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At various points in the decade or so that the Durham, North Carolina collective The Pinkerton Raid has been in existence, frontman Jesse James DeConto has been joined in the band by members of his family. It makes sense then that the band’s latest two-sided single draws inspiration from those close family ties.

DeConto, now joined in The Pinkerton Raid by bassist Jon DePue and drummer Scott McFarlane, penned the thunderous A-side “Cinnamon Sweet” as a nod to a playful nickname he has for his wife. The song warns any would-be paramours off trying to corral the dynamic titular girl: “Her curves are not for your caress/Eyes up, my friend, you know how this ends.”

The unspoken context derived from his wife’s ire about being catcalled and harassed on the street. “What is cinnamon?” DeConto asks by way of explaining the song. “It’s sweet and hot at the same time, burns your lips. I started thinking about that as a metaphor for this fire for justice in her, not willing to put up with it anymore and finding a voice to put these guys in their place when they objectified her. Watching my wife find empowerment in this #MeToo movement.”

As for the engaging B-side “Au Cheval,” the title came from a Chicago restaurant with a famously desirable cheeseburger. And the seize-the-day ethos (“Suck the marrow from the bone”) comes from DeConto’s adventurous younger brother, whose willingness to wait hours in line for said cheeseburger provided evidence of his joie de vivre.

“He’s just a person who tries to get the most out of life,” DeConto explains. “He enjoys a lot of things that other people might see as extravagant or risky or decadent. There’s not a burger in the world I would wait four hours for. It just captured who he is, that he would appreciate this special experience that other people wouldn’t have time for. It symbolized going after it, the decadence and the risk-taking, not wanting to miss out on the fullness of life.”

Fans of The Pinkerton Raid might notice a bit of a departure on these and other recent singles relative to the band’s last full-length, 2018’s Where The Wildest Spirits Fly, a mellower affair. The band’s upcoming album promises more of the ground-shaking, hip-swaying sounds found on these tracks, which were produced by David Wimbish.

“That record ended up being pretty folky and trying to fit into that early 70s pop-folk vein of people like Cat Stevens or Simon & Garfunkel, certainly the Beatles,” DeConto says of Where The Wildest Spirits Fly. “It was very openly and consciously trying to sound classic. I was happy with how that turned out, but I didn’t feel that pressure anymore. I did that thing. With this upcoming record, I think it was more let’s just see where each individual song takes us. Where it took is us is something that’s much more aggressive and more physical. Something that is dynamic in a more muscular way and not so much built on the gentle swells and recessions of folk music. It’s more rocking and more danceable.”

“I think that has a lot to do with playing for enough years together with Jon and Scott. We just developed more playing together. I think any time you’re a singer/songwriter, especially if you gravitate as I do toward classic melody, there are tried and true ways for a rhythm section to fit into that. But I think with this one, I let them push me a little more out of the singer/songwriter mold and more to what we want to sound like as a band. I also developed my interest and my skills as an electric guitar player during that time. It gave me more colors to paint with than I had before.”

Yet even as The Pinkerton Raid branches out with these exciting new tracks, Jesse James DeConto won’t forget his heritage. “I developed as a musician playing with my family in early adulthood,” he says. “That definitely has shaped me. I feel like my human identity is shaped by my relationships and that comes out in songs. This particular batch of songs has manifested that in a much clearer way. This is the fifth record that I’m making here. I’ve definitely written songs about family members before, but never a whole batch like this.” 

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Moments into Coma Girls’ self-titled debut album, on the jangly opening anthem “Car Alarms,” ringleader Chris Spino announces, as if through a megaphone: “And the world… The world is a giant casino.” 5 years later, the L.A. rockers are still making ambitious and colorful music, but reality has settled in. They’re offering Skyboxer, an extravagant yet complex EP that’s given up gambling and instead chooses to face life head-on.

Coma Girls formed in 2014 in Atlanta, and they’ve since come a long way and travelled through a myriad of sonic (and geographical) territories to get to where they are now. After Spino sold his belongings and moved to L.A. with a backpack full of clothes and a guitar, he was committing himself to music wholly as if in marriage. “Music is always the best therapy for me,” he says, though that’s fairly clear in his songs—the urgency and the vitality are palpable.

Their debut received praise from Immersive Atlanta for “show[ing] a surprising unity and identity,” and Skyboxer takes that to the next level. Featuring an all-star cast of Spino’s friends, the EP watches his ideas manifest through the talent of seven other musicians as well as his own: Spino himself on vocals, guitar & piano; Travis Popichak on drums; Marvin Figueroa on bass; Dan Gee on keys; Adam Laidlaw on guitar; Michika Skyy on backing vocals; and Connor “Catfish” Gallaher, whose talents can be heard on records from The Black Lips, Tim Heidecker & Weyes Blood, and more on pedal steel. Producing, engineering, and mixing is Tomas Dolas (Oh Sees, SASAMI, Mr. Elevator and the Brain Hotel).

“It really turns into a sonic circus,” Spino says of the EP. Though Coma Girls have never subscribed to a specific genre, its heart has always belonged to pop—Spino’s guilty pleasure. It explains the catchy, indulgent atmosphere of their self-titled LP; on Skyboxer, however, it’s not as evident. “I think this is an effort to bend that a little bit and push it into territory that gets stranger and feels bigger and explores different sounds,” Spino says, and then adds: “but it also retains what Coma Girls has always been about—pop songs.”

The country twang comes through in songs like “Pasadena” and “Wedding Roses.” Spino’s love for folk spans all the way from Bob Dylan to Conor Oberst, and these wistful ballads reflect the melancholic nature of the genre as the lyrics reckon with the complications of being human. “I had a lot of depression sink in,” Spino says about his time spent travelling back and forth between his new home in L.A. and his family in Georgia during the making of this EP. There were funerals, heart attacks, old lovers, unsettled issues—a whirlwind of serious shit that transformed Coma Girls from a carefree party into an introspective journey. The songs are still striking—and when Spino describes them, he can’t stop using the adjective “big”—because the emotions are colossal, and the energy intense.

With his orchestra of friends, Spino was not alone in his musical ruminations. “We were able to explore each song differently,” he says, “but give it a common thread as well.” This collective way of creating yields a diverse, powerful piece of art that anyone can listen to or relate to. “It’s supposed to take you places,” he says. “It’s more like a form of escapism.” Skyboxer offers nearly 17 minutes of a safe hideaway from reality, where the listener can drift through a new, all-encompassing world.

The upside to the national lockdown is that it’s forced everyone into a meditative state, which Spino appreciates greatly. With clean time and therapy, he became more articulate and ready to create than ever. “It’s not conducive to my creativity to be up until the sun comes up every day,” he explains. “I’ve done more in the past six months than I have in the past five years. I’ve been insanely productive.” After this EP, there’s a lot more to come from Coma Girls.

“With its cutting lyrics and gauzy layers of sound, “Paul Pretzel” is at once wound and bandage. … Spino’s vocal delivery walks the razor’s edge between genuine devastation and sardonic self-deprecation.” – Spill Magazine

“The bar rock album for the person who doesn’t like bar rock, the pop album for the person who doesn’t like pop.” – Immersive Atlanta

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Austin, Texas indie-rock/garage-punk outfit Parker Woodland is a band born both by chance and by calling. What began with neighbors jamming in a small church soon evolved into a powerful, sweat-soaked live experience in packed rock clubs. At the center of it all is songwriter/vocalist/bassist Erin Walter, a Unitarian Universalist minister and activist in the Girls Rock Camp scene, unabashedly expressive frontwoman for whom Parker Woodland represents the realization of a lifelong dream.

“A big part of Parker Woodland is about creating community, everybody jumping up on stage together, grinning, flailing,” says Walter. “Having a crew to make music and art with is life-giving. I’ve always dreamed of songwriting, and something about playing with these friends, at this time, finally brought it out of me, fiercely.”

Parker Woodland is in the midst of a unique 50-city virtual tour (including churches, a peace benefit with Willie Nelson, a women’s conference, and get-out-the-vote events), preparing to release their debut EP, The World’s On Fire (and We Still Fall In Love). The four-song collection pulses with life-affirming energy, fuzzy riffs, and catchy, shout-along vocals. Though Walter’s lyrics electrify the soul of the EP, Parker Woodland remains a collective effort. Dan McMonigle, a Berklee music grad with a haunting guitar sound, and drummer/DJ/artist Ralph Cutler, a New York transplant, round out the group, bringing a mood and musicality that complement the urgency of Walter’s messages. Prior to the pandemic, various Austin indie luminaries would join Parker Woodland on stage for “The World’s on Fire” finale at each live show.

To record their debut EP, the trio teamed up with renowned producer/engineer Jonas Wilson at his studio The Pink Room and cut the whole record in a single day in August 2019. “This EP is a ‘seize the moment’ record,” says Walter. “We recorded it about a week before we played our first show, so it really captures the moment that Parker Woodland was born.”

The songs have taken on deeper meaning for the band and its fans in light of the epic trials of 2020. Thematically, The World’s On Fire (and We Still Fall In Love) explores the paradox of finding love, joy, and purpose within a crumbling social framework. The EP’s title track tackles these concepts head-on, with Walter rallying against forces of division, proclaiming, “But there’s one thing I know, it’s this / opposites do coexist / and the last thing they’ll ever kill is the love.”

Elsewhere on the record, the group confronts death as “Later Than We Think” and “Hit By A Bus” reflect on the love we give to ourselves and others in the face of our own mortality. “Later Than We Think” is inspired by the last words between Walter’s father and his sister: “It’s later than we think, so love yourself.”

“Hit By A Bus” imagines calling up an old friend, only to be told they have died. The chorus — “If I die tomorrow / please just don’t forget to sing” — is an admonition to live life to the fullest and share it with others, a sentiment at the center of Walter’s humanist ministry. “One of the things I believe in very strongly is that we should let each other in,” says Walter. “Literally: let people into your home, or at least your yard with a mask on these days. And figuratively: share your truth, your struggles.” The video for lead single “The World’s On Fire (and We Still Fall in Love)” demonstrates this ethic to DIY perfection. Shot/directed by Austin artist/musicians Jazz Mills and Cole Burris, it immortalizes the last party Walter threw in her house before the pandemic, full of adults and kids dancing, singing, playing Twister, making pancakes, and covering the house in bubbles, wigs, and glitter. “I watch the video now and I suppose I could feel sad, since we can’t all be together right now,” Walter says. “But what I really feel is grateful and determined, like I know what we’re fighting for.”

Walter laments that it can be a struggle to explain her dual identity as a reverend and a rock musician. But it was partly her work as an interfaith chaplain that gave her the confidence to finally front her own band, after years of playing bass in other people’s projects. “When you go to seminary, you really dig deep into your beliefs, what you want to say, what you’re here for,” says Walter. “This band reflects that — the combination of Dan’s, Ralph’s and my shared love of indie, punk and even pop and country music plus my mission to inspire and care for people. When you write a song, that’s often where you discover what you really believe. I believe life is short, beautiful, and hard, and we will get through it together.”

“Cathartic…fast and optimistic.” – BTRtoday

“Songs about finding joy in the midst of world-crumbling chaos. Who knew it would be so fitting?!” – KUTX

“Propulsive indie-rock.” – Austin American Statesman

“Sounds like something Joan Jett might have bashed out in a jam session with Fountains of Wayne.” – Columbia Daily Tribune