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The Good Graces – 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 core band member Jonny Daly contributing guitar, and a cast of interchanging band members on banjo, mandolin, steel guitar and piano.

Prose and Consciousness 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.

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When Words Flew Freely

Norwegian-American singer/songwriter Signe Marie Rustad was born and raised on a farm in central Norway, where the forest, river and fields have filled her with a deep calmness and never-ending restlessness. As a result, many of her songs carry within them a search for a balance between these elements.

After catching the attention of the growing americana-loving audience in Norway with 2012 debut Golden Town – the title a reference to her mother’s hometown Golden, Colorado – Rustad secured her first Spellemann (Norwegian Grammy) nomination with critically acclaimed second album Hearing Colors Seeing Noises (2016).

On upcoming third album, When Words Flew Freely, Rustad returns with the powerful, elastic voice and poetic lyrical style that has earned her a loyal fan base in Norway. The album’s nine tracks revolve around traumatic life events, and the feeling of emotional stagnation, with a severe writer’s block as a result. On the first single from the album, Rustad says:

“’Die With Your Boots On’ was my writer’s block recovery, written parallel with recovering emotionally from a traumatic time in my personal life. The song basically addresses how music can save your life, and it was initially written as a homage to my booking team and all the great music they’ve brought on to stages and played during their DJ-sets around Oslo. ?’So the night came with darkness, but there’s plenty of light in a pure, golden, heartfelt voice that breaks the ice’: I’m trying to describe the magic that can happen when you’re in the audience at a concert, or just someplace where music is being played – and maybe you haven’t had a very good day – and then a voice, an instrument, the words of a song or just something that you can’t quite pinpoint in what you are hearing grounds your feet, creates this warm feeling inside your chest and truly makes you feel like everything is going to be OK. The phrase ‘Die With Your Boots On’ is kind of an alternative way of saying ‘don’t give up’. Despite anything you may be going through, don’t ever give up. Don’t take those boots off – don’t stop walking onwards.”

Together with producer Kenneth Ishak (of Norwegian cult-band Beezewax), and with backing from new label Die With Your Boots On Records, Rustad looks to build on the success of her previous albums, with a new excursion into free-flowing, folksy, cosmic music.

When Words Flew Freely is scheduled for worldwide release on November 1st, with single “Die With Your Boots On” out May 31st, and second single “Something Easier” out on September 27^th.

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“With valiant lyrics, poignant beauty in song, revelry in harmonies, Signe takes you up higher, to a plateau of notions unheard of. A singing reference for what had been in her life’s calling, to the road that seems bumpy at times, but so very rewarding.” – Comeherefloyd

“Signe Marie Rustad’s second album is an obvious Spellemann [Grammy] candidate.” – Dagens Næringsliv

“A record that meets all expectations. […] The music is as delicate as falling leaves, the verses brush the listener like a breeze through the forest.” – Dagbladet 

“To paraphrase John Prine on Iris DeMent: Listen to that Signe Marie Rustad, it might be good for you!” – Popklikk

“It’s rare to hear musicians with such a clear vision of, and most importantly the ability to realize, the music that lives in them.” –Musikknyheter.no

“When this sequel now comes soaring, it’s almost impossible not to be blown away.” – VG

“The voice rarely lets go, and penetrates the desert landscape like a fresh stream. […] There are lots of landscapes in the music – landscapes at night. It might be a village by Glomma, or a an American small town in Colorado.” – Vårt Land

“At her best, Signe Marie Rustad combines the British folk scene from the 70’s with American country expertly.” – iTromsø

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Ride With You

The High Divers have been covered by Paste, Performer Magazine, KDHX, practically every outlet in their hometown of Charleston and are consistently named one of the best bands in South Carolina. Now, with their new Sadler Vaden-produced EP, Ride With You — an emotion-clad and wholly triumphant project — this four-piece are poised to break out on a national scale.

“Sadler wanted us to really focus on songs that were entwined with our lives and real experiences, which got us writing from a much deeper level. There are songs about losing friends to suicide, trying to live with gratitude while struggling with PTSD, abusive relationships, busting out of your close-minded hometown, and finding peace falling in love with yourself and someone new. We would play Sadler a bunch of songs, and then we’d play one that was really close to our chest, and he’d say “Why didn’t you play me that one first, that’s the song!” We were hiding from songs that felt too vulnerable and raw, while that’s exactly what he was looking for.”

“I’m still kickin’!” frontman Luke Mitchell howls with guttural intensity on the closing track. “Still Kickin’” is the snow-capped peak of this new batch of music and the statement piece of the band members’ lives in this moment. “It happened so fast / Do you understand how lucky you are to be sitting here?” he provokes the listener to engage with their state of being, as well. The air slips out of his lungs in hurricane gusts, but it’s his conviction that is especially moving.

The raw, unsettling realization that life could slip from your grasp any minute is the bedrock of the EP, which was recorded at East Nashville’s Jeremy Ferguson-owned Battle Tapes Studio. The band, consisting of the married Luke (vocals, guitar) and Mary Alice Mitchell (keyboards, vocals), Julius DeAngelis (drums) and Kevin Early (bass, vocals), learned that hard lesson nearly two years ago when their touring van was T-boned by a semi-trailer truck. They rose out of the wreckage with broken bones, deep scars, and a new perspective on human existence.

Swelling with melancholy, the title cut “Ride With You” mourns that empty feeling born out of small-town life and needing something more reinvigorating, while “Stick Around” is an urgent call-to-action in the wake of numerous friends falling prey to suicide. “If you’re hurting, your house is haunted / You just need a friend around,” Mitchell beckons, his hand extending in an enveloping token of compassion.

Out of Hilton Head Island, the band members played in various entities, including multiple cover and original bands in their youth, but wouldn’t link up as a proper collective until 2014. With Mary Alice calling upon her classical piano training, she would seamlessly add a whole new element that would perfectly compliment Luke’s songwriting sensibilities, where her gifts have never been more suited. Her voice, a force of its own, is a perfect counter-balance to Luke’s woody timbre.

Mary Alice and Luke tied the knot two years ago, and that romantic entanglement allows the band to display even more heart and tremendous amounts of sacrifice. “Being married and out on the road can be challenging, but we make a good team and have a good support system in place. We are each other’s creative counterpoint, and we’re constantly working. We have to remind ourselves to try and have a day off every now and then, to do normal ‘married couple’ things.”

Ride With You was born out of struggle, but across these six tracks, there emerges warmth, love, understanding, and freedom. “Having to do the thing you’re most afraid of for your job is hard. We’re a little more nervous than we used to be driving from city to city. It’s really put touring into perspective for us. We always took it seriously, but now, it’s much more so. We always hold it in higher regard,” says Luke. Mary Alice chimes in, “We try to give it our all on stage because it’s like…what if I don’t get to do this tomorrow?”

The High Divers have never sounded better. Even as they are forever haunted by that fateful day, their spirits are intertwined together in a powerful new way. This new EP then underscores their courage, determination, grit, and ability to forge an even brighter future against all odds. Working with Vaden as a producer helped them find a sound that they are excited to share as they continue to tour the country.

“Working with Sadler was one of the highlights of our creative lives, and his ability to cut through the bullshit and get at the heart of the song was so refreshing. This is some of the best work we’ve done as a band, and Sadler was there in the trenches with us the entire time.”

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“Contrasts haunting lyrics about a mutually-abusive relationship with singalong choruses and spaghetti-western guitar tones.” – Rolling Stone

“Faaaaaaaaaaaaaaaahk…incredibly fantastic…cuts right to the heart.” – Red Line Roots

“An emotion-clad and wholly triumphant project — this four-piece are poised to break out on a national scale.” – Glide Magazine

“As frontman Luke Mitchell explains it, the song was inspired by a terrible wreck the band had while touring through Arizona…The crunchy rocker finds triumph in the band’s trying time.” – American Songwriter Magazine

“Should be on every Americana music lover’s ‘must-have’ list.” – Americana Highways

Publicist: Rachel Hurley

“Rachel and Baby Robot Media took such good care of us by getting us the coverage we felt our music deserved. Rachel’s professionalism, and constant contact kept our team on the same page for the entirety of our campaign and knowing that we had the folks at Baby Robot working on our behalf was quite a relief. We can’t thank Rachel enough for believing in our music, and helping us to cut through the noise, all while considering our busy touring schedule and odd hours. Rachel Hurley is a badass!”  – Luke Mitchell