Tag: New music

The Seldom Scene Reimagines a Classic: A Bluegrass Twist on Bob Dylan’s ‘Farewell, Angelina’

The Seldom Scene gives fans a new take on a long-beloved Bob Dylan Song. Photo: Jeromie Stephens, used with permission.

Bethesda, MD -This month, The Seldom Scene released their delicate and masterful version of the timeless classic “Farewell, Angelina.” Written by Bob Dylan for his widely-lauded album Bringing It All Back Home (1965) and famously recorded by Joan Baez, the haunting waltz is still being resurrected six decades later. And not just by US-based songwriters like Jeff Buckley and John Mellencamp—the song has been carried through France and Italy (“Adieu, Angelina,” “Addio Angelina”), India, Sweden, and beyond. The Seldom Scene’s elegiac interpretation glides through intimate conversation between words and strings. (IV PR, 2025)

“This song, written in 1964, is another gem by Bob Dylan,” says Seldom Scene bassist Ronnie Simpkins, whose daughter insisted the band give the song their own treatment. “I’m glad we listened!” he laughs. Basing their arrangement more on Mellencamp’s 1997 Rough Harvest version than the original, the 53-year-running quartet originally from Bethesda, Maryland, gives “Farewell, Angelina” space to breathe and blossom. The track opens with Ron Stewart deftly picking the guitar in duet with Bluegrass Hall of Famer Dudley Connell’s rich, soft voice. One by one, dobro, fiddle, mandolin, and acoustic bass add subtle new layers to the story without overtly announcing themselves. The Seldom Scene’s poignant arrangement gives depth and texture to the song’s surreal poetry.

“Farewell, Angelina” is the latest single from the Seldom Scene’s forthcoming album, Remains to Be Scene—out March 14 on Smithsonian Folkways. Continuing their long-running legacy of pulling gems from outside of and within the bluegrass canon and reimagining them in what is now the Seldom Scene’s signature style, Remains to Be Scene features an interpretation of Jim Croce’s “A Good Time Man Like Me Ain’t Got No Business (Singin’ the Blues),” a pair of songs by Bob Dylan: “Walking Down the Line” and, of course, “Farewell Angelina,” while also revisiting a fan-favorite, “White Line,” from the iconic Live at the Cellar Door album and paying tribute to their inspirations, Flatt & Scruggs, with “Hard Travelin’.”

Americana UK shared an early listen. Today, fans can stream or purchase “Farewell, Angelina” and pre-order or pre-save Remains to Be Scene ahead of its March release here.

Remains to Be Scene tracklist:
Last of the Steam-Powered Trains
Crossroads
A Good Time Man Like Me Ain’t Got No Business (Singin’ the Blues)
Hard Travelin’
Farewell Angelina
Walking Down the Line
Lonesome Day
I Could Cry
White Line
Show Me the Way to Go Home
The Story of My Life

Self-produced with engineering and mixing by Jim Robeson at his studio The Bar in Rockville, Maryland, Remains to Be Scene caps the end of an era for the group in many ways. The album is dedicated to the memory of Bluegrass Hall of Famer and Seldom Scene cofounder Ben Eldridge, who retired from the group in 2014. But Eldridge remained a major presence and friend to the band, penning heartfelt liner notes for this album before his passing in April 2024. 

Also notable is that Remains to Be Scene marks the final album for Dudley Connell, another Bluegrass Hall of Famer as a member of the Johnson Mountain Boys. Connell wrapped up a Seldom Scene tenure of nearly three decades on guitar and vocals with his retirement at the end of 2024. “Twenty-nine years, dude, that’s a long, long time,” Connell says with a laugh. “No regrets, I’ve loved every minute of it, and it’s been a real joy working with these guys for so long. But I want to get out while I still have my mobility and can travel, walk my dog, things like that.”

The Seldom Scene has mostly stayed close to home in the greater Washington, D.C. vicinity for most of its 53 years of existence. Even as the progressive bluegrass quintet’s lineup has turned over multiple times from those early days, The Scene has maintained an admirably high standard of musicality and artistry, on record as well as onstage at live-residency venues like The Birchmere in Alexandria, Virginia.

The band makes old songs sound brand new while putting a bluegrass spin on some of the least-likely cover songs in the genre. Those virtues are all in place on Remains to Be Scene, their 24th album, released on Smithsonian Folkways, on which they cover everybody from Bob Dylan to The Kinks with customary flair. The album is also another milestone effort for the Scene — the first since the passing of co-founder Ben Eldridge (who penned liner notes before his death in April 2024) as well as the last for longtime Scene member Dudley Connell, who is retiring after 29 years in the band. As usual, the rest of the Scene is taking those departures in stride. One way or another, The Seldom Scene will go on. 

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‘El Día Más Triste’ by Alex Cuba: His Most Emotionally Charged Single Yet

Alex Cuba releases his new single right before his new US tour. Courtesy photo, used with permission.

Los Angeles, CA. –  ®Grammy Award-winning artist, Alex Cuba releases brand new music in time for Valentine’s Day and coinciding with the launch of a tour of the United States. The Cuban/Canadian singer-songwriter announces the release of the first single for his upcoming 2025 album. (Vesper Public Relations, 2025)

“El Día Más Triste” is about transforming hurt into understanding. Feelings of love are joyous, wondrous events in our lives, spontaneous and beautiful. Its shadow side, those moments of betrayal, hurt and emptiness are no less important in how they create growth and urgency in our lives. “El Día Más Triste” shows the depth of sorrow, the pain of a ruptured relationship, and the process of rumination and inner conflict surrounding the confusion. “Es Amor” (it’s love) Alex remarks in the chorus at the conclusion of his self-reflection. An equally poignant part of our Valentine’s Day celebration is that side of love, that when it is missing, leaves a hole in our hearts.

The video was filmed in Miami with Cuban director Yeandro Tamayo. Warm intimacy invites the viewer into his healing journey through sad moments.

Alex Cuba’s U.S. Tour — No More Empty Words —At the heart of his ability to charm anything that breathes is Alex’s mastery of a deeper, more important language. The dude speaks joy. And it doesn’t’ matter if it’s Tito Puente joy or Stevie Wonder joy; it’s contagious. It shines through songs he’s co-written with Nelly Furtado and Jason Mraz. It’s the north star of his compositions.

Wherever his songs start their journey–in the land of lust, deep affection, or even melancholy–they know where they’re headed. Their path leads to a deep, shimmering gladness that everyone wishes was their native tongue. It’s this undeniable exuberance, expressed with masterful musicianship that has catapulted Alex to the highest levels of global critical acclaim. It’s what led this fiercely independent artist to 2 Juno awards, 4 Latin Grammys, and a 2022 Grammy for Best Latin Pop Album.

Just like his songs elicit “la-la-las” from audiences without a translator, they woo critics without a middleman. The magic he makes with melody and rhythm can’t be held back. Because in the end, whether in times of trouble or celebration, people everywhere want to go where Alex’s songs are going, to an unconditional sense of home, belonging, and bliss.

U.S. TOUR DATES
February 11/12 – Seattle, WA, Jazz Alley
February 14 – Corvallis, OR
February 15 – Portland, OR, Old Church
February 18 – Beverly Hills, CA, Vibrato
February 20 – Oakland, CA, Yoshi’s
March 21 – Mamaroneck, NY, Emelin Theatre
March 22 – Queens, NY, Kupferberg Centre for the Arts
March 23 – Baltimore, MD, Creative Alliance
March 26 – Orlando, FL, Judson’s Live
March 28 – Gainesville, FL, University of Florida
March 29 – Fort Myers, FL, Alliance for the Arts
March 30 – Memphis, TN, Buckman Center for the Arts
April 2 – Decatur, GA, Eddies Attic
April 3 – Birmingham, AL, Alys Stephens Center
April 4 – La Grange, GA, Purelife Studios
April 5 – Cary, NC, Cary Arts Center

Though raised in Artemisa, an hour outside of Havana, Alex Cuba’s artistry is as far-flung as the place he has settled and lived for over fifteen years: Smithers, BC, 14 hours north of Vancouver. His music at once incorporates his roots and is a unique amalgam of styles, having collaborated with artists ranging from Jason Mraz to Ron Sexsmith and Nelly Furtado; and bringing together melodies, pop-soul hooks, and rock chords in songs that may seem to bear little resemblance to traditional Cuban form.

A forward-thinking, indie-minded artist, Alex has amassed a steadily growing following among critics and fans. He has over 20 awards and nominations to his name, including four Latin Grammys, two Juno Awards, and, in 2022, his first Grammy Award from a total of four career Grammy nominations.

Alex carries his Cuba within, incorporating subtle jazz influences gained from his early years as a bass player in Cuba. His tasteful, sophisticated chords and lyrics express his poetry in an undeniably Cuban way. His growing body of work defines a unique musical place in the Latin diaspora.

Media Accolades:
“…Best performance – Alex Cuba.” – National Post
“Staying true to his Spanish language Folk-Funk-Rock hybrid has paid off.” – Billboard
“Wicked guitar, undeniably soulful vocals. His package is simple and he wears it well” – popmatters.com
“He’s like Marvin Gaye singing soul to a new generation” – Boston Globe
“A master at conveying emotions through songs.” – Vancouver Sun
“(Alex) Cuba is a groundbreaking figure, which may say something about the process of giving roots music a cosmopolitan polish” – Nashville Scene
“Sublime is, a consummately crafted and beautiful offering” – Sounds and Colours

Groovy Vibes and Twangy Tunes: Joel Timmons’ Psychedelic Surf Country

Joel Timmons takes bad dreams and turns them into rock and roll with new single End of the Empire from his forthcoming new album Psychedelic Surf Country. Photo: Joel Timmons

Charleston, SC – Joel Timmons is a dynamic songwriter, musician, and journeyman. Growing up on Sullivan’s Island, South Carolina, Timmons developed a deep connection to both music and the ocean, influences that permeate his artistic work. His early years were marked by a passion for surfing and a love for music, cultivated in part by his mother, a photographer and park ranger at Fort Moultrie, a vibrant local arts scene, and a close community of aspiring young musicians. The lead vocalist and guitarist for Sol Driven Train, founded by Timmons and his friends during college in 2000, Timmons also plays guitar with Maya de Vitry and makes music with his life-partner and wife, Shelby Means, under the name Sally & George. Psychedelic Surf Country, out February 7, marks the long-time collaborator’s first solo-work. (IV PR, 2025)

Within the patchwork of Joel Timmons’ debut solo album, Psychedelic Surf Country, lies a kaleidoscopic view of the career sideman and band leader’s striking self-awareness. Both in lyricism and musicality, Timmons has adopted an easy-going and reflective view of the world, creating unencumbered and accessible songs from even the most left-field subjects like lighting old Christmas trees ablaze, the highway patrol K9 who paid his band a visit between tour stops, and the tight jeans and Stetson hats that took over his former neighborhood. But it’s in the heavier subject matter, like his latest single, End of the Empire, where Timmons’ upbeat musical attitude shines.

“My wife, Shelby Means, started writing this song on a small boat in the Virgin Islands while surfers rode waves across a nearby reef,” remembers Timmons. It sounds picturesque, but the initial idea brought about an undercurrent of influence from a wildly different place. “My recurring dreams of doom and nightmares of being hunted by an unknown predator—as well as a sense of apocalyptic loss—figured into the co-write.” Ethereal and dreamy from the onset, End of the Empire floats between images of inescapable crashing waves and desperate hiding, looking for escape, but it might take listeners a couple of passes to recognize these as the song itself feels uplifting and borderline anthemic; a testament to Timmons’ positive spin. With the help of Psychedelic Surf Country producer Maya de Vitry, End of the Empire turns into a huge wash of harmonies and a wall of rhythm section. “The recording ended up being a rocker,” says Timmons, “and the guitar is howling.”

Fans can stream and purchase End of the Empire, check out the premiere on Glide Magazine, listen to Timmons’ previously-released singles, The Swimming Song, Guitars, Guns, and Pickup Trucks, Turbo, and The Bullfighter featuring Shovels & Rope’s Cary Ann Hearst, at their respective links, and pre-order or pre-save Psychedelic Surf Country ahead of its February 7th release.

Psychedelic Surf Country tracklist:
Just A Man
Turbo
The Bullfighter
Guitars, Guns, and Pickup Trucks
Edge of the Empire
Cottage by the Sea
Say It To My Face
The Swimming Song
East Nashville Cowboy
Here We Are
Tryin’

Catch Joel Timmons on Tour:
2/8 – Charleston Pour House – Charleston SC
2/12 – Analog at Hutton Hotel – Nashville TN
2/15 – House Concert – Charleston SC ^
2/28-3/2 – Green Parrot Bar – Key West, FL *
3/15 – Charleston Pour House – Charleston SC *
3/19 – Tractor Tavern – Seattle, WA +
3/20 – Showdown – Portland, OR (co-bill w/ Love, Dean) +
3/22 – The Talent Club – Ashland, OR +
3/26 – The ’58 @ Eastside Bowl – Nashville, TN
4/24 – Parlor Room – Northampton, MA +
5/4 – Sundays on the River – Asheville, NC +
5/23-5/25 – Rooster Walk Festival – Martinsville VA *
5/30 – Party At the Point – Mt Pleasant SC *

  • = with Sol Driven Train
    ^ = with Sally & George
  • = with Maya De Vitry

Last Leg of the Human Table: Cloakroom’s Masterpiece of Introspection and Atmosphere

Cloakroom, L-R Doyle Martin (Lyrics, Guitar), Tim Remis (Drums), Bobby Markos (Bass), announces new album on Closed Casket and shares ‘Bad Larry’ video and single. Photo: Vin Romero, used with permission.

For Cloakroom, an American shoegaze band from Northwest Indiana, the world of modernity is in polycrisis and America has lost its soul. Narrative fetishism is all too usual of a literary mechanism for Cloakroom. If you listen closely you can hear the concern; not just for the teetering social structure but for what it means to be human and the high cost of the human experience. (another side, 2025)

The Indiana three return next month with their next studio album, Last Leg of the Human Table – the follow up to 2022’s post-apocalyptic space western Dissolution Wave, and label debut for Closed Casket Activities. Each song showcases Cloakroom’s genre-bending capabilities and seemingly vast array of influences; whether it be the sampling of the post-disco Detroit group Was (Not Was) or the lifted NASA recording of the humming of Saturn’s rings. Recorded in December of 2023 at Electrical Audio in Chicago and Rec Room Recording in Des Plaines, Illinois, engineer Zac Montez (Whirr, Turnover) aided in smoothing out the rough and turning up the quiet.

Last Leg of the Human Table sees its release on February 28 via Closed Casket. Fans can pre-order/pre-save here.

Pop, shoegaze, doom, post-punk, folk only scratch the surface on Cloakroom’s shortest yet most essential release to date. Its title Last Leg of the Human Table may sound sardonic in its nature, but this group has always found some wonder in the scurrying chaos of modern life. In 37 minutes, the album imbues a sense of responsibility to the listener as if one leg were to falter, the whole table will fall. 

Cloakroom shares the lead single and video “Bad Larry.” Lyricist and guitarist Doyle Martin explains, “It was written about a fabled character out of folklore like ‘Diamond Joe’ composed by Baldwin ‘Butch’ Hawes.. if that’s who even wrote that song first. Bad Larry roams free and wants for nothing; living a life of experience and lives by his own rules and dying on his own terms; a life to vilify or envy.” 

After wrapping an extensive North American tour with Full of Hell last month, Cloakroom has announced a special Chicago album release show happening April 12 at Empty Bottle. More dates and news to come.

Last Leg of the Human Table tracklist:
01 – The Pilot
02 – Ester Wind
03 – On Joy and Unbelieving
04 – Unbelonging
05 – The Lights Are On
06 – Bad Larry
07 – The Story of the Egg
08 – On Joy and Undeserving
09 – Cloverlooper
10 – Turbine Song

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Skeleten Unleashes His Boldest Sound Yet with ‘Let It Grow’—A Glimpse into Mentalized

Skeleten shares ‘Let It Grow’ single from new album Mentalized, out on February 7, 2025. Courtesy photo, used with permission.

Eora/Sydney-based artist Skeleten (aka Russell Fitzgibbon) unveils his final single “Let It Grow” from his forthcoming second album, Mentalized, out February 7 via 2MR / Astral People Recordings. (another side, 2025)

Amidst a record absorbed in the ways we’re disconnected from ourselves every day – “mentalized for better or worse” – “Let It Grow” immerses in a dissociative surrender. Over a sensual synth line, Skeleten breathes life into the inexplicable weight of intimate connection. It’s a submission to that feeling of an “it” that cannot be denied. The song hangs heavy in the air, unmoving like the heat of an overpacked club, and the only way out is up.

“‘Let It Grow’ was so natural it just kinda started existing without me even realising it. Which I guess is the whole vibe of the song. Surrender and acceptance??”- Skeleten

“Let It Grow” completes a lineup of adored singles “Deep Scene”, “Love Enemy”, “Viagra,” and “Bodys Chorus” alongside respective remixes by Axel Boman and Spray, in laying the foundations for Mentalized. The releases have earned tastemaker nods from Pitchfork, Stereogum, Paste, Brooklyn Vegan, KEXP, KCRW, BBC 6Music, FBi Radio, Apple Music’s ‘Best of 2024’ playlists, and more.

This month Skeleten will complete a 3-month residency at Sydney’s Pleasure Club, spotlighting local talent across the city’s different scenes, alongside Skeleten and his full live band. Having already united acts like Hugh B and the Modern Pop Ensemble, Dylan Atlantis, Scruffs. and Killian, stay tuned via Skeleten’s socials for the final surprise announcement. Skeleten will also perform at Golden Plains Festival in March, alongside esteemed artists PJ Harvey, Fontaines D.C, Kneecap and more.

Mentalized tracklist:
1 – These People
2 – Love Enemy
3 – Bodys Chorus
4 – Crack In The Shell
5 – Deep Scene
6 – Raw
7 – Let It Grow
8 – Viagra
9 – Ravers Dream
10 – Mindreader

Skeleten Live Dates:
Mar 8 – 10, 2025: Golden Plains Festival, Meredith Supernatural Amphitheatre, VIC

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Honoring John Hartford: Tribute Album Brings Classic Fiddle Tunes to Life in Volume 2

Julia Belle: The John Hartford Fiddle Tune Project Vol 2 features the most beloved female artists in the Hartford-inspired bluegrass scene. Courtesy photo, used with permission.

Nashville, TN – In the twenty-three years since Bluegrass and Americana titan John Hartford’s passing, the witty, vibrant tunes of the Grammy-winning, river and steamboat-obsessed, flatfoot dancing legend have taken on a life of their own, creating an entire sub-genre of the American music canon. That’s thanks to not only Hartford’s pure, funny, and virtuosic catalog, but also to the family and friends attending to the late banjo and fiddle player’s legacy. In the past few years alone, Hartford’s daughter, Katie Harford Hogue, and modern-day fiddle great Matt Combs compiled a never-before-seen collection of unrecorded music in a book entitled “John Hartford’s Mammoth Collection of Fiddle Tunes” which quickly turned into a star-studded album, The John Hartford Fiddle Tune Project Vol 1. (IV PR, 2024)

Today, Hartford’s legacy takes another step into the future with the announcement of Julia Belle: The John Hartford Fiddle Tune Project Volume 2. Again co-produced by Hogue, along with Sharon Gilchrist and Megan Lynch Chowning, Volume 2 celebrates some of the most beloved female artists in the Hartford-inspired bluegrass scene: Rachel Baiman, Phoebe Hunt, Ginger Boatwright, Brittany Haas, Deanie Richardson, Allison de Groot, Della Mae, The Price Sisters, Uncle Earl, and many more.

“The feeling of working on an all-female project is unparalleled. It felt powerful and developed a real sense of togetherness and community.” – Della Mae’s IBMA Award-winning bassist and vocalist, Vickie Vaughn

Volume 2 contains thirteen new Hartford instrumental fiddle tunes and five “legacy” covers of beloved John Hartford songs, all of which take on new life under the hands—and voices—of some of the finest musicians around today. “What is so incredible is that you hear these tunes played in so many different ways, and Dad comes through on every one of them,” says Hogue. “It’s like his DNA is in the songs.” Today, with the announcement of Volume 2, one of Hartford’s most beloved songs, “Steam Powered Aereo Plane,” was released, much to the pleasure of the Goodle Family, the official-ish collective of Hartford fans worldwide. 

Fronted by legendary country vocalist Kathy Mattea, the cast behind “Steam Powered Aereo Plane” delivers a mellow, true-to-the-original version of the song originally released on Hartford’s 1971 album of a slightly altered name, Aereo-Plain. Alison Brown, who produced the single, leads into the first verse on banjo accompanied by none other than Sierra Hull on guitar. Gradually Missy Raines brings in the bass and Larkin Poe’s Megan Lovell and the latest Punch Brothers band member Brittany Haas add their dobro and fiddle flourishments, respectively. The result is four straight minutes of pure John Hartford ethos, brought into the present day by a lineup of some of the most respected and accomplished musicians of their time—all of whom credit Hartford as an iconic influence in their musical lives. 

Fans can stream or purchase “Steam Powered Aereo Plane” and pre-order or pre-save Julia Belle: The John Hartford Fiddle Tune Project Vol 2 ahead of its February 28 release. 

For fans who can’t get enough Hartford, the Hartford family has rallied their efforts around the Goodle Family Patreon page: a subscription-driven home base for all things John Hartford. Whether it be archival releases, updates on the Fiddle Tune Project, orin-person/livestream fan meetups—like the upcoming installment of Mammoth Marathon Mondays.

Julia Belle: The John Hartford Fiddle Tune Project Vol 2 tracklist:
Irish Familiarity
The Julia Belle Swain
Grant Marsh & Joseph La Barge/Little Pig/Entertainment Tonight (medley)
Spirit of the South
Availability
I’m Still Here
Kenny and Mac
Merry Christmas
Learning To Smile All Over Again
Royal Box Waltz
Takes Her Clothes Off
Gasoline Alley No. 1
No End of Love
Living Up Stairs
Not Soft Enough
Don’t Throw Her Down
Steam Powered Aereo Plane
Champagne Blues

One of the most respected musicians in Nashville history, John Hartford is considered a cornerstone of the newgrass movement due to his 1971 masterpiece, ​Aereo-Plain​. He won a career four Grammy Awards, including two for his 1967 recording of “Gentle on My Mind,” a third for his 1976 album Mark Twang, and a fourth for his contributions to the O Brother, Where Art Thou? soundtrack in 2000. He was posthumously inducted into the International Bluegrass Music Hall of Fame in 2010, was awarded the Americana Music Association President’s Award in 2005, and the Folk Alliance “Spirit of Folk” award in 2011.

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‘The Nail Beside The Door’: The Soulful New Single from E.W. Harris’ new album

Alt-folk singer/songwriter E.W. Harris unveils new single and announces new EP Machine Living in Relief. Courtesy photo, used with permission.

(New York, NY) With the release of the new single, “The Nail Beside The Door,” alt-folk singer/songwriter E.W. Harris announces the forthcoming EP, Machine Living in Relief, due out this year. An ambitious collection of songs born out of a last call challenge to make a completely acoustic record about robots and AIs, Machine Living in Relief is the latest in a five-album series set inside Harris’s self-styled “romantic dystopia” Rocket City. (One in a Million Media, 2024)

If one weren’t already familiar with Harris’s more traditionalist background, the chummy strum of his guitalele reaches out and shakes your hand by way of friendly introduction. He also incorporates a number of unusual instruments (cedar flute, a broken autoharp), outside-the-box toys (Speak-n-Spell, Mr. Robot, Magic Wand Reader), and MacGyvered percussion hacks (can full of rice, “suitcase that I hit with a roll of duct tape”) throughout these folkways-meets-the-spaceways tracks. Call it asteroid field recording.

In a strange bit of real-time lore that feels like it could only happen to Harris, one of his cousins walked up to him mid-set a few years back and handed him a banjo, offering only the briefest explanation – “Here man, I’m not gonna learn this and I thought you might use it” – before promptly leaving the gig. The result, some months later as Harris tinkered with the unfamiliar instrument under lockdown, was this album’s lead single, “The Nail Beside the Door.” “Written from the perspective of a prisoner who becomes emotionally dependent on an AI companion,” it effectively sets out to explore the ideas behind the album opener from the other side, with all the profound, maddening aloneness of COVID isolation bleeding through the character loud and clear.

Courtesy photo, used with permission.

Though perhaps best known for his event horizon synths, spaghettified guitar effects, and above all, his overwhelming, spacetime singularity of a voice, Harris’s career began, some 25 years ago, in a much more earthbound vein, with the train trestle roots-rock of Luminous and the cable knit jazz-folk of The Eric Harris Group.

Through subsequent releases and relentless touring Harris steadily populated his teeming retropolis with comet-hopping hobos and android vagabonds of every stripe, worldbuilding his future from the ground up until it finally skyscraped against the present, with Machine Living in Relief, and the fateful fortune of that half-remembered night at the bar.

If Machine Living in Relief is truly the result of some apocryphal gauntlet throw issued at last call, Harris has met it in spades. Both a natural outgrowth of what came before, and a tantalizing peek at what might be soon to come, it pushes all the right buttons – even when those buttons are connected to the characters themselves – and leaves you contemplating your place within our brave new world of hyperconnected loneliness and transhuman striving.

“If the heart pumps a turbine that generates power to the computer half of the cyborg brain, what is the value of the parts? Is addiction just a modality of being a divided whole? If time is not linear, in remembering our past mistakes do we actually return to those moments? It’s a damn good thing songs don’t need to answer questions.” – E. W. Harris

‘On My Own’: Harrison Lipton’s New Anthem of Self-Discovery

Harrison Lipton masks post-breakup sadness with cheeky humor on ‘On My Own.’ Photo: Eciaus Booth, used with permission.

Breakup songs hold a unique appeal for listeners, offering emotional catharsis and a sense of solidarity. These songs often explore themes of heartache, loss, and personal growth, providing an outlet for listeners to process their own emotions. The relatable lyrics and powerful melodies resonate deeply, allowing individuals to feel understood and less alone in their struggles. Whether through soulful ballads or upbeat anthems, breakup songs help listeners navigate the pain of relationships ending while offering hope for healing and new beginnings. The universal nature of heartbreak makes these songs timeless and comforting during times of emotional turmoil.

The Brooklyn-based musical jack-of-all-trades Harrison Lipton recently released his cheeky new breakup anthem “On My Own” via Amuse. The facetious, 70s-inspired dad rock song uses the all too familiar coping mechanism of poking fun at inherent sadness to make it through the day. His voice full of smooth earnestness, Lipton ushers listeners towards the greener grass on the other side. (Big Hassle, 2024)

“The song started in a small bedroom studio in Carroll Gardens during a session with Aidan Ludlam of the booyah! kids, who uses lyrics like an impressionist painter uses paint. He helped me balance the dissonance between being dumped and finding how to be okay with it.” – Harrison Lipton

Shot on 16 mm film, the official music video was directed by Yishen Wang. An ode to the city and people of New York, Lipton finds himself lost in a sea of recognizable faces, even Times Square’s Naked Cowboy.

“…feels like a rarity, transposing of-the-moment sounds into a dusted-off paean to a romance lost in memory and feeling.” – NPR

“An artist whose stylistic tenacity is fabulously muddled, Lipton floats between genres, brushing against indie, alternative and bedroom pop with a driven psychedelic influence flowing through the hazy soundscapes.” – The Lines of Best Fit

Fresh on the heels of landing songwriting and production credits for indie-rock sensation Yot Club and Atlantic Records six-piece MICHELLE, among others, Lipton has made a name for himself as a rapidly ascending, go-to creative collaborator. His recent work as a songwriter and producer has earned him shoutouts in HYPEBEAST, The Line of Best Fit, and Sirius XM’s Life with John Mayer.

Now with the focus shifted to his own releases, Lipton unveiled “Synchronized Swimming,” with its captivating accompanying music video, back in September. Exploring romance coyly nestled within the metaphor of synchronized swimming, listeners witness Lipton’s proven songwriting and production talent in raw form. Complete with dusty piano, laid-back Khruangbin-like drums, and an underwater guitar solo, the final touch is the perfect pairing of background vocals from MICHELLE’s Layla Ku. 

“On My Own” keeps building the world “Synchronized Swimming” started, putting forth a distinctly clean and modernized late 70s aesthetic.

Harrison Lipton is a 30-year-old singer, songwriter and producer. The Brooklyn artist’s musical flair resides in the intersection of indie, R&B and 70s soft rock. Lipton prides himself on fully realizing a track from start to finish, leading the charge with songwriting, producing, and mixing, as well as creative direction. Lipton’s music is a product of his singular imagination, presenting a style that is sincere, authentic and all his own. His music has been featured in NPR and Early Rising as well as on numerous editorial playlists such as Apple Music’s Late Night Menu and Spotify’s Fresh Finds and Chill Vibes. Now focusing on new singles leading toward a larger project, Lipton emerges as a promising and unique voice, blending soulful vocals with singular and catchy production.

Courtesy photo, used with permission.

Max Wareham’s Daggomit!: The Story Behind His Debut Album

Banjo player, songwriter, and author Max Wareham announces debut, Peter Rowan-produced album Daggomit! Photo: Sasha Pedro, used with permission.

Whether on archaeological digs or translating medieval poetry, the past has always been a north star for banjo player, songwriter, and author Max Wareham. His commitment to early innovators of the banjo shines on Daggomit!, his debut album of soulful original songs, highlighted by the hard-driving chemistry of Nashville’s preeminent bluegrass stars. Wareham tours nationally with the Peter Rowan Bluegrass Band, bringing his creativity to the Telluride Bluegrass Festival, Ryman Auditorium, Merlefest, Green Mountain Bluegrass Festival, IBMA Bluegrass Music Awards, and many more, as well as with his own band, Max Wareham and the National Bluegrass Team. (IV PR, 2024)

“It brings me back to my childhood,” says Max Wareham of his new single “Lonesome Blues, I’m Coming Home,” “camping in the woods of New York state and longing for a simpler time.” Forever a student of bluegrass tradition, Wareham has tapped into a very real feeling that can be found all the way back before the genre had its name; part nostalgia, part yearning. 

“I wrote this one a while back,” says Wareham. “Then I took it to Peter Rowan, who proceeded to disassemble it completely and put it back together in a way that made more sense.” The tutelage of his bandleader boss Rowan helped to hone Wareham’s arrangement into a beautifully simple melody with ample room for instrumental embellishment and crystalline harmonies by former members of the Grammy-nominated band, Po’ Ramblin’ Boys, Laura Orshaw and Josh Rinkel. 

MAGNET Magazine shared an early premiere of “Lonesome Blues, I’m Coming Home.” Fans can stream or purchase “Lonesome Blues” at this link.

“Lonesome Blues, I’m Coming Home” is the latest single from Wareham’s upcoming debut album, Daggomit!, which was produced by Rowan and is due out on February 21. Fans are encouraged to check out Wareham’s previously released single “Hard Times Are Far Behind” at this link and pre-order or pre-save Daggomit! ahead of its February release right here.

Wareham is currently touring with Max Wareham & the National Bluegrass Team, featuring international mandolin prodigy Jean Baptiste Cardineau, singer and guitarist Walker Russell, and Boston bass stalwart Emma Turoff. Tour dates for Warham & the National Bluegrass Team as well as Wareham’s appearances with the Peter Rowan Bluegrass Band can be found online.

Produced by legendary grasser Peter Rowan and recorded by multi-Grammy-winning engineer Sean Sullivan, Daggomit! features Chris Eldridge and David Grier on guitar, Laura Orshaw on fiddle, Chris Henry on mandolin, Mike Bub on bass, and Larry Atamanuik on snare drum; a group of stars making the initial listen of the album worth the price of admission, alone. But fans will undoubtedly stick around for the stories Wareham tells throughout the 13-song collection. Stories from a lifetime of experiences and feelings that together tell the story of exactly what makes Max Max. 

Daggomit! tracklist:
Walking In Jerusalem
Lonesome Blues, I’m Coming Home
The Black & Gold
That’s Just Part Of It
Heartaches
Rexford Falls
Gone, Baby, Gone
I Remember
Hard Times Are Far Behind
Cattails
Bar Blues
Drifting Too Far From The Shore
Miles

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John Mailander’s ‘Let The World In’: The Soul-Stirring New Album

John Mailander’s Forecast to independently release ‘Let The World In’ on January 24, 2025. Photo: Emily Walis, used with permission.

Nashville Tenn. —  John Mailander’s Forecast is excited to independently release Let The World In on January 24, 2025, on CD, vinyl, and digitally. Forecast is a Nashville-based collective of visionary musicians led by acclaimed performer, producer, composer, educator, and recording artist John Mailander, known for his voice on the fiddle and other stringed instruments. (Dreamspider Publicity, 2024)

Forecast is John Mailander on fiddle, keys, and electronics; Ethan Jodziewicz on upright and fretless electric bass; Chris Lippincott on steel guitars, keys, and electronics; Mark Raudabaugh on drums and percussion, Jake Stargel on acoustic guitar, and David Williford on tenor saxophone and bass clarinet.

Produced by Mailander, Let The World In was recorded by Brook Sutton at The Studio Nashville, assisted by Will Tyson and Maeve Graham. It was mixed by Daniel Rice and mastered by Wayne Pooley. With nine tracks, four of which are shorter free improvs, all but “Road” are original instrumentals. 

The songs show a crossover from the jazz side of things and more into the jam band world, especially with the first single—a Nick Drake song, “Road,” which is available to stream and buy now.

“‘Road’ has been a bit of a mantra to me over the past couple of years. I haven’t always considered myself much of a singer, but it felt important for me to sing this one myself on the album. Lyrically, I feel like it ties into the themes of the album as a whole, and it’s a great vehicle for jamming as a band. This track captures a lot of the vibe of what we do live.” – John Mailander

The song was described as “majestic and expansive” by JamBase, who debuted the Grouch Bucket-animated video that accompanied it. In their feature, they went into deeper detail with John about “Road” and the entire album. 

Let The World In is the spiritual third in a trilogy of “Forecast” records and the second “true” album as a band since 2021’s Look Closer, which was recorded during the pandemic. Originally assembled for the live debut of John’s 2019 album Forecast, the group adopted the name for a series of residency shows in Nashville at Dee’s Lounge. John Mailander’s Forecast has since developed a dedicated following through their adventurous improvisations, singular collaborations, and genre-bending, exuberant musical explorations.

The album opens with 18 seconds of the band candidly gathering to warm up, culminating in the count-off to “Let The World In.” The title track is a Forecast sound collage in which Mailander explores on fiddle and Wurlitzer, and the ambiance is enhanced further with the addition of the “Let The World In Sound Freedom Expressionists” (Hannah Delynn, Maya De Vitry, Gibb Droll, Ella Korth, Lindsay Lou, and Royal Masat).

Other compositions include the bluesy, whimsical, and mysterious “Gardener,” the string-layered “Chapters,” and the peaceful Metheny/Hornsby-inspired “Heartland,” which showcases Stargel’s imaginative guitar solo along with a Jodziewicz arco bass feature and Mailander’s piano playing. 

“(improvisations 1)” and “(2)” are short pieces that were spontaneously composed by Forecast during the end of their daily recording sessions. “(reprise),” bookends the album with a reinterpretation of the title track’s cinematic main melody, with Mailander again on piano. Let The World In is meant to be played as a whole listening experience. Play this album loud.

Along with “conducting” the Forecast, Mailander is a member of Bruce Hornsby & the Noisemakers. His playing can be heard on albums by Billy Strings (including the Grammy-winning album Home), Noah Kahan, Joy Williams, Lucy Dacus, Molly Tuttle, Joe K. Walsh, Chatham County Line, and many more. John is currently on tour with Sam Grisman Project.

Let The World In Track Listing:

(open) (0:18)

Let The World In (6:52)

Gardener (4:40)

(improvisation 1) (1:15)

Chapters (2:55)

Heartland (6:22)

(improvisation 2) (1:44)

Road (9:25)

(reprise) (1:47)

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