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.
Charlie Diamond’s latest single, New York’s Been Good to Me, is a striking homage to the classic folk era, echoing the raw, unfiltered essence of Bob Dylan with its old-school production and soulful harmonica blows. Diamond, whose life reads like an adventure novel brings a unique authenticity to his music. His experiences, including hiking the Appalachia trail and musing in solitude, infuse his songwriting with a depth that resonates deeply.
The song paints a vivid, panoramic picture of New York City, reminiscent of Tom Waits’ wistful storytelling. Diamond’s lyrics and melody transport listeners to the bustling streets of the city, capturing the inviting yet overwhelming paradox of New York and portraying the city as a character in itself, whose acquaintance isn’t for the faint of introverted heart.
The singer-songwriter’s belief in his anachronistic reincarnation adds a layer of timelessness to the track which bridges decades for ample cross-generational appeal. If you lament living this timeline too, find ample solace by hitting play and taking a journey through the eyes of a troubadour who has lived a life as colourful and varied as the landscape he sings about in this nostalgic escapism-aiding release.
With vocal lines as arresting as the plaintive harmonies drenching Tom Wait’s Closing Time LP with soulfully spirited melancholy, the standout single, One Last Dance, from Lance La Breche’s upcoming album, Killing the Pisanthrophobe, is a piano-led score you’ll want to surrender to time after time.
The Lou Reed-esque keys also play a heavy hand in allowing you to succumb to the impassioned gravity within the single orchestrated by the Raleigh, NC residing self-taught singer-songwriter, who photographs architecture in the daylight and renders resolving melodies by the shroud of night.
The bluesy sepia-tinged tones and the endlessly compelling yearning for perfect nights to last forever won’t fail to fill you with the same tender warmth which flows through the score which abandons inhibition for vulnerability, to superlatively stunning effect.
Stream and purchase One Last Dance on Bandcamp, and keep Lance La Breche on your radar for the release of his forthcoming LP, which is set to drop on December 15.
If you still revere Closing Time by Tom Waits as one of the best albums of all time, you’ll find the latest single, River Town, from the Serbian indie folk raconteur Zarko just as resolving in its acoustic rapture.
The instrumentals may be minimal, but that didn’t get in the way of the up-and-coming singer-songwriter when he put his masterful mind to painting a panoramic picture of barflies in a town which used to conjure brighter emotions. I’m sure we can all relate to the alienating sense of dejection that ebbs away at our ability to feel anything but numb. With River Town on the airwaves, the sensation feels infinitely less lonely.
On the basis of River Town alone, Zarko should be celebrating the same success as Amigo the Devil with his delectable brand of folk blues. For your own sake, pay the hit song a visit.
River Town was officially released on September 2nd; stream it on Spotify.
The latest folk sonnet, People, from the singer-songwriter duo, Malcolm Duff & Maristela Da Silva, is a sombrely enlightening lesson in universal compassion.
Stepping out into the fray of the world, it is hard to contemplate the lives led by everyone you encounter. But in the intimacy of this timeless piano ballad which finds itself between the repertoires of Cohen, Waits and Nick Cave – on a sentimental day – the beauty in the shared experience of sentience shines through the delicate piano notes that spill arcane resonance beneath Malcolm Duff’s contemplatively honeyed vocal lines, which compel you into mindfulness.
People also resonates as a message of hope, conveyed to everyone who feels alone, regardless of how many people surround them. As The Legendary Pink Dots once said, it’s a loveless world, so what’s the point in looking? The point lies in the soul of this profoundly succinct release.
Stream People, which debuted on March 15, on SoundCloud.
Wondering why everything feels like hell right now, Adrian Fahy guides us through the conquered hate which can consume even the happiest souls with the movie-like soundtrack, Idols.
Adrian Fahy is a Tipperary, Ireland-based indie alternative singer-songwriter who makes melodic soundtracks to enlighten many minds about where the truth is hidden.
Inspired by legends such as Tom Waits, Leonard Cohen and Bob Dylan, Adrian Fahy takes us through the blindly followed path as we all find the right route, amongst the noisy news designed to confuse our precious minds. Performed with pure poise and an abundance of skillfully poised layers of excellence, we are stunned to the core by an outstanding creative.
Idolsfrom Adrian Fahy is a rather magnificent single all about trying to find a real home in this rather strange world. Sung so authentically and sending us into a natural vortex of discovery, this is a stunning song made for our tired eyes to consume so wonderfully.
For his latest Waitsy roughneck folk-rock release, The Dove, the enigmatically captivating singer-songwriter Beau James Wilding collaborated with the violinist, David Stone, to create a gripping trip through unadulterated emotion.
With the folky strings bringing a touch of The Levellers to the single, the bluesy acoustic guitar tones and the devilishly innovative percussion, The Dove spread its wings through a fair amount of artful beguile while Wilding vocally riffed from his almost sermonic soul. The lyricality of the gritty release, which only lets the light in through the high timbres of Stone’s strings, is enough to make Nick Cave’s discography sound like Gospel.
Usually, Cali-hailing artists spill sun into their soundscapes; it is beyond refreshing to hear an artist resisting the atmosphere and perusing his affinity for dark Bukowski-ESQUE poetry.
The Dove is due for official release on March 10th. Hear it on YouTube.
Jamos Blood sludged up blues-rock in the standout single, Flesh and Back to Bone, from his debut EP, Blood Brothers, which delivers swampy riffs, train track rhythms and a sense of ennui that cries out to the disenfranchised by uncertain futures masses.
“Gonna walk my dog til he don’t walk no more” beautifully and sentimentally encompasses the notion that everything is fleeting in a cruel world which pulls away every anchor, eventually.
The EP was recorded with Blood’s late brother, Clayton, which puts even more context behind the titular disposition and the themes of love and loss that will wash with any Waits and Petty fans.
As someone who is no stranger to grief, it was all too easy to connect with Jamos Blood’s psyche in Flesh and Back to Bone. The sense of lost listlessness with splinters of optimism that can often feel naïve was captured with such finesse in the roots-driven rock hit it is easy to view Jamos Blood as one of the most important voices of our era.
Flesh and Back to Bone is available to stream on Spotify.
With the quirky intensity of Neutral Milk Hotel and the bluegrass crooning of Tom Waits, we couldn’t help succumbing to the soul in Drew Peterson’s album, St. Jude, A Duck and the Crooked Line.
The opening single, Duck, is a narratively escapist Midwest adventure from the independent roots singer-songwriter who has been twanging acoustic strings and entertaining rowdy bars on the Minnesota scene for over two decades. The softly gruff vocals work their way through the dry humour in the lyrics over the minimalist production, consisting of little more than accordion and strings. But that is all Peterson needed to sonically consume you with the endearingly titled, Duck.
Armed with his trusty resonator guitar and Gibson 63, the BMI published folk singer-songwriter & producer, Robin Lewis, has released his Americana acoustic rock heartbreaker of a Waitsy release, No Light, taken from his moody and retrospective lockdown-born album, Everyone Has a Story.
No Light was compassionately composed for listeners all too accustomed to the days which become signified by malaise. In all sincerity, it imparts solace in the reminder that the sun sets on even the darkest of days. Lockdown releases may often get tarred with the same trite brush, but No Light will be resonant for years to come. It’s a stunning exposition of the collective state of our consciousness; now that we know the ‘new normal’ generally blows and there’s no putting the gloss back on the facade of our modern existence. We honestly couldn’t be more psyched to have Lewis on our radar. We’d advise that you reserve him space on yours.
No Light, taken from Robin Lewis’ album, Everyone Has a Story, was officially released on May 16th. You can check it out for yourselves by heading over to SoundCloud.