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Los Angeles’ Wyatt Blair can’t stop. A physical manifestation of inertia, Blair has been a musical object in motion since his father taught him to play the drums at 13 years old. In the years since, he’s spent his time playing in numerous bands, producing bands albums, releasing four self-produced solo albums, and founding the LA-based record label Lolipop Records, through which he helped break a new wave of young garage rockers out of their neighborhoods and into the world. His previous releases garnered praise from Pitchfork, The FADER, Spin, Uproxx & more, and led to support slots alongside acts like The Growlers, Broncho, Screaming Females, Peach Kelli Pop, Cosmonauts and more. Now, after a tumultuous year and relocating from Los Angeles to Flagstaff & back again, Blair is taking some time to help himself the only way he knows how: Channeling his struggles into massive arena rock/power-pop songs on his new EP For The First Time.

For The First Time, out December 6th via Lolipop Records, comes on the heels of last December’s Inspirational Strawberries, Blair’s second LP of 2018 that found him indulging his ’60s psych, ’80s pop, ’90s Brit-rock influences in equal measure to stunning effect. Recorded in his home studio in Flagstaff, Arizona, For The First Time was originally conceptualized as a full-length LP before Blair decided to cut it down, with the remaining four tracks stripping away the varnish that coated his 2018 releases in favor of raw, emotionally vulnerable power-pop. “I think maybe I was trying too hard in the studio on my last couple of albums to add more instruments on a track, or cut things up more,” he says. “With For The First Time, I just wanted to write some straight pop-rock tunes.”

Much of For The First Time deals with Blair’s struggles with mental health throughout his life, his recent experiences with medication, and how music helps him process his emotions. “Writing music is a compulsion for me — it’s my outlet,” says Blair. “Everyone has an outlet, some way of combating mental and physical conflict in their life. Music is my creative gym, honestly, it’s the way that I work through my neuroses. It’s a compulsion in the sense that, I need to do this for my health.” The most poignant example comes from the EP’s closing track, “Fear To Fight,” a strutting 80s-pop empowerment anthem that emphasizes the fear of taking the steps to improve mental health. “All these fears, the fear of opening up, fears of dying, fears of upsetting someone, fears of losing control, the fear of talking to a therapist or doctor about your issues… I’m just saying ‘fuck all that’, we’ve all got that fear built in to us, but we’ve just gotta keep fighting the fight of life in order to get somewhere at all.”

Elsewhere on the EP, Blair explores crises of identity and emotional vulnerability atop his specific style of deceptively upbeat guitar pop. On “Pop Your Heart Out,” Blair encouragingly sings of wearing your heart on your sleeve and being unafraid to be yourself. Meanwhile, on “(I’ll Keep) Searching For You” he grapples with his past and future, backed by layers of shimmering synthesizers, crunchy guitars, and a thumping rhythm section. “It’s about self-reflection, always trying to find who you really are,” he says. “I know I’ve been through some shit, I know depression & anxiety have affected me in lots of ways, but I’m still searching for myself after it’s all said and done, and part of that trust in yourself & the world around you is in the constant searching, and I won’t stop.”

“Like his garage rock contemporaries White Reaper, Blair mixes in elements of arena rock and glam rock to his sound, highlighted by the melodic guitar leads and blazing guitar solo. While entirely modern, it’s not hard to envision kids in the ’80s, wearing acid-washed jeans, pumping their fists along with the anthemic verses and chorus.” – mxdwn

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Whether you know it or not, you’ve probably seen and heard Gus Seyffert. For the past decade, he’s spent his time on the road with Sia, Norah Jones, The Black Keys, Beck, Roger Waters, & more, performing in sold out arenas as a hired gun. In between tours, Seyffert has honed his skills as a producer, working in the studio with artists like Michael Kiwanuka, Beck, Jenny Lewis, Dr. Dog, Bedouine, James Supercave and more. Now, after years of working behind the scenes, Seyffert is taking the spotlight for himself. His brand new 7-inch, “Hold On” b/w “Make It Out” showcases Seyffert’s songwriting prowess and ear for effortlessly catchy melodies. 

Though the new singles are the first tracks to be released under Seyffert’s name, he’s no stranger to writing and recording his own music. For years, he performed and recorded under the name Willoughby. With these tracks Seyffert decided it was time to present himself as a solo artist. “The lack of distance that comes with using my name as the project name makes me a little uncomfortable and very precious,” he says. That extra pressure is really motivating—even if my music’s not for everyone, I want it to be well-crafted enough to be respected.”

“Hold On” is a mesmerizing, downtempo psych-folk track that deftly navigates the minutiae of modern romance and communication, while Seyffert’s beautifully whisper-crooned vocals manage to impart both heartache and adoration in equal measure. “Make It Out,” meanwhile, finds Seyffert pulled in opposite directions, struggling to reconcile with his vices, his personal life, and his desire to grow. “It’s about getting away from yourself, “ he says. “Just wanting to change yourself, or your job or relationship or habits, but coming to that realization of ‘As much as I’d like to do that, I’m probably not going to.’”

Seyffert began studying music and production as a child growing up in Kansas City, MO, and began playing professionally at 15 years old. Music quickly became his life, in no small part as a response to his struggles with dyslexia. “I went to a performing arts school that had a recording class,” says Seyffert. “Since I’m dyslexic, I was really terrible in all of my other classes, but music made sense to me. So I just took all the music classes I could and learned how to work with 8-track tape machines and pretty much immediately started building a home studio.”

At age 17, Seyffert left Missouri for Los Angeles to study jazz bass at California Institute of the Arts. Once in the city, he expanded into different styles of music; meeting and working with the high-profile musicians and producers that would eventually lead to a full-time touring schedule. In fact, Seyffert’s success as a sideman delayed his own artistic endeavors for years. “For the past decade or so I’ve been trying to do my own thing, make my own records,” he says. “But when you get offers from folks like The Black Keys and Beck and Roger Waters, I mean, You don’t say no.”

After being sidelined by his own success, Seyffert is now establishing himself as a songwriting force to be reckoned with, a producer to be sought after, and a performer capable of holding his own alongside legends. On “Hold On” and “Make It Out,” Seyffert’s talents are abundantly clear. It’s evident there’s nothing standing in the way of Seyffert’s solo career if he wants it. 

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Alan Barnosky // Lonesome Road EP (Jan 17)

Durham, NC (by way of Michigan) flatpicking guitarist and songwriter Alan Barnosky expertly crafts Americana songs that detail the life of a modern troubadour. His critically acclaimed debut Old Freight, which was noted as being “a fantastic album, full of clever guitar work, excellent vocal performances, and punchy arrangements“ put him on the map as an artist to watch. Since its release he’s been a festival and showcase regular, appearing at the 2018 IBMA Songwriter Showcase, receiving an honorable mention at the Telluride Troubadour Contest, showcasing at the Southeast Regional Folk Alliance conference, and opening for genre mainstays The Steel Wheels, Robbie Fulks, and Charley Crockett. In addition to his work as a solo artist, he has performed with bands at the IBMA World of Bluegrass, Grey Fox Bluegrass Festival, and Bristol Rhythm and Roots. 2020 sees Barnosky poised to build on this momentum with the release of his sophomore work, Lonesome Road, an EP that spotlights instrumental prowess while remaining true to the honest songwriting, authentic delivery, and no-nonsense production for which he has become recognized.

Lonesome Road begins with a driving guitar rhythm and shuffling fiddle, opening out into blistering layers of solo trade-offs between mandolin, fiddle, and guitar. On the title track, Barnosky delivers the perfect high country, old-timey vocal tone as he advises: “If you ever get trapped, if you get unlucky, get on down that lonesome road.”  

“It’s generally bad advice to run away from your problems,” he laments with a smile. “But once in a while a shift truly is needed and it’s time to cut your losses.”  

“Might Be a Call”– a standout track — was inspired in part by the music of genre luminary Bill Monroe, an influence made clear in both the song’s lyrics and minor-key, modal arrangement.  “A lot of Bill Monroe’s songs have themes of loss,” Barnosky reminds us. “I was listening heavily to Monroe when I wrote ‘Might Be a Call’. It is about somebody who’s gone but you still feel their presence, and there’s a palpable uncertainty there.”

The more tongue-in-cheek “Beer Cans and Quarters” uses tropes from classic country songs to tell the story of a lost soul rambling for a new home after hard times. Barnosky recounts that a friend had once used the phrase “beer cans and quarters” and the song idea immediately struck. He penned the lyrics and melody shortly thereafter. While not autobiographical, anyone who has experienced disappointment or struggle can identify with its themes.

Barnosky was compelled to face and conquer some testing medical challenges in the early stages of the EP’s production. An enigmatic physical malady caused vocal damage and he wasn’t able to sing — or even speak comfortably — for several months. The band had no choice but to put the project on hold, and Barnosky had to face the possibility that his singing career might be over. Luckily, with time the condition receded and he was able to resume recording in late 2019.

This challenge strengthened the tone of resolve within Barnosky’s songs, and the EP is all the better for the experience. This acoustic masterclass was recorded at Arbor Ridge Studio in Chapel Hill with Jeff Crawford serving as lead engineer. Performers on the album include fiddler Jack Devereaux (formerly of Town Mountain), Robert Thornhill (mandolinist for Hank, Pattie & The Current), and bassist David Kinton.

A lifelong musician, Barnosky began playing bluegrass in his late teens as an upright bassist and only started singing and writing in his mid-twenties. “I moved from Michigan to North Carolina in 2012, and fit my most essential belongings into a 4-door car,” he recalls. “Unfortunately an upright bass would have taken up just about the entire car, so that got left behind – but I did squeeze in an old acoustic dreadnought guitar.” Then, living in a new place without a bass or bandmates to play music with, Barnosky starting flatpicking, writing, and working on his singing voice. A couple of the songs on Lonesome Road were first penned during that period.

An avid backpacker and cyclist in his spare time, Barnosky grants that a lot of the album was inspired by nature and his extensive time outdoors. A two-month solo bicycle tour quite literally served as the material for the title-track “Lonesome Road.” His new EP channels this experience–the life of a modern hobo making his way down the road to see what the next moment brings.

Barnosky will be on tour throughout the coming months in support of Lonesome Road. 

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“A riveting composition of Appalachia and heartfelt folk. Barnosky delivers a kindred mix of Ralph Stanley and David Rawlings, an earthy joy where pioneering meets the modern.” – Glide Magazine

“His lonesome bluegrass-tinged folk sound is perfect for these haunting times. The subtle harmonies on the chorus seep through to your soul. If you’re looking for a sound that’s as fresh as these first few mountain snows, give Barnosky a spin.” – Ear to the Ground

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Jen Starsinic // Bad Actor

From the dreamy, confessional indie-rock that fills her newest release, Bad Actor, to the bluegrass and old-time roots music that soundtracked her upbringing in small-town Pennsylvania, Jen Starsinic has spent much of her 20s in a whirl of evolution. She’s been a frontwoman, a side musician, a songwriter, and a top-tier instrumentalist. As her music has deepened and diversified, so has her understanding of her own emotional makeup — an understanding that’s been shaped not only by the onset of adulthood, but also by her time taking care of a sick parent, navigating the twists and turns of modern-day romance, making a new home in Nashville, and taking a hard look at her anxieties. Bad Actor shines a light on that period of personal and musical growth, reintroducing Starsinic as a songwriter whose folk roots have blossomed into something bigger, bolder, and far more amplified. 

“I grew up playing fiddle in bluegrass bands,” she says. “In my heart, I’ll always be a folk writer, because what that means to me is a musician who writes truthfully about her own experience. But I also love weird pop music, indie-rock, and dream-pop. I’ve always wanted to be in rock bands. The opportunity had just never been presented before…so I made my own.”

Starsinic began writing the bulk of Bad Actor‘s songs in Nashville. She’d moved to town in 2014, having already cut her teeth in the old-time music communities of Pennsylvania and West Virginia. A graduate of the Berklee School of Music, she had also earned her stripes as a road warrior by joining the touring lineups of several bands, including the David Mayfield Parade. Moving to Nashville gave Starsinic the chance to concentrate more on her own music, and The Flood and the Fire — her critically-acclaimed debut as a solo artist, featuring cameos by icons like Molly Tuttle (IBMA’s Guitarist of the Year) and clawhammer banjoist Allison de Groot— was released the same year she relocated to Tennessee. As she began to settle into Nashville life, though, she found herself drawn back to Pennsylvania, where her father was busy battling a life-threatening liver disease. She became one of his primary caretakers, traveling back and forth between her childhood stomping grounds and her new home. It was difficult to find time for herself — time to focus on her own mental health — when she was investing so much effort in being somebody else’s support system.

Something needed to change. Starsinic began going to therapy, examining her past relationships, and experiencing an adult coming-of-age, while also updating her own art to reflect those changes within. The rustic, rural sounds of her musical roots began giving way to something more guitar-based, inspired by powerful female acts like Sharon Van Etten, Phoebe Bridgers, Courtney Barnett, and Alvvays. Written and recorded over a four-year period, Bad Actor is a reinvigoration of her sound, mixing Starsinic’s swooning, woozy vocals with synthesizers, distorted electric guitars, glittering waves of reverb, and autobiographical lyrics. The effect is reminiscent of War on Drugs’ expansive shimmer, and the studio band — including keyboardist Ben Alleman (Jenny Lewis, Grace Potter), guitarist Paul Niehaus (Calexico, Justin Townes Earle), and rhythm section/co-producers Parker McAnnally and John Wood, both of The Prescriptions — pairs Starsinic with a number of sympathetic musicians who, like her, have logged time in acclaimed acts. They do great work together. “Cold” is a coming-of-age heartland rocker that barrels forward at a steady clip, while the mid-tempo title track makes room for gauzy layers of pedal steel and ethereal keys, punctuated by lyrics about Starsinic’s struggle to a live more authentic, meaningful life. “Did the storm make you lonesome, or are you stronger?” she sings, weighing the pain of past trauma against the perspective gained from weathering the struggle.

“This record is really about learning to face ingrained, self-destructive habits with compassion, understanding, and genuine curiosity about where they came from, accompanied with accountability,” she says. “It’s about learning to admit to yourself that you’re not being who you really are, and allowing yourself to change.”

Those personal changes are reflected in the evolution of her music. Nowhere is Jen Starsinic’s artistic growth more evident, though, than on the EP’s final track, “Foreign Thing.” Originally released as a straightforward folksong on 2014’s The Flood and the Fire, the tune receives a musical makeover on Bad Actor, dressed up with an anthemic, cathartic arrangement that sweeps and soars. The idea to re-record “Foreign Thing” arrived one night in Nashville, after watching a friend’s rock band cover the song at a local show. Struck by the group’s new interpretation of a familiar track, Starsinic chose to revisit it in the studio. The result is an atmospheric recording that wraps up the EP on an appropriate note, nodding to the songwriter’s folky past while also showcasing her adventurous present.

“It’s a nice recap,” says Starsinic, who co-produced the album at The Smoakstack in Nashville. “It’s a revisiting of an older self.”

Meanwhile, the empowering themes of Bad Actor parallel Starsinic’s work with Girls Write Nashville, a non-profit organization that she co-founded in 2017. Launched as a mentorship program for teenage girls, Girls Write Nashville has provided creative musical experiences to almost 100 young female artists since its inception, encouraging those girls to identify and unleash their creative voices. It’s an organization rooted in many of the same tenets that fuel Starsinic’s own art, and it’s given her the chance to encourage the unabridged artistic development of the next generation of women. 

She leads by example with Bad Actor, a record that is equal parts coming-of-age soundtrack and personal battle cry from a songwriter who refuses to be defined by her past work. There’s not a single fiddle part here. Instead, there’s a lush, newly-expanded sound from a musician once hailed as the next big voice in folk — and despite the title, Bad Actor is pretty damn cinematic.