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B-Side & Badlands Premieres Brad Byrd’s single “1982”

The thread lines of any given Black Mirror episode speak to the here and now in beautifully tragic and brutal brush strokes. “Nosedive” examines our obsessions with being liked on social media; while the award-winning “San Junipero” scrapes up the layers of an afterlife fated to the cloud. Through each griping tale, the human existence, as rich and intoxicating it can be, is filtered through a sour, stunningly-harrowing lens. Los Angeles singer-songwriter Brad Byrd feels such a sharp blade of technology with his new single, “1982,” premiering today.

Raised Rowdy Premieres David Quinn’s “Gap Tooth Girl”

The thrill of the unknown can be exhilarating. Untethered by tradition, Americana singer-songwriter David Quinn hit the open road to find himself and rediscover his love of music. The highway swept out from under his feet, weaving through the mountains of Colorado down to the sweltering heat of Texas and then back out west to the coast of California, collecting images and bits of songwriting for what would become his debut album. Wanderin’ Fool is very much indebted to what he reckons was his quarter-life crisis, an adventure that not only reaffirmed his passion but gave him a new lease on life.

Jennah Bell premieres new video for “Can’t Be Too Careful” at The 405

Last month, L.A.-based indie-folk/soul/R&B artist, Jennah Bell dropped her new album Anchors and Elephants, featuring production from the likes of James Poyser of The Roots. The daughter of Ronnie Bell, a founding member of Kool and the Gang, Bell has used her influences and opportunities to create something that truly resonates. We’re thrilled to premiere the video for her track ‘Can’t Be Too Careful’. Below, Bell describes the creation and cinematic inspiration of the video, directed by her friend Mallory Talty and co-starring Jane Kim.

by Baby Robot Media

Billboard Shares EP and Interview from Kyle Daniel

“I kind of set out to do it the exact same way, with the exact same players, but it wasn’t that easy,” the Nashville-based singer, songwriter and bandleader tells Billboard. After an initial mixing session for the material “didn’t quite feel right.” Daniel took a step back and revised everything. Now, he notes, “I feel exponentially better about the record — sonically and, overall, from a song standpoint as well. We were a little more meticulous of what we were looking for this time.” That was a big difference from last year’s self-titled effort, which was recorded and fully mastered over the course of just 12 days.

Glide Magazine debuts new single from jangle-pop/indie-rock artist Justin Roeland

There are artists who, with each note they play, have the innate ability to get you to recall the sum total of every bittersweet feeling you’ve ever had. Justin Roeland is undeniably one of those artists, even when he isn’t playing a “sad” or “melancholy” song per se. There are moments on his new album Doomed to Bloom (out 4/5) where Roeland is actually celebrating a newfound sense of connection, but where the sweep of the music is so majestic, so breathtaking you can’t help but stop in your tracks, gripped by the sudden realization that everything we love is slipping through our fingers even as we hold it close and every cherished moment is something you’ll look back on wistfully. READ MORE…

The Good Graces

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Prose and Consciousness

Blending the intense folk undertones of Kurt Cobain with the jangly style of Phoebe Bridgers and boygenius, the Good Graces make ‘90s resurgence-style indie-folk music for real music fans. At the heart of the Good Graces is songwriter, singer and guitarist Kim Ware, with a cast of interchanging band members on lead guitar, banjo, mandolin, steel guitar and piano.

Prose and Consciousness (Potluck, 2019) is an exercise in honest songwriting. Consciously eschewing break-up songs, Kim Ware has penned songs tapping into her relationship with herself as a whole human being, with a dawning exploration of the meaning of life. The approach on this album is less atmospheric and more focused on the songs than the Good Graces’ previous work. Showcasing Ware’s open lyrical style, Prose and Consciousness tackles the challenge of accepting life’s uncertainties head-on.

Recorded in Marietta, Georgia at the Green House Studio, the album was tracked in four live sessions. The songs include a little banjo without being bluegrass, and a whole heap of acoustic guitar without being campfire folk. There’s pedal steel and harmonica as well, all in balanced proportion to indie rock beats.

“This album represents honesty. It’s really important to put something out that is honest and real,” Ware says. “I used to feel strongly that my songs needed to have a clear point, but we can’t always come away with a clear answer in life. These songs reflect that realization.” “Wants + Needs” is the centerpiece of the album’s style. With lyrics like: “I need to behave but I want to be bad. Do you ever get caught in between?” it captures that realization of life’s uncertainty in abundance.

Ware was given the title for the song “His Name Was the Color That I Loved” as a member of a songwriter’s group, with a challenge to write a song to it. “It didn’t start out being autobiographical, but then it turned out to be about my Dad, and times we would take a walk after a frost to look at the buds to see if they were still frozen, to see if the crops would survive. Writing this way pushes me to write outside my typical subject matter.” With lines like “nothing is certain except that we don’t know,” the Good Graces accept being okay with that as we come to terms with our place in the universe.

“Blood Orange Moon Shot” uses heartbeat-paced rhythms on acoustic guitar to set the tone before opening out into brighter sonic spaciousness. Pedal steel and guitar trade-offs create a hypnotic effect on “Story To Tell.” And “Three” offers harmonica in the folk-indie mix.

Synthesizing influences from Liz Phair to Lori McKenna and Lydia Loveless, Ware’s Southern twang and straightforward, confessional lyrical style are at the forefront of the songs, while the recording honors more recent production values. Punctuating songs with sonic upswells and subtle embellishments, this is folk music at heart with all the indie trimmings.

The layered musical arrangements are due to multi-instrumentalist Kim Ware’s musical sensibilities. Ware learned the drums as a child and performed in bands through her 20s, only turning to guitar after she was powerfully drawn to purchase one in Atlanta’s Lakewood flea market. It was a match made in heaven, with the songs fairly tumbling out in quick succession. After several EPs and the Good Graces’ albums Drawn to You (2013) and Close to the Sun (2014), a connection with Jonny Daly accelerated the musical pace and led to the more recent Set Your Sights (2017) and The Hummingbird EP (2018).

With Prose and Consciousness, the Good Graces are clearly branching into new territory both lyrically and sonically from their roots in the soil of their still-recognizable signature musical style.

“Ware maintains the heart-on-your-sleeve, emotional rollercoaster class of writing she proliferates on her previous albums.” – Noisey

“I really hope my midlife crisis sounds this good.” – No Depression

“…a knack for candid, unsweetened lyrics delivered with a winsome voice and a front porch relatability.” – Stomp and Stammer

“Filled with atmospheric Americana and lush indie-folk tracks…” – No Depression

“…subject matter and phrasing are clever, unique, and tell a story.” – Dopecausewesaid

“…delicate, warbling indie-folk and jangling roots pop.” – Verbicide