Arlo Sun is the moniker of Canadian Erin Bolton, whose music draws on powers both astral and spiritual, as well as the deep ancient energy of the natural world. The Arlo part of the project’s name is a Gaelic word meaning “between two hills,” a reference to the valley of peace and perspective that Bolton creates with her music. Latest single ‘Forwards Motion’ is no different. An emotive song that feels at once weightless and quietly substantial, offering no empty platitudes but instead preaching a steadfast belief in the importance of hanging on through difficult times and putting one foot in front of the other no matter what. “Written while floating just above the relentless undercurrent of hope, this song is more applicable to me now than it was when I wrote it,” Bolton describes. “‘Forwards Motion’ begs you to look at yourself and the path you’ve taken, forks and all.”

‘Forwards Motion’ is out now and available from the Arlo Sun Bandcamp page.

Ellen Soffe x Aodhan – Tomb of the Prince

Ellen Soffe is a songwriter from Sydney whose work feels like the next step in the rich lineage of fellow Antipodean artists (i.e. Julia Jacklin, Aldous Harding, Tiny Ruins). A skilled guitarist, she played her first gig while still at school, and since then developed a distinctive vocal style and the knack for capturing raw emotion. Described as “a dreamy, meditative journey through lost love and the mythology of a fallen prince,” her debut single ‘Tomb of the Prince’ sees Soffe joined by young Dhawaral artist Aodhan. It’s a languid and tender folk-tinged pop song which captures the warm golden hour glow of a summer evening perfectly. Watch the video below:

‘Tomb of the Prince’ is out now and available via streaming services.

Fairy Tales In Yoghourt – Mania

Fairy Tales in Yoghourt is the solo recording project of Nantes-based Benoît Guchet. A self-confessed control freak, Guchet took his time to create Shape Mistakes, the project’s debut album which came out earlier this month. He has spent the last twelve years playing in other bands (such as Bantam Lyons, Yes Basketball, Classe Mannequin), and struggled to find the time to make his own release as perfect as he wanted. But he eventually managed it, and it’s fair to say it was worth the wait. A distinctive blend of psych folk and chilled-out indie rock, the record feels very much the product of one creative mind, unshackled by limitations or the expectations of others. Lead single ‘Mania’ kicks things off, an off-kilter folk pop song that features layers of guitars, beguiling melodies and a sense of brave forward motion.

Hannah Frances – Honey, Hear Me

Back in 2021, Chicago-based songwriter Hannah Frances released her fifth record Bedrock, an album of raw emotion and considerable storytelling. Next month, Ghost Mountain Records are re-releasing the album on cassette, giving anyone who missed it first time around another chance to put that right. Single ‘Honey, Hear Me’ is as good an introduction as any, showing off Frances’ signature guitar work and vehement songwriting. As the opening track of a record Frances describes as “a fountain of intentionality,” which “offer[s] rawness with reverence,” ‘Honey, Hear Me’ feels like something of a mission statement, a bold pledge towards directness and honesty.

learning to not be alone
to be known and sewn with a thread
other than my own
singing with the birds who know
of bravery

Madi Diaz, S.G. Goodman & Joy Oladokun – Be Careful

When Roe Vs Wade was overturned earlier this year, LA songwriter Madi Diaz found herself thinking of Patty Griffin’s song ‘Be Careful’. “It became a mantra of strength that was playing consistently in the back of my heart and mind day in and day out, gently encouraging me to keep putting one foot in front of the other,” she describes. “It became a sort of battle cry directed toward anyone that wants to take away my rights to my own body and my reproductive freedom.” Diaz got together with her friend Morgan Elizabeth Peirce and the pair wrote a new final verse, bringing the song right into the present.

For all the reasons that are ours to know
It’s my choice and I’m not alone

For every man who’s standing next to me
For queer and trans and non-binary
For everybody with their own body
I will meet you all out in the street

Diaz is joined on the track by S.G. Goodman and Joy Oladokun, who each sing a verse, and Courtney Marie Andrews and Savana Santos also provide backing vocals. You can listen to the cover below:

‘Be Careful’ is out now and available from the Madi Diaz Bandcamp page.

Molly Murphy – Salt for Witches

Now based in New York, songwriter Molly Murphy evokes the Blue Ridge Mountains with her homespun folk music. Her latest single ‘Salt For Witches’ is equal parts catchy and emotive, adding lush pop details to a timeless folk skeleton. Drawing on imagery of folklore and superstition, it’s a song about coping with difficult circumstances and wishing simple actions like knocking on wood or a circle of salt could solve them. “They say a circle of salt can keep evil forces at bay,” Molly Murphy describes. “‘Salt for Witches’ is about wishing you could do just that for bad vibes and people.”

Like salt for witches
Salt for witches
It is simple and strong
Find it in the cabinet
and keep the demons gone

Morena Leraba – Morea-rea

Morena Leraba is a musician/band from Lesotho, who for the last few years has steadily become of the figureheads of a reinvention of the country’s musical heritage. The music draws heavily on Sesotho culture and aims to preserve the language which is declining due to the spread of colonial languages such as English. Morena Leraba achieves this by taking Famo, a sub-genre of traditional Sesotho music, and updating it with contemporary flourishes inspired by hip hop and electronic music. “Because we also have influences from elsewhere musically,” he describes, “I’ve always re-imagined Famo. I’ve always re-imagined Sesotho traditional music.” Latest single ‘Morea-rea’ is a great example, emphasising Sesotho phrases and idioms in a style that feels both modern and timeless.

‘Morea-rea’ is taken from a forthcoming EP called Fela sa Ha Mojela. Until then, listen to the single via streaming services.

The Veils – Undertow

It’s been six years since the release of Total Depravity, the last album from London/Auckland-based outfit The Veils, a gap largely explained by an injury suffered by lead Finn Andrews. A freak accident on stage left him with a fractured wrist, and the decision to continue the tour further aggravated the situation. “The scaphoid bone in my wrist had died,” Andrews explains, “which I didn’t know was possible. My sister said that at least it was a really ‘on brand’ injury for me.” With the process of making music now “profoundly annoying,” it seemed to be the end of his days writing albums, but as is the way of such things new songs started to bubble up regardless. What eventually emerged was …And Out Of The Void Came Love, a new double album coming via Ba Da Bing Records. A release intended to experienced in one sitting, albeit with an intermission in the middle, which throws itself headlong into themes of isolation, healing and creation itself. The latter is brought into relief by single ‘Undertow’, tracing the compulsion to write through genetics, like some cursed blessing that holds tight in spite of intention or circumstance.

Wesley – Sugar Free

This month saw Wesley, AKA Louisville, Kentucky‘s Jacob Weaver, release Glows in the Dark on Earth Libraries. An album we described in an earlier preview as “a hazy dreamworld… all pleasantly surreal imagery and twinkling atmospherics,” with the title track “folding the syrupy dream-like quality of meeting your true love into the almost paradoxical emotion of awakening.” Latest single ‘Sugar Free’ might open with a more mournful, reflective tone, but as soon as Weaver’s vocals kick in the uber smooth style returns. A mood perhaps a tad starker than the previous track but no less ethereal. Some nocturnal vision caught between reality and dreams.

Glows in the Dark is out now and available via the Earth Libraries Bandcamp page.

The post Weekly Listening: November 2022 #3 appeared first on Various Small Flames.

Here is a list of songs from 2020 that we liked but didn’t get around to writing about.

If you find something you like, follow the link in the embed to support the artists and labels on Bandcamp. And of course, there is a whole year’s worth of pieces on releases we did manage to write about, so have an explore through our reviews, previews and interviews from 2020.

The post Music We Missed in 2020 appeared first on Various Small Flames.

A new volume will be posted every few weeks and will offer a collection of really great songs that we’re determined not to let slip past our radar.

Courtney Marie Andrews – May Your Kindness Remain

Last year we spoke with Courtney Marie Andrews about Honest Life, the record that seems to have been her breakout success, despite being in the business for over ten years. Hot on the heels of this newfound recognition, Andrews is back with a brand new album, May Your Kindness Remain, to be released this spring. So far we only have the title track to go on, but the signs suggest Andrews expanding her sound beyond acoustic folk, with strong elements of soul, rock and gospel, giving the song a spirit that seems lifted from some bygone time, and likely cementing Andrews amongst the very best songwriters working today.

May Your Kindness Remain will be released on the 23rd March via Loose (UK) and Fat Possum Records/Mama Bird Recording Co. (North America), and you can pre-order it now.

inning – Feels Like It Did

“Last night, I taught viola to aliens in dreams.” Not many songs aim for territory as weird as this, and even less manage to weave it into such a sad and serious mood, but Virginia-based inning does so with aplomb. The track was inspired by one of those soul destroying college entrance questionnaires, albeit a relatively cool one, which asked “If you could send one thing to aliens that represented human life, what would it be?” inning decided that an instrument might be a good choice, in the hope that, should the contact ever develop into something more face-to-face, we might have something in common, and a way to communicate. Which maybe explains the kind of desperate loneliness that seems to smoulder behind this track, a metaphorical viola solo aimed skyward, not knowing if they could figure out how to play the thing, or even got the package in the first place.

Après​-​Ski EP is available now from the inning Bandcamp page.

Rosie Tucker – Spinster Cycle

Taken from an upcoming EP, Rosie Tucker’s ‘Spinster Cycle’ is a break-up song based, of all places, in a late-night laundromat. Picture the scene: your most treasured relationship failing amidst artificial lighting and a constant mechanical whirr, while muted TV screens try to sell you stuff as an awkward audience of semi-attentive strangers look at their feet. Here is a classic tale of miscommunication and banal distraction, the impossibility of truly knowing another person working its way into the cracks of even the most promising pairings, meaning that instead of trying to talk it through, they just lie back and let the drift carry them apart, even while their clothes share the same hot water, the dyes leeching and mixing into one dull shade.

“My parents met in a laundromat parking lot
I almost tell you but then I think not to
We focus on pulling our lights from our darknesses
We separate even though we’ve got sparks
While the colors bleed”

‘Spinster Cycle’ is available now from the the Rosie Tucker Bandcamp page, and be sure to keep your eyes peeled for the EP.

Why Bonnie – Made of Paper

Ahead of their debut EP on Sports Day Records, Austin band Why Bonnie have unveiled lead single ‘Made of Paper’ to get us suitably excited. Fuelled by a loose sound which belies the surprisingly insistent tempo, lead Blair Howerton explores vulnerability and perseverance through the lens of history and image, challenging preconceptions and expectations in search of some deeper truth. As such, ‘Made of Paper’ feels like a motivating call from Why Bonnie, helping us all shake free of a clinging inertia, or at least urging we test its grasp in preparation for a future escape.

“I never knew my great grandmother,
but I’m always told i have her skin.
although I think I’ve talked to her,
I know I can’t escape the skin I’m born in.

Reading my fortune
in the mess I’ve made in the kitchen
dirty spoons
to show that I’m still going”

In Water is set for release on the 16th February via Sports Day Records and you can pre-order it now from Bandcamp.

Sonny Baker – Comfortable

At the very end of 2017, Buffalo’s Sonny Baker put out a new record, steady hands, dead tired via Admirable Traits, following up an EP, easier, which came out in April. Don’t let the late release date slide under your radar amidst all the end of year lists, because this is an energetic, at times furious, slice of indie rock. Single ‘Comfortable’ serves as a good taster, railing against the chains of routine and comfort zones, the frenetic tempo aiming to shock you from your tracks, scrub the grey film from your eyes.

“I’m at the point
to set it all
on fire

dump the rest
into a garbage can”

steady hands, dead tired is out now via Admirable Traits Records and you can snag it from Bandcamp.

Andrew Goldring – Lost in the Motion

Following up last year’s EP Morning Light, Salt Lake City’s Andrew Goldring is back with a brand new single, ‘Lost in the Motion’. Pitched somewhere between the gruff melancholia of Water Liars and psych-tinged rock of The War on Drugs and The Wooden Sky, Goldring ticks both boxes—managing to represent a clear-eyed stride forward while remaining haunted by lingering images of the past. As such, the single serves as both a confident driving song and introspective examination, and should be a regular in your headphones on just about any occasion.

‘Lost in the Motion’ is out now and you can get it from the Andrew Goldring Bandcamp page.

Field Report – Summertime Songs

Finally, Milwaukee band Field Report have unveiled a new single, ‘Never Look Back’ ahead of their forthcoming record, Summertime Songs. Those unfamiliar with Chris Porterfield’s writing are well advised to check out their previous releases, with both their self-titled debut and 2014’s Marigolden up there with our favourite albums of the decade (no exaggeration). As we wrote in our review of the latter, “Porterfield’s writing is humble, real, able to be all shades of sad and beautiful. He leaves it to the listener to decide what they take from it, be it comfort or disturbance.”

Summertime Songs was written pre-election, and also in the run up to the birth of Porterfield’s first child, and the anxiety and fear of the unknown allows the songs to form “a dialogue about the fragility of America” and it’s various ideals. With that said, the press release leaves us with the promise that “Field Report will grab you by the short hairs and make you see yourself,” which sounds just like the Field Report we know. The record is out via Verve Forecast on the 23rd March, and you can get more information from the Field Report site.

‘Never Look Back’ is streaming now over at Stereogum.

That’s all folks. If you’re still not sated, why not check out previous editions of Bright Sparks?

The post Bright Sparks: Vol. 8 appeared first on Various Small Flames.

As we explained in a preview piece, Andrews left home at 16 to hit the road as a touring musician, roving up and down the West Coast playing for anyone who would listen. In the years since, she has played guitar and added vocals for almost forty artists, from Jimmy Eat World to the legend that is Damien Jurado. Throughout that time she was also working on solo material, releasing a full-length, On My Page, back in 2011, before hitting the road again. Now she’s back with what looks to be a breakout record of sorts, a coming of age album about growing up on the road, and returning home to try to find the titular Honest Life.

The result is an album which carves out its own niche, indebted to classic songwriters and contemporary heavyweights but also set apart, Andrews bending rules and conventions as and when she deems necessary, all in an attempt to say what she wants to say. As such, the songs don’t play like variations on a formula or a development of a theme. In fact, in the way they avoid cliche, they don’t feel like songs at all. There’s something in the dynamism of the album, the constant movement between conviction and doubt that gives it an altogether more organic feel. These are conversations, confessions, conflicted thoughts and feelings thought and felt then spoken aloud, still-hot words emerging with urgency. Tales of an honest life.

Hi Courtney, thanks for speaking with us. How is life treating you at the minute?

Life is great at the moment. I’m currently at a bar in Los Angeles, drinking a gin & tonic, and replying to your questions!

While travelling and change are common themes in music such as this, Honest Life strikes me as a particularly dynamic album. Much has been made of your extensive touring and recording, and I was wondering if you feel that your constant movement bleeds into your writing? In the alternate universe where Courtney Marie Andrews grew up and stayed at home in Arizona, how different a record would this be?

Movement and change are crucial to my personal growth. Ever since I was a kid, I’ve had a deep affinity to being on the move. One of my mother’s favorite stories to tell, is of me getting caught drawing a map in daycare, and trying to escape to go on some grand adventure. Leaving, is a part of my core. If I’d of stayed in Phoenix, who knows where I would be now. But I know that it would be somewhere very different than where I am now.

Then there’s the question of genre, which pops up quite a lot in reviews of the record – with uncertainty as to whether to label your music country or indie rock or folk or whatever else. Do you feel you belong to any one camp, or consider yourself inter-genre? Or do such issues hold no interest for you at all?

Genre was not really on my mind when writing and recording these songs. It never occurred to me that they could even be considered country until this radio guy in New York said, “hey, this has pedal steel, so we will have to play this on country radio.” I love country, but I definitely never sought out to write in any particular genre. All that mattered to me was that the songs were good. Good songs come in every style.

Sticking with country music, I’m interested in the nameless You that is the subject of the majority of the best and worst examples. There’s a section in David Lipsky’s book with David Foster Wallace where they’re talking about music, specifically the cheesy mainstream country music that makes up much of Midwestern radio, and Wallace floats the idea that all the romantic stuff is a metaphor: “[What if] what they’re really singing is to themselves, or to God? … [What if] the romantic shit [is] just to make it saleable… [and] they’re singing about something much more elemental being missing, and their being incomplete without it?”

Without wanting to get into anything too personal, I guess the question is whether this in any way resonates with you? Or, to put it differently, have/could you write such sad, lovelorn songs without a clear You in mind?

When writing songs, you are stuck with YOU. No matter how much you detach a song from yourself, it’s still coming from you, the writer. If you’ve ever felt, empathized or listened to anyone but yourself, and I mean TRULY listened to another, than that’s the start to writing another’s story well. World, and human to human empathy is where great storytelling derives from. You can write a sad story any day, but if you don’t understand where that pain comes from, or how it is shaped, than it will be hard for your listeners to grasp it, if lyrics and ideas are what they are searching for in your song.

Regardless of how personal or specifically targeted, I think it’s fair to say the songs carry a palpable honesty. Do you ever have issues with sharing such sincere words? I guess experienced touring musicians become uniquely adept at opening up to strangers, but there must be an element of difficulty and apprehension in sharing thoughts and feelings from an unguarded place?

I’ve said this before, but in all honesty, once I write a song, it only takes playing it a couple of times before it’s not my story to keep anymore. Once a song is finished, it feels like a closed book. I can tap into those feelings of the song in live performances, but it’s very easy for me to turn on and off. I’m a big believer in the tradition of folk music, in the sense that once you write a song, it’s up for re-interpertation. It is the world’s to be felt now.

On a similar topic, by playing and releasing these songs you are in effect taking something personal and inherently you and offering them up to the audience. I wonder if this process is difficult, or cathartic, or just plain joyful? How does the feeling differ from playing (and thus sharing) other people’s songs, such as when you play with Damien Jurado?

Writing and performing are very different. You are a storyteller on stage, relaying a story. It’s joyful for me to tell stories. I get excited to sing a good line, or hit a certain note. That’s very gratifying. As a backup singer and session player, I find joy in performing my best for the artist that I am playing with. It’s all about getting deep into the moment, and kicking ass.

Finally, could you name 4-5 artists you think we should be listening to right now? They can be new or old, popular or obscure, whatever you find yourself returning to.

For those who can’t get into Grateful Dead, start here: Jerry Garcia (Lonesome Prison Blues)

60’s folk obscure with an amazing modern day return: Bill Fay

Just damn obscure: Blaze Foley

Honest Life is out on the 20th January and you grab a copy via Loose Music. Also, Andrews is set for a pretty comprehensive UK starting at the end of February, and you can find the full list of dates below:

21 Feb – NORWICH, Arts Centre (supporting The Handsome Family)
22 Feb – MANCHESTER, RNCM (supporting The Handsome Family)
23 Feb – GLASGOW, St Luke’s (supporting The Handsome Family)
24 Feb – EDINBURGH, The Caves (supporting The Handsome Family)
25 Feb – GATESHEAD, Sage 2 (supporting The Handsome Family)
26 Feb – DURHAM, Old Cinema Launderette
27 Feb – LEEDS, Brudenell Social Club (supporting The Handsome Family)
28 Feb – CARDIFF, Clwb Ifor Bach
1 Mar – COVENTRY- The Tin
2 Mar – LONDON, Union Chapel (supporting The Handsome Family)
3 Mar – BRIGHTON, Concorde 2 (supporting The Handsome Family)
4 Mar – GUILDFORD, The Keep
6 Mar – LONDON, The Social

Photo by Susy Sundborg

The post Interview: Courtney Marie Andrews appeared first on Various Small Flames.

Leanne Betasamosake Simpson – f(l)ight

Leanne Betasamosake Simpson is an artist, poet, writer and musician from Canada who this September released her new album, f(l)ight. Produced by Jonas Bonnetta of Evening Hymns, the album combines lush instrumentation with Simpson’s mutlilayered poetry, sounding at once intensely physical and spiritual, charting not only personal experience but also that of her ancestry and the land on which they live. As such, style and perspective is fluid, every word and note and small space of silence part of some larger whole, where past violence, future hope and enduring spirit coalesce as one. You can get the album from RPM Records.

Will Johnson – Nervousness Fangs

Centro-matic frontman (plus Molina collaborator and Monster of Folk alumni) Will Johnson recently released a new solo single, ‘Nervousness Fangs’. The track is a beautifully sad lo-fi folk song, recorded (as Johnson tells American Songwriter) at home on a Tascam 424. The lyrics read like summer evening back-porch wisdom, as Johnson sings “Jesus what a mess / what they’re all selling / and what’s being sold”. Check it out on Soundcloud below:

In other news, Johnson has been nominated for a Grammy (!) for his Record Store Day split single with Justin Peter Kinkel-Schuster of Water Liars. You can still get the 7″ via Misra Records.

Givan Lötz – MAW

Described as a “an aural savant whose sound projects operate exterior to expectations”, Johannesburg’s Givan Lötz recently released a new album, MAW. The record, which intends to “shed waning light onto and into this post-scientific realm where meaning is unhinged”, consists of ten dense, dark songs which shift and shimmer with unsettling unfamiliarity, all floated on a sea of melancholy. However, as ‘Speak’ highlights, a sense of positivity seeps through the cracks, though it’s impossible to tell whether this is true hope or just a peculiar euphoria gained from submitting to confusion. MAW is available now from Other Electricities.

Dama Scout – All In Too

Blending dream pop and kraut-rock sensibilities with added noise pop bounce, Dama Scout’s second single ‘All In Too’ feels like a stylistic mutant in the most complimentary sense. Calm and quiet one minute and seized by mayhem the next, the track feels like a surreal ride through a many-eyed storm, excitement and fear and abrupt tranquility passing without rhyme or reason. In other words, you should grab it right now from Bandcamp.

Vagabon – Fear & Force

We loved Vagabon’s last EP, Persian Gardens, so it’s great to hear that Laetitia Tamko is putting out a full-length album next February. The first single, ‘Fear & Force’, is a re-imagining of ‘Vermont II’ from the aforementioned EP, and gives a great insight into the development and evolution of Vagabon’s sound. Here Tamko reveals her multi-instrumentalist skills to flesh out the track and create a deep lush sound without losing any of the organic intimacy which made the original so great. Infinite Worlds is set for release next year on Father/Daughter Records and you can pre-order it now.

Her Harbour – Hewing Crowns

‘Hewing Crowns’ is the first single from Gabrielle Giguere’s Her Harbour’s sophomore full-length Go Gently Into the Night, out on E-Tron Records this coming February. The record was written at a time when “death felt omnipresent,” and the single is intended to serve as a “preface to the demons [Giguere] attempted to quell in making the album,” and is therefore ripe with haunting sounds and symbolical imagery. The video for the track, edited by Mike Dubue, consists of found footage from Conrad Aiken’s 1966 short film “Silent Snow, Secret Snow,” forming a collection of oblique frames which match the ghostly ambience of the song. You can grab ‘Hewing Crowns’ from the Her Harbour Bandcamp page.

Pip Hall – Devil You Don’t

Pip Hall must be in the running for the youngest artist we’ve ever featured here at WTD. At just 16, the Preston-based songwriter is making music beyond her years. Her new single, ‘Devil You Don’t ‘ opens with some Stranger Things-style synths before blossoming into a rich pop song that teams Hall’s smooth vocals with the steady pulse of synths and some guitar for added crunch. If you like what you hear, keep an eye out for Hall’s sophomore EP, James, out next March on My Little Empire. You can pre-order via Bandcamp.

Courtney Marie Andrews – Put The Fire Out

Continuing with precocious youngsters, Courtney Marie Andrews apparently left home at 16, travelling the US as a musician before getting a gig as Damien Jurado‘s lead guitarist. She’s done a lot of touring with various acts since then, and earlier this year released an album of her own, Honest Life. The good news for us in the UK is that Loose Records are releasing the album here in January (pre-order now). To whet your appetite, here’s a single, ‘Put the Fire Out’, a warm and reflective country track that is a must for fans of bands like Mount Moriah.

Camp Cope – Keep Growing

Following their excellent self-titled debut album, Melbourne’s Camp Cope recently put up a new single which appears to be from an as-yet unannounced release. ‘Keep Growing’ sticks to the successful formula of the previous album, playing like an internal monologue that flicks through sadness and confusion and doubt but keeps cycling back to a joyous resolve, the recognisable pilot light of Camp Cope’s music. As Georgia Maq explained on Facebook, the song is about “new beginnings, it’s about rejecting what society tells you is beautiful,” ending the post with the simple but perfect advice. “Do you.” Grab the track now via Bandcamp and keep your eyes peeled for news of a physical release.

Field Medic

We’ve covered San Francisco’s Field Medic several times at WTD, so its cool to learn he’s got a new song. ‘uuu’ is essentially a classic folk song, gentle instrumentation and yearning vocals directed to a love (the titular you you you). The lyrics are as heart-on-sleeve as we’ve come to expect from Field Medic, with lines such as “all i ever needed was your matchstick mama / to take my wrongs & make them right / to take my darkness & make it bright “. Get the song now on a name-your-price basis via the Field Medic Bandcamp page.

The post Best of the Rest: Things We Have Missed #5 appeared first on Various Small Flames.