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Press Releases for June: Here Are The Artists

press releases for June
Nick Leng is among these press releases for June

Peter Matthew Bauer, Hodgy, Gabríel Ólafs, Saint Christopher, Nick Leng, Will Orchard, and Biblioteka are the artists among these press releases for June.

Peter Matthew Bauer – “Knife Fighter”: A dynamic folk-sounding song with beautiful echoing vocals, an anthem quality, and a Fleet Foxes vibe. This is a single off Peter Matthew Bauer’s upcoming LP, “Flowers,” due September 23 via Fortune Tellers Music. Speaking on the record’s first track, Peter wrote: “‘Knife Fighter’ is the first song on the record. It lays out the language of what’s to come. It’s about a lot of things but definitely about superstition and influence and where you come from. It speaks to a lot of important pieces of music for me and to the crazy belief systems you create for yourself when you’re making art.  I’ll find myself staring out the window and noticing things like a crow in the street and taking it as an omen. Or imagining an angelic form of a song on the other side of a mirror. Things I would never allow myself to consider in my everyday life. I started writing it at the Christmas mass at my kids’ school. I guess I was thinking about what it was like growing up when it feels like the end of time.  I finished it a month later in Philadelphia with Matt Barrick at his studio Silent Partner. In all the bands and projects we’ve done together, Matt has been asked to play a variation of this spacey kind of reggae beat dozens of times. To me, this is his number one version.” “Flowers” is Peter Matthew Bauer’s first full-length record in almost five years. “It’s filled with a kind of dread but also I think a little joy remains,” says Peter. “It’s this weird continuum of losing people from your past, some close and some just characters I knew who were somehow important. That and this feeling of a kind of terror that we are all experiencing together, this cult-like feeling I have from my own childhood (he grew up in ashrams in both Upstate New York and Ganeshpuri, India), chasing down specific images and moments that feel alive within that kind of feeling, and then chasing that childhood feeling itself- that sense of home that feels lost sometimes, those are the things that make up this record. It’s like searching for an undercurrent hidden in everything – like an electric charge.” The album was made in Los Angeles and Philadelphia, working late at night mostly for the last year and a half. Begun entirely alone in his office in Laurel Canyon, “Flowers” became a far more collaborative project with the entrance of Matt Barrick, Peter’s old bandmate in the Walkmen and the drummer and co-producer on all but one track. “I had been really obsessed about doing everything on my own at home at first. I was using a lot of samples for drums and then playing everything else as I could to put the music together,” said Peter. “Then, I realized I had a song where it would be fun to ask Matt to play really fast and heavy again as he used to years ago. We started calling it ‘sports drumming.’ Anyways, once we had that, we hit this natural thing where we saw it through to the end.”Peter flew to Philadelphia in January where he’d lived before Los Angeles. Barrick had recently opened Silent Partner, a studio he built with Quentin Stoltzfus and Paul Banks. The record was finished and mixed there. “We spent a week in the freezing cold,” says Peter. “We pretty much recorded everything we could through their spring reverb and Matt’s soviet era delay pedal. It was great to work with an old friend again.” “Flowers” is by far his most eloquent and carefully thought-out record, tightly bound together by its original production and songwriting, Barrick’s drumming, and Bauer’s newfound penchant for electric guitar solos. “Somewhere along the way, I realized I had never really taken a guitar solo in all the years I’ve played music. I became obsessed with figuring out a way to do so while also still moving the songs along. Now that I’ve started, I’m not sure how I’ll stop,” says Peter.

Hodgy –“Again”: Hodgy’s nasal vocals vibrate above an acoustic guitar, then take a rap turn for a few verses, alternating between rap and singing back and forth. This is a song from Hodgy’s new project, “Entitled,” out on his own Poortrait Records via Repost, SoundCloud’s artist services division. The new music is his first since his 2016 LP “Fireplace” and, in the time since his last album, the original member of Odd Future has focused on his personal life including going to recovery for addiction, focusing on his mental health, and moving from Los Angeles to Toronto. As Hodgy – born Gerard Long – describes it, the new project has an almost bipolar feel to it, like he’s two different artists – one the rapper and one the singer.  “Usually I would grow weary of things not working out the way they were wished upon,” says Hodgy. “I find relationships more as something to observe than to indulge. Pleasure brings you up and reality grounds you.” The more aggressive tracks were recorded in Los Angeles a few years ago with friend and fellow Odd Future / MellowHype member, Left Brain, while still self-medicating. June 7, 2020 is the day he found his sobriety and the new era of Gerard Long / Hodgy began. His more recent tracks were recorded in his new home of Toronto, where he worked out of a studio throughout the pandemic that became a second home to him. “I’m grateful to be involved in this thing we call life. Here on earth, dedication is truth,” notes Hodgy. “After a much-needed hiatus, what’s next for me?” The rapper, record producer, and director adds “Making music is like putting a puzzle together or leaving traces for myself, for future reference.”

Gabríel Ólafs – “The Lily”: Emotive strings and keys for a cinematic, sweeping, and poignant piece of orchestration by Icelandic composer and multi-instrumentalist Gabríel Ólafs. Watch the video accompanying the release. The song is taken from his forthcoming album “Solon Islandus,” set for release July 15 via Decca Records U.S.“‘The Lily’ is the most expressive piece I’ve composed, the melody was born on the piano after I read a particularly beautiful poem with themes of romance and nature,” Ólafs says. “I wanted the piece to have chapters that represent different states in a journey through time, led by the main motif: we begin in the present moment with the soaring lead cello, next we enter a dreamlike middle-place before entering the past, which is represented by a mono recording of an orchestra. For the outro I wanted to reference the sound of old orchestral recordings and some of the film scores I love. In the context of the album, the piece represents spring and flowers awakening after winter slumber.” An ambitious concept album and transmedia project that pays homage to the artistic spirit of the people of Iceland, Ólafs’ major label debut is a work of personal discovery, an exploration of the artistry, culture, and place that has shaped Gabríel’s identity. The record draws inspiration from the writing of one of Iceland’s great poets, Davíð Stefánsson, in melodic works for piano, ensemble, and choir with spoken word elements. The title “Solon Islandus” comes from Icelandic poet Davíð Stefánsson’s only novel, the tragic tale of a real-life Icelandic drifter, Sölvi Helgason. A composer with a longstanding love of film, Ólafs takes a “directorial” view of composition—creating motifs and themes to represent characters and emotions. While influenced by a particularly quiet and delicate Icelandic sound verging on minimalist, Ólafs is especially drawn to melodies. “Tchaikovsky, Morricone, John Williams, they can all write a good melody. Nothing really compares.” Working at his piano, Ólafs always begins with melodies, recording the results with voice memos on his phone. “I have maybe 200 of them,” Ólafs notes. For “Solon Islandus,” he tried to simplify his melodies as much as possible. “I wanted to match the poems, which are straight to the point, straight to the heart,” he explains.

Saint Christopher – “Winners”: A feel-good pop number leaning on the dreamy-nostalgic side with emotive vocals and a hooky chorus. The tune comes with a music video. This is a song from the debut LP, “Pop Shit,” of Saint Christopher, the project of Los Angeles musician Christopher Kalil (formerly of Arms Akimbo), due October 7. On his new single, Chris wrote: “On June 25th. 2021. I got a benign tumor surgically removed. They put me under and I don’t think I ever woke up. I had just lost my job, lost my band, lost my house, and now I could barely move. It was not an ideal situation. I tried my best to get better quickly. But patience works better than willpower. The only thing that would heal me was to lie down and wait. Sit with the pain and not try to change it. So that’s what I did. This song is about healing the right way. The hard way.” Saint Christopher is the musical persona of Los Angeles-based artist Christopher Kalil. The former frontman of indie-rock band Arms Akimbo, Kalil has since turned his attention to a new sound rooted in a  unique blend of pop, emo, folk, and soul. Mixing tongue-in-cheek religious iconography with commentary on modern culture and artistry, Saint Christopher has created a singular visual and sonic atmosphere that is both avant-garde and familiar. Thanks to some uniquely unfortunate timing, Saint Christopher launched directly into a worldwide pandemic and shutdown, and during that time he got to work — releasing a trilogy of mixtapes titled, “Always Feel The Same,” “I Learned To Kill My Brother,” and “When Heaven Calls I Won’t Be Home.” These mixtapes gathered over 650,000 streams and listeners across the world. Now, Saint Christopher returns with his debut album, “Pop Shit,” an expansive and diverse body of work that is at once an incisive commentary on the music industry, an earnest and heartfelt expression of the ups and downs of making a living as an artist, a shot across the bow of popular culture, and a genuinely great and un-ironic pop record.

Nick Leng – “Spirals”: A beautiful classical piano ballad with Leng’s falsetto taking an unexpected, dynamic, semi-psychedelic crescendo turn, ending in an almost Beatles-esque chaotic soar. This very creative song is the titled track from his forthcoming LP, “Spirals,” due July 22 via SOTA Records. Speaking on the new track, Nick wrote: “Some songs can be finished in a day, some take over a year or two. “Spirals” was definitely the latter. So much experimentation went into making this one. Countless nights staying up at night figuring out all the parts. ‘It’s my baby,’ I often tell friends when I show them this one. It’s very special to me because it has a lot of my personality in it, as well as a story of me finding love again.” When Nick Leng describes his music, he often refers to colors. The indie artist’s gift is an abstract type of synesthesia: a kaleidoscope of emotions manifested into enthralling sounds. “I like dissonance, tension,” he says, “but also, joy and beauty are so important to me.” The most stunning songwriting is at once beguiling and relatable. And Leng’s second album “Spirals” is just that: the untethered sound of Nick Leng falling in love with music again. “I feel much more in tune with myself,” says the South African-born, Los Angeles-based Leng. “In the past, I’ve battled this insecurity making music.” Classically trained as a child, he’s metamorphosed into a free-spirited musician who sees opportunities, not boundaries. But he’s also a natural-born perfectionist, which comes with some trappings. “I was stressed and had anxiety. But with “Spirals,” I reconnected with joy.” His listeners are beneficiaries of this, an artful journey entrenched in the many dualities in life. The title track is technically a ballad, written during the pandemic as he was falling in love. But it’s also a testament to life’s unpredictability, an intoxicating push-and-pull between piano-driven melody and explosions of fantastical, retro theatrics. The song is more about feeling than thinking, a melodic acid trip that beckons you to just let go. “It goes high and low,” Leng says. “It was such a necessary color. But there’s also humor in the end with all the wrong notes and jazz. That’s my personality.” “Spirals,” the album, is anchored by a pair of songs examining the everyday human condition. It was written just before, but mostly during, the pandemic—much of it while living in a trailer in LA’s Topanga Canyon, enveloped in nature.  “There’s a lot of romance in the record,” he says, beaming over the soulmate he met mid-Spiral. “I had these moments of peak love and joy and life. But also, like, that trailer park in Topanga eventually became rat-infested…”

Will Orchard – “Savior”: A heartfelt wide-eyed acoustic ballad with a melancholic singing and a subtle mix of sounds and instrumental layers. This is a song from “Go Home Instead,” the EP of Will Orchard (formerly LittleBoyBigHeadOnBike), out via Better Company Records. Speaking on the project, Orchard wrote: “’Go Home Instead’ is sort of a collection of odes to self-trust. The songs celebrate forgetting about the chaos all around you for a moment to just be with yourself. Every sonic choice on the EP was an attempt to create a delicate, nuanced space that reflected the tenderness, anxiety, and acceptance from which the songs emerged.” Recorded in Brooklyn in November 2020 in just three days with producer Allen Tate (San Fermin), the EP centers around delicately interweaving acoustic guitars, a colorful but understated backdrop for the melancholic, meditative subject matter of the lyrics. Orchard’s songs carefully look inward and discover a world of self-doubt, compassion, and quiet reassurance. While drums and bass are almost absent from the EP, the songs feature lush, playful string arrangements, beautifully Orchestrated by Ellis Ludwig-Leone and performed by Claire Wellin. His most exposed and vulnerable release yet, Go Home Instead finds Orchard settling into himself more than ever, while simultaneously treading new creative ground. Inspired by lo-fi artists such as Sparklehorse, Mount Eerie, and Frankie Cosmos, Will Ochard dove deep into his own creative process by self-releasing a collection of songs every week, until he had self-released 100 EPs and full-length records as LittleBoyBigHeadOnBike by the age of 20. Featuring four members of San Fermin, the EP displays a vulnerable, dynamic and lush collection of songs decorated with sweeping strings and peppered with lo-fi charm. It will be followed by dates throughout Texas, New England, and the West Coast with Jess Kerber.

Biblioteka – “Tick Tock”: An upbeat, hard-rocking, classic punk-infused track à la B-52s delivered with urgency. This is the single from Biblioteka’s forthcoming album, “Pretty Ugly,” due June 24 via Freakout Records. The album chronicles the band’s personal experiences during the pandemic and “Tick Tock” explores feelings of paranoia due to isolation and drug use. “Pretty Ugly” was recorded by Garrett Reynolds at Electrokitty Studio in Seattle, WA. Collaboration with Guy Keltner of Acid Tongue (who pushed the band to create more at a time when they were at a crossroads). Keltner is featured on guitar and backup vocals for “Tick Tock.” Biblioteka marries a blend of grunge, punk, and garage to create an array of upbeat punk songs and wistful rock music. Formed from the ashes of a disbanded project, singer/bassist Mary Robins and guitarist Hexx Rodriguez began writing for Biblioteka in the mid-2010s. The name pays homage to Robins’ Ukrainian heritage, and Hexx’s Mexican roots – a name with a unifying meaning through their respective backgrounds. Boisterous shows and high-energy performances have become the band’s trademark.

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