Following 2020 album Unearth on Topshelf Records, Brooklyn-based artist Alexia Avina is set to return with a brand new LP, A Little Older. Released via Lost Map Records, the album began on a borrowed guitar and a friend’s floor, slowly blossoming into a deep and searching meditation on the existential functions of love and art. “What does it mean to feel small, to feel nothing, to feel everything?” asks the album notes, “to skirt around the edge of true vulnerability unknowingly and yet somehow so consistently?” Clocking in at over eight minutes, slow-burning single ‘I Am Opening’ shows that while Avina might not have an answer, her rich and evocative compositions create spaces in which to contemplate such questions.

The Bins – Santa Cruz Mountains (Remix by Danny Spiteri)

Last summer, The Bins released the album Happiness Complete, a stellar collection of songs which showed off Clark Barclay’s joyous plunderphonic style. But as if his own endlessly inventive cut and paste experiments weren’t ambitious enough, Barclay then turned over his sonic mosaics to other artists and asked they rework them into new forms. The result is Happiness Completely Remixed, an entire album of these reimaginings. Danny Spiteri’s take on ‘Santa Cruz Mountains’ is emblematic of the power of such processes, rendering the originally buoyant track into something reflective and subdued. A meditation on place which excavates not just the sunny present but the ghosts of the past too.

Dawning – Demo Tape

After fronting post-folk Apricot Blush, South Carolina’s Jackson Wise has emerged from a musical hiatus with brand new project, Dawning. A collaboration with artist and musician Matt Massara, the outfit work between brooding punk and gauzy slowcore, the tracks united by the texture of their style. Soundscapes that drift over you, invite you to lose yourself inside. The debut release Demo Tape shows off this aesthetic, from the frustrated yells of ‘We All Went Swimming’ and the searing energy of ‘Kreuzberg’ to the searching melancholy of ‘Sediment’. Each of the six songs feels like a door through which the Dawning project might head, and Demo Tape has more than enough to suggest you would be advised to follow whichever they choose.

Demo Tape is out now.

Dead Nettle – Undertow

The recording project of Nashville/California artist Lindsey Wall, Dead Nettle is set to release album How I Thought later this year. With its slow burning intensity, single ‘Undertow’ introduces the engaging and poetic style the record promises to bring. Opening with acoustic strums and smoky vocals, it builds from wistful warmth to fierce conflagration, finding a sound which engages with emotional turmoil yet finds buoyant energy within the roil. As though the updrafts of the burn lift Wall high above the situation, floating high and free if only for a moment.

Denitia – Highways

Raised in Houston and currently living in New York’s Hudson Valley after time spent in Nashville and Brooklyn, Denitia is an artist often on the move. New song ‘Highways’ embraces this nomadic spirit while recognising the value of connection too. An ode to the road which is nevertheless unwilling to leave home behind. “‘Highways” is a song about looking forward but taking the past along with you,” Denitia explains. “I’ve had many friends and loved ones in my life and as time passes and I move from place to place, phase to phase, I hope to always take those connections with me wherever I go. I want to take home with me everywhere I go.”

Itch Princess – To Be Your Fool

The recording project of New York‘s Katelyn Farstad, Itch Princess make self-described psycho-existential-dredge ballads which wrestle with the various torments of human living. Latest record POP CALLS PASSES, out now via Crass Lips Records, was written at the end of an eighteen-year struggle with substance abuse, and directs all of its ambition and energy to communicating the move beyond suffering into a more creative space. Single ‘To Be Your Fool’ is the perfect introduction to the record’s off-kilter vibe, capturing its embrace of left-field oddness symbolic of a wider acceptance of life and its unpredictable motion.

Marissa Nadler – Cold Wind Blowin’

This spring sees the release of Todo Muere SBXV, a compilation celebrating fifteen years of Sacred Bones which asks artists from across their roster to cover one another’s songs. With songs from Anika, The Hunt, Dean Hurley, Black Marble, Hillary Woods and others, the result is a testament to the diverse and ambitious line-up the label has built over a decade and a half. A group linked not by clear style or genre but something more oblique. A shared commitment to artistic vision, whatever shape that might take. A great example is Marissa Nadler‘s take on ‘Cold Wind Blowin’ from David Lynch‘s The Big Dream, a version which understands the twin forces of familiarity and strangeness which underpin Lynch’s work and treats each with the reverence they deserve.

Todo Muere SBXV is out via Sacred Bones on the 27th May and you can pre-order it from Bandcamp.

Pacing – Sunny <3

Combining the twin forces of anxiety and sarcasm, Katie McTigue uses Pacing to explore the busy and oftentimes ridiculous period we find ourselves inhabiting. Ahead of new mixtape hatemail later this spring, McTigue has unveiled lead single ‘Sunny <3’ to get us acquainted with her distinctively sardonic style. Because do not be fooled by the title, or at least be sure to excavate its wry connotations, as this FOMO anthem does not find joy or self-actualisation at the end of a productively jammed day. Just creeping panic as the pressure to be better and better coils like a spring. “I’m gonna be good,” goes the tongue-in-cheek refrain. “I’m gonna be so good.”

hatemail is out on the 13th may and you can pre-order it from the Pacing Bandcamp page.

This Frontier Needs Heroes – Not Gonna Write a Song

Following on from 2021’s Go With the Flow, the fifth album from David Bradley Lauretti’s This Frontier Needs Heroes, this spring sees the project return with a new song series titled Every Song is a Single. The first taste of this new material comes with the ironically titled ‘Not Gonna Write a Song’, a wry take on a break-up number which sees Lauretti break his own promise in real time. A song about resisting the urge to write. But despite this playful humour, the sound itself commits to a subdued warmth. Earnest and reflective, caught between looking back and moving on. Lauretti is gonna continue to write songs, and the world is all the better for it.

Take what you have to take
And I’ll break what I have to break
I know that it’s not a mistake
So I’m not gonna write a song for you

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The song is the sort of lushly beautiful folk that we’ve come to expect from Tiny Ruins. Its about drifting minds, inspired by a friend who grew up so close to a beach that the ocean was always calling, especially when stuck in a high school classroom.

“Always a dream wave
drawing you off track,
a dream wave
a coast calls you back”

The b-side is an instrumental version of the song, a track that somehow manages to resonate with even more poetry than the original, despite its wordless nature.

You can get ‘Dream Wave’ now on 7″ vinyl from Bella Union (worldwide), Flying Nun (NZ) and Spunk! Records (Aus). You can also read Lynch interviewing Fullbrook over at Faster Louder.

Photo credit: Georgie Craw

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‘The Lights in the Sands of Katumpkale’ is a short neo-classical track that draws on a wide range of styles and genres to create a surreal, cinematic slice of orchestral pop. Lable Hidden Shoal describe the song as “a window into Ryan E. Weber’s kaleidoscopic musical universe,” which seems more than apt. You can grab it for free right now over at Bandcamp.

Not content with the intricate track, Weber teamed up with Megan Olinger Sweeting to shoot an accompanying video which certainly ups the intrigue. Focusing on the strange movements of various body parts, the video is what my uneducated self would label Lynchian, although I’m sure those who enjoy avant-garde cinema would know of a few better examples. Whatever the influences, the whole thing is shot on Super 8 and transferred to VHS, giving that mysterious/creepy/slightly seedy feel of 70s/80s arthouse flicks. Watch it below:

The album will be released on Hidden Shoal the 16th July.

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Indelicate takes the unsettling tones of the single and runs with it, putting the ‘dream’ into dream pop. Opener ‘Porcelain’ sets out the stall – a strange, off-kilter song that simmers away without ever boiling over, and is back by what can only be described as understated moans. If a song could ever be described as haunted it would be this one.

The lyrics across the whole album are abstract and unsettling. Their fragmented nature means that you are constantly picking up images and storylines in brief snippets, leaving you to try and piece together something coherent. Kind of like when your brain picks out faces in cloud and wood grain, you unconsciously form a narrative thread or ‘complete picture’, or rather a collection a bizarre Lynchian scenes that slowly merge to form a complete picture. It’s like taking a thousands of weird screenshots from Twin Peaks and Blue Velvet and Eraserhead to make one giant mosaic that is super-weird. Hyper-Lynchian.

You can buy the album over at Bandcamp.

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The album’s title is a direct reference to this period in Stratton’s life (the Twin Peaks reference a result of repeated bed-ridden viewings during his recovery). The Gray Lodge represents a midway point between the White and Black Lodges which serve as epicentres of good and evil in David Lynch’s Twin Peaks. “What struck me about what I was going through was that all the notions of good and bad and pain and pleasure, darkness and lightness, were all gone,” he says. “They no longer made any sense to me because my frame of reference was completely different. The Gray Lodge was the hospital for me, and the Northwest in general―this really gray, dark, rainy place where I was going to heal. The album title is about coming out of that experience feeling a bit wiser than I was before.”

Musically, Gray Lodge Wisdom is a worthy addition to Stratton’s impressive canon. His finger picked guitar and beautiful string arrangements are present, as are his woderfully eloquent lyrics. The album also contains some very nice guest appearances. Tamara Lindeman (aka The Weather Station) provides a guest verse on the title track, and Hollie Fullbrook (Tiny Ruins) sings on ‘The Arrow Darkens’. The sound is subtle, gentle and reflective, not mournful nor angry or jubilant.

But the legacy of the album is its impact on Stratton’s attitude towards his disease. This is not an album based entirely on the pain and suffering of that period of his life. Rather it is a portrait of a young man feeling his way into the world. Yes his disease has left an indelible mark on him, but he refuses to be defined by the disease alone, and is now attempting to hang on to the positive effects it had on him. “I feel like I have to choose the things to hold onto that I want to remember and that I want to continue to make a part of who I am,” he explains. “Coming out on the other side of this and having an immense feeling of gratitude is a pretty powerful thing.” The album is one of acceptance: a recognition that suffering and death are part of life, and a conviction that these things should not define our existence.

“Why sing about death when I almost died? Why sing about life when I’m still alive?”

You can buy Gray Lodge Wisdom right now via French label Talitres

P.S. You can still get If You Wait Long Enough the excellent benefit album that was put together to help Stratton pay his medical bills.

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The two Jurado covers are from Slowcoustic’s fantastic Covers Project, the Rufus Wainwright one is from Pickwick’s Fuel/Friends Chapel Session and the Dire Straits cover was included after reading an article on the late Matt Ryd on Cover Lay Down. I have no idea what is going on in the Mac DeMarco track.

Tracklisting:

1. Falling (Twin Peaks Theme) – Field Mouse
2. You Took Your Time (Mount Kimbie Cover) – Julia Losfelt
3. Talamak (Toro y Moi Cover) – Houses
4. Thinking About You (Frank Ocean Cover) – Typhoon
5. Heysátan (Sigur Rós Cover) – Leif Vollebekk
6. No Other Love (Jo Stafford Cover) – Night Beds
7. Foolish Love (Rufus Wainwright Cover) – Pickwick
8. Beacon Hill (Damien Jurado Cover) – Small Houses (w/ Kevin Killen)
9. We All Make The Flowers Grow (Lee Hazelwood Cover) – Siskiyou
10. Father and Son (Cat Stevens Cover) – Johnny Cash & Fiona Apple
11. Indie Queens Are Waiting (Dan Mangan Cover) – Will Driving West
12. Fade Into You (Mazzy Star Cover) – J Mascis
13. Fit (Windmill Cover) – Snob Dylan
14. Don’t Let Them See You Cry (Manchester Orchestra Cover) – Ted Monday
15. Isolation (Joy Division Cover) – If Thousands
16. Medication (Damien Jurado Cover) – Wes Tirey
17. Drive All Night (Bruce Springsteen Cover) – The Swell Season
18. Romeo & Juliet (Dire Straits Cover) – Matt Ryd
19. Gypsy He-Witch (Jason Molina Cover) – Will Oldham
20. Medley (Various Covers) – Mac DeMarco

As always, the mix is intended as an introduction to these artists. I have put links in the tracklisting so you can explore a bit further. Enjoy!

The Covers Mix: Volume #9 from Wake The Deaf on 8tracks Radio.

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