Miya Folick, Joshua Lewis, The Roof Dogs, Ashlynn Malia, Plastic Harpoons, Andrew Pitrone, Tatum Gale are the artists among these press releases for September.
Miya Folick – “Bad Thing”: Another new track by Miya – co-written with Mitski and Andrew Wells and co-produced by Gabe Wax and Wells – drenched in synth reverb and culminating in a dancefloor of regrets with cathartic effects. The Ruby Caster-directed music video coming with the song is also quite sexy. The new song is taken from Miya’s forthcoming EP, “2007,” slated for release on September 9 via Nettwerk. “The day I wrote this song, I woke up with a first-class, absolutely soul crushing hangover, after having slept for a couple fretful hours,” Folick says. “I wasn’t the kind of person who could hide a hangover, so I told Mitski and Andrew what was going on. We wrote this song. It’s about being stuck in a cycle of behavior that you can’t get out of, but it’s not bleak. There’s hope in the song. I always knew that I would get out of that cycle eventually.” The new track follows initial offerings “Nothing To See,” “Ordinary” and “Oh God,” her first new music in three years, and recent shows with Sir Chloe, Years & Years, Lucy Dacus, Band of Horses, Ian Sweet and more. “2007” is a document of an adult in progress that chronicles Folick’s struggle to grow up and reckon with what it means to leave her youth behind. In making the follow up to her debut LP, Folick eschewed some of the lyrical and musical obfuscations she layered onto Premonitions to produce her clearest and most confident work yet. Anchored by her singular voice, the songs on “2007” are emotionally straightforward, straddling a line between pop and something more experimental. Though she may not have it all figured out yet, “2007” is an honest snapshot of where she is now and what it took to get there. Additionally, Folick will hit the road in the U.S. this fall, with headlining stops in Brooklyn, Los Angeles, San Francisco and an extensive tour across the UK/EU with Tove Lo in October and November.
Joshua Lewis – “Heartbreaker”: A rather sparse orchestration behind distinctive guitar lines and deep vocal harmonies for an engaging track with nostalgic touches and a catchy tempo. Speaking on his newest single, Lewis wrote: “The first song I wrote and recorded was ‘Heartbreaker,’ I sat down with my guitar and this old casino 701 I had, I turned on the drum loop on the keyboard and the first thing that came out were those chords. I usually sing nonsense words/noises to a melody I like, and little by little certain words would pop out and stick. Lyrically at the time it didn’t really make sense to me, and I liked that. I liked saying fun lines that I didn’t think related to each other, and that it just sounded cool. It wasn’t until the recording was done that I felt somehow it did make sense, somehow it did tell a story without really saying it. That was the birth of the entire record, I realized I didn’t have to put too much pressure on myself to tell a certain story, the story would be what it was when you heard it. I basically built every song off of that premise.” This is the first single from Boise-based singer songwriter Joshua Lewis’s upcoming LP, entitled “Friction,” and due on November 11 via Earth Libraries. Early last year, Lewis shared his self-recorded debut album, “Too Soft,” and, in addition, Lewis has been praised for his work mixing the latest Built To Spill record, alongside Doug Martsch, Lê Almeida, and João Casaes.
The Roof Dogs – “Weather”: A bass-driven song with delicate guitar work and confidant, crisply delivered vocals, for a sonic-ascending and powerful track, reminiscent of the Velvet Underground at times. This new single by the Roof Dogs is a precursor for their debut LP, “Here You Are,” due Spring 2023 via Earth Libraries. The accompanying video takes you on a visual tour through the song’s lyrics, packing a surprise ending. Featuring crunchy guitars and dreamy vocals, this song is only a taste of what is to come from The Roof Dogs. A grandson overhears Grandpa’s morning newspaper article; A mother’s moral approval of a killer’s actions. On “Weather,” each of the characters are subject to the uncertainty and the uncaring nature of a day’s events. “I’ve become subservient to the weather” — the refrain is heard again and again over a steady motorik beat, with each return arriving more assuredly than the last, until finally, piercing guitars and the swell of trumpets embolden those words completely. “Weather” is a mid-tempo reflection on becoming numb to the world’s injustice and the misguided assumption that chaos is equal to freedom. Written during 2020 lockdowns, the upcoming album “Here You Are” leans into repetition, drawn out musical passages, and lyrical themes of isolation and fatalism. Musically, the album is less concise than previous releases. The songs are longer and are arranged around extended instrumental passages, with lyrics sometimes taking a backseat to the band’s playing. Keyboard instruments rise to new levels of importance, with almost every track including serious contribution from the synthesizer, organ, or piano. Despite these developments in style, characteristic Dogisms such as Sean Maher’s syncopated and groove-heavy bass lines remain.
Ashlynn Malia – “Lucky Guess”: Whispered, emotive and delicate vocals morphing into an anthemic production for a pop song with heartfelt lyricism on the edge of dance and R&B. This is the new single of 21-year-old Los Angeles singer-songwriter Ashlynn Malia who has been featured by many tastemaker outlets. Malia says about the track, “While making the song, I wanted it to sound like the feeling of keeping a happy face on while your heart’s breaking. The track doesn’t sound like it should have those lyrics. It sounds like it should be uplifting, but the lyrics tell a different story.” Ashlynn Malia has been working in the entertainment industry and quietly writing her own material since the age of 10, steadily refining and finding her own voice. She is a multi-faceted artist with an unparalleled vocal range and a captivating stage presence. She is inspired by artists such as Lorde and FKA Twigs, and sets herself apart with her deeply personal and honest storytelling through her music. Her debut EP titled “rather be alone” was released on June 25, 2021.
Plastic Harpoons -“Modern World”: A soothing melody sang with a strong southern twang (à la Kurt Vile) and backed-up by uplifting vocals harmonies, while the entire track effortlessly mixes Americana, indie-rock, classic rock with power-pop sensibilities. Vocalist and songwriter Taylor Casey said on the newest single: “This was the first song that I wrote during Covid. We were a couple of weeks into quarantine and I was pissed. I’m an extrovert and I couldn’t see my friends. I was stuck at home staring at a screen just to talk with them and spending too much time on social media. I decided that I needed to purposely make a change and start playing music more. I usually don’t like to write with other people around and my girlfriend was quarantined with me so I had zero alone time. I forced myself to get over it and this song popped out a day later.” This is the title track of Santa Barbara indie-rock outfit Plastic Harpoons’ forthcoming LP, out October 21 via Lolipop Records. Bear Erickson, who mixed and mastered the band’s forthcoming album, said: “In times when people think the world is ending, Plastic Harpoons demonstrate that the story is just getting interesting. With vocals front and center that have something clear to say, this band brings me back to the feeling I experienced from 60s and 70s rock bands. A genuine, honest, and artful take on life and all we go through. Blending the dual guitar, keys, bass and drum kit sound of American Rock & Roll, Plastic Harpoons doesn’t just hint at places we’ve been but transports me straight back to when music sounded like humans in a room together, jamming riffs that they all enjoy. Somewhere between the no-frills, don’t bore us get to the chorus sound of Tom Petty, the thoughtful arrangements and wild solos of queen, Plastic Harpoons have made one thing clear to me. My favorite thing about bands is following their journey as they grow and explore their art, and this first release from plastic harpoons has me hooked.”
Andrew Pitrone – “I Talk To The Wind”: A heartfelt track with a wide-eyed production, a sort of pastoral folk à la Donovan with flute, coming from Andrew Pitrone’s brand new four-song EP, “Aurora Montage,” out on Lolipop Records. The song comes with a music video. Speaking on the track, Pitrone wrote: “When your words seem to fall on closed ears and nothing you say seems to be heard, your words must be swept up to the wind. ‘I Talk To The Wind’ was written in an instance like that. Whatever the circumstances are, we have all had the feeling of being unheard when outspoken. Sometimes the rain is needed to clear the air and refresh the vision. There’s a great story behind the recording of ‘I Talk To The Wind.'” Andrew Pitrone’s “Aurora Montage” is not out-of-place in this new folk era but, rather, gently lends a lesson in lineage to a time when creativity abounded in the genre. When the head that expanded the farthest wore the crown. By today’s measure that leaves Andrew Pitrone as one uniquely positioned to revitalize and reinvigorate, at the very least decorate jubilantly, the path to folk and back. Of his songs he says, “I’m not sure who the songs are for, if not for me, [but] I hope they find their way to whomever they were meant for.”
Tatum Gale – “Viceroy’s Garden”: An immersive and buoyant electro soundscape with subtle touches of synths, percussions and Tatum Gale’s warm and soothing vocals, while the entire track can be reminiscent of a Vampire Weekend atmosphere. The song is a chillwave introspection on the knowledge inherent in nature and the answers we may find therein, and is the newest single off Gale’s forthcoming debut album, “Pretty Green.” The songs on “Pretty Green” began as reactions: against self-destruction, against the musical landscape young artists create in, against the callous indifference of the world at large, and in some ways, against the self. “’Pretty Green’ as a title is meant as an expression of hope that the Earth can, in fact, be saved, and that you must carve out your own ways to support yourself and those you love,” Gale says. “But it’s also an acknowledgment of the artist’s relative helplessness—especially when you’re just starting out.” Graced by collaborators like Laura Jinn (“Poison Darty”) and building around the basslines of Wyatt Shapiro (“This is starting to feel good again”), as well as the drums of Jackson Price (“Your Day,” “Chickadee Eye,” “800m”) and the barn-burning sax of Dexter Moorse (“800m”), Green runs the gambit of electronic subgenera, incorporating found sounds, big beats, and satisfactory grooves in a coherent yet versatile package. This debut effort will be independently released in May 2023.
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