they will orchestrate something original; there’s never any danger of assimilative pedestrianism when you slip into a Phil Coomer folk score; just how it is possible for a salve for the soul to feel so expressively raw is an alchemic paradox that stands as a testament to his songwriting virtuosity.

All the Medicine I Need will be available to stream and purchase on all major platforms from 05/06/2024. Until then, you can stream the music video on YouTube.

Review by Amelia Vandergast

Winter whispered through Sang Lian Uk’s folk-punk single, When Snowflakes Fall

In the heart of winter’s embrace, Sang Lian Uk penned ‘When Snowflakes Fall‘, a lo-fi folk-punk anthem that resonates with the soulful depth of a winter’s tale. This single, reminiscent of the raw, unfiltered essence found in the works of Neutral Milk Hotel, is a poignant reflection on the season’s stark beauty and the introspective journey it invites.

When Snowflakes Fall is a narrative woven from the threads of his life, a stream of consciousness that captures the essence of winter’s dual nature – its bitter cold and its mesmerising beauty. The song’s structure mirrors the ebb and flow of thought, with each verse building on the last, culminating in a cathartic release of pent-up emotions.

Sang Lian Uk, who began his musical journey in the echoes of gospel songs and church choirs, has evolved into a raconteur of candour, moving far away from his childhood immersion in music, guided by the distinctiveness within his voice, he’s come into his expressive own.

When Snowflakes Fall hit the airwaves on January 25; stream the single on SoundCloud.  

Review by Amelia Vandergast

Henry Charles reached the epitome of vulnerable intimacy with his debut, Just One More Time

Henry Charles’ debut single, Just One More Time, is a marker of his ability to construct emotional connections with his audience. Soulful, intimate, and a testament to his patience and vulnerability as a songwriter, Just One More Time is a promising start to what is sure to be an illustrious career.

With a folk timbre reminiscent of Jacko Hooper, the sting of Tom Odell, and the profoundness of Bill Ryder-Jones, Charles carved out his own niche in the British singer-songwriter landscape. From the first strike of the minor piano keys, Just One More Time envelops you in its world. The ripples of reverb set the stage for Charles’ light yet evocative harmonies. Each progression in the song is a revelation, a bittersweet exploration of torment and longing.

The gentle orchestral strings with moody, turbulent electronic synthetics create a stunning auditory contrast. This juxtaposition mirrors the emotional turmoil at the heart of the song – a yearning for connection in a world that often feels vacuous and cold.

The refrain ‘just one more time’ echoes throughout the track, a quiescent plea for reconnection to something visceral and sanctifying. It’s a testament to Charles’ ability to tap into a tender pool of expression, making every note and lyric resonate with the listener’s own experiences of loss and desire.

Just One More Time was officially released on January 31st; stream the single on Spotify.

Review by Amelia Vandergast

Never look at apocalyptic fiction the same again after losing yourself in McKay’s indie-folk earworm,  Last Man Alive

Staying true to folk roots while not getting entrenched in its antiquities, the Nashville indie folk quartet McKay made the genre relevant for this generation with their larger-than-life rendition of their latest single, Last Man Alive.

If you have ever immersed yourself in apocalyptic sci-fi media and wondered if you would have the determination to endeavour or simply submit to the same fate that removed the majority of the planet, you’ll hear familiar thoughts and questions echoed back at you. But McKay goes even further by touching on all of the ways that we make sense of space and time as society keeps on buzzing away. It’s impossible not to become caught up in a state of contemplation as you listen to the harmonica blow over the raw folk chords and Hudson Haining’s pontificating vocals, which bring you right into the introspective world the promising outfit constructed.

With the evocative pull of Deathcab for Cutie fused with the sonics of Neutral Milk Hotel, McKay’s sound is original as it is intimately affecting.

Last Man Alive will be available to stream on all major platforms from January 28; stream it on SoundCloud first.

Review by Amelia Vandergast