Various Small Flames’

Songs of 2017

Anamon – Kneel Old
Android Automatic – Dark Roads*
Angie McMahon – Slow Mover
Basement Revolver – Johnny Pt. 2
Baxter Roy Long – Paribanou
Bea Troxel – Let Them Know
Big Thief – Mary
Black Belt Eagle Scout – Soft Stud
Bully – Running
Cayetana – Mesa
Charly Bliss – Percolator
Chastity Belt – Different Now
CHUCK – Happy Birthday
The County Liners – Maria
The Courtneys – Tour
Craig Finn – God in Chicago
Crumb – Locket
Crushing – Emery Board
Cut Worms – Like Going Down Sideways
David Bazan – Care
Distant Reader – First Try
Emperor X – God Save Coastal Dorset
Fits – Ice Cream on a Nice Day
German Error Message – 2017*
Gleemer – Soothe Me
Great Grandpa – Favorite Show
Haley Heynderickx – Oom Sha Lala
Hiccup – Teasin’
Horse Culture – Texaco
Illuminati Hotties – ‘(You’re Better) Than Ever’
Japandroids – No Known Drink or Drug
Jason Isbell & the 400 Unit – If We Were Vampires
Jay Som – The Bus Song
Jeremy Squires – Night Cars
Katie Ellen – Drawing Room
Lizzie No – Monuments
Lomelda – Bam Sha Klam
Mike Pace and the Child Actors – Audits & Surveys
Meursault – The Mill
Mount Eerie – Crow
Nice Legs – Mighty Three
Oceanator – Nowhere Nothing
Ohyeahsumi – Daisy
Old Earth – Pit Dynamics
PASTEL – Stammer
Peter Silberman – New York
Phoebe Bridgers – Motion Sickness
Pope – Talk Me Out of It
Protomartyr – Windsor Hum
Rainwater – Place
Ratboys – Elvis is in the Freezer
Rick Rude – Bald & Fat in Houston, TX
Roadkill Ghost Choir – Classics (Die Young)
Rose Dorn – Dirt
See Through Dresses – Lucy’s Arm
Shannen Moser – A Funeral, A Friend, My Sanity
Sinai Vessel – Died On My Birthday
Slaughter Beach, Dog – Phoenix
SOAR – Fort Funston
Soft Fangs – Jordan // Jackson Elementary
Spartan Jet-Plex – We Believe
Strange Ranger – House Show
Strawberry Runners – Garden Hose
Timid, The Brave – Alice
Us and Only Us – Bored of Black
Vagabon – Cold Apartment
Viewfinder – Instant Moonlight
The Washboard Abs – Veil
Waxahatchee – Never Been Wrong
Wild Pink – Albert Ross
William Ryan Fritch – In Our Blood
The Wooden Sky – Swimming in Strange Waters
Ylayali – Cherry Tomatoes

*Strictly released in 2016, but barely, and we covered it in Jan. 2017.

If you missed it, you can see our Favourite Albums of 2017 list here. Also, the curious can find such lists from previous years here.

The post Favourite Songs of 2017 appeared first on Various Small Flames.

Jenny Berger Myhre – Måter Å Forstå Seg Selv I Verden

Jenny Berger Myhre is an experimental folk artist from Norway who utilises her interest in other artforms to push the boundaries and explore complex themes more fully and intuitively. Aside from being a photographer, Myhre also records the audio of her surroundings, finding sound can evoke an even more physical reaction. “I try to use my sound recorder in the same way I use a camera – capturing moments, not necessarily important moments, but allowing them to grow in the archive.”

Her forthcoming debut, Lint, made up of recordings made between 2011 and 2016, focuses on how memories can interact and change with the passing of time, and how nostalgic thinking about the previous events ironically reshapes our memories and thus the past as we understand it. While such unsteady footing could be overwhelming and unpleasant in some hands, Myhre creates songs that find peace with the idea, learning to find beauty and wonder in the shifting of perspective and what we once thought of as ‘truth’. Listen to single, ‘Måter Å Forstå Seg Selv I’ below:

Lint is available from the 1st March on Canigou Records, including a limited edition cassette as a collaboration with The Lumen Lake.

big snack – a book of poems

A member of Baltimore’s SUN CLUB before parting ways last summer, the face behind big snack now writes sad solo bedroom pop fleshed out with lo-fi but surprisingly rich effects. February sees the release of latest album i’m going to die in the catacombs, and opening track ‘a book of poems’ is the perfect introduction to the sound – delicate and striking and sombre and sad – basically everything you could want from such a song.

The entire album is available on Soundcloud right now, and if we get the time we’ll get a full review written up in the not-too distant future.

Tom Cunliffe – Old Moon

Recorded in the small port town of Lyttelton in New Zealand, ‘Old Moon’ is the opening track from Tom Cunliffe’s debut album, Howl and Whisper. Rooted in traditional folk and the natural world, the song plays as a cross between love ballad and wanderer’s hymn, the sort of song a mysterious drinker might croon at some hour past midnight in the corner of a low-lit bar, causing other patrons to wonder about his history but never quite dare ask.

“Some men are given mountains
Others have the sea
But the moon
The moon
Is for you and me”

Howl and Whisper is out now via the Tom Cunliffe Bandcamp page.

Jay Som – The Bus Song

We’re not going to be pretend to be new or fresh to this, but the new single from Melina Duterte’s upcoming album Everybody Works is too good not to mention. Working on her well-developed formula, ‘The Bus Song’ feels like a consolidation of style and an expression of just how confident Duterte is in the Jay Som aesthetic.

Everybody Works is set for release on the 10th March and you can pre-order it now on a variety of formats via the Jay Som Bandcamp page.

Family Friends – I’m Like You

Family Friends is Rebecca and Tom Fitzsimons, a sister-brother duo split between Melbourne and East London who draw upon various aspects of their respective locales to create music both city cool and shoreline sunny.

New single ‘I’m Like You’, the second track to be released from a forthcoming EP, follows the above recipe word for word, playing like a swaggered stroll along the sea’s edge, sunglasses on and chest puffed out. The band describe the track as “finding another weirdo whose weirdness makes total sense to you,” which gives the air of confidence another dimension, painting that unique pleasure and comfort of being seen in public with people you relate with completely.

The EP is set for release via Beatnik Creative on February 24th.

YOWL – Saturday Drag

A Peckham band with an apparent reputation for “both balance and disharmony,” YOWL’s new EP, Before the Sleep Sets in, is said to “veer from impish morbidity to candid sincerity.” Such swerves are present on the lead single ‘Saturday Drag’, the track opening in a detached stupor before exploding into a raging life around the minute mark. This oscillation continues across the run-time, painting the picture of a character insulating themselves from the banalities of life through self-induced listlessness, snapping out of it only to realise the folly of the tactic, growing anxious to live before the sleep sets in.

My lesser self walks down and down
And all my thoughts straight to video
I’m shooting blanks at every rodeo
I’m sending out the siren call

Before the Sleep Sets In is available now from iTunes.

Andrew James – Shoreline

Houston’s Andrew James writes emotive folk songs in the vein of Noah Gundersen, toeing the line between bitter sadness and something a little more romantic. The title track from his latest release, ‘Shoreline’, is an exemplary display of restrained melodrama done right, blanketed by grief but never suffocated, the sort of song that would be perfectly suited to a disarmingly emotional montage on your favourite medical drama (in a good way!).

Shoreline is available now from iTunes.

Laura Jean Anderson – Won’t Give Up On You

Hailing from Olympia, WA, Laura Jean Anderson uses her folk rock sound to explore intimate things such as honesty, empowerment and personal change, and thus creates some sort of space to examine the wider political climate. “I wanted to release ‘Won’t Give Up On You’ as fuel to the belief that you cannot give up on other people just because they give up on you,” Anderson explains. “It’s a deeply personal song but I believe more than ever that the personal is political.”

The track is a slow burner centred on Anderson’s evocative vocals, the instrumentation added gradually and subtly though eventually coming together to form a rousing finale of wailing guitars and crashing drums.

https://www.youtube.com/watch?v=UYlj_DskXAY

Bad Dad – Sum Bunny Gun Love Me

Bad Dad is a self-described “country vapor wave” artist from Oklahoma City who makes “blue music to space out to.” If ‘Sum Bunny Gun Love Me’ is anything to go by, that translates as a melancholy brand of dream-folk populated by cowboys dragged into the future, lovesick folk singing the blues as they always have.

‘Sum Bunny Gun Love Me’ is out via Merlin Circle.

Canshaker Pi – What You’re Trying To Say

Despite still being in their teens, Dutch quartet Canshaker Pi (that’s Willem Smit, Boris de Klerk, Ruben van Weegberg and Nick Bolland) managed to enlist the production skills of Stephen Malkmus for their debut album, the Pavement man travelling all the way to the Netherlands for that specific purpose.

Taken from that self-titled release, latest single ‘What You’re Trying to Say’ gives a hint as to why indie rock royalty would go to all that effort. Drawing on the likes of Sebadoh and Guided By Voices, the track exudes an enthusiastic yet gritty slice of fuzzed-out noise, managing to sound at once menacing and catchy through its use of simple melodies and oppressive feedback.

‘What You’re Trying to Say’ is out on the 3rd February via Excelsior Recordings.

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Now, aside from certain misgivings pertaining to the diversity and focus of such events, there’s also a long and likely important discussion as to what degree protest alone can change (see Micah White’s case in The Guardian, citing the relative failure of Occupy). However, there is little doubt that activism is as or more important than it’s been for years. The tricky part will be maintaining this level of enthusiasm and commitment to equality beyond single marches or petitions. As White writes at the end of his piece: “The Women’s March on Washington has a role to play in this unfolding drama, but only if we cultivate a few moments of detachment from the thoughtless excitement to truly take time to consider this question: what happens on the day after the women march?”

The answer, I think, should be a doubling down on listening to women, non-binary folks and people of colour. Like, truly listening. Allowing them not only a voice but also the respect/power/position that will enable such a voice to enact social and political change. This can and should start at the smallest levels, equating to nothing more than a commitment to seeking out non-male/white opinions and voices and considering them with equal weight. Look for female journalists and authors and thinkers, PoC musicians and artists and film-makers. Heck, even just read The Le Sigh and Swell Tone and The Grey Estates, anything to shift your perspective away from the dominant voices. Do this until your bookshelf and record collection and Twitter feed look a little different, and the worldview that’s being beamed to you will look a little different too.

We’re under no illusion that our blog posts and mixtapes will solve anything, or that we’re preaching to the converted in this cool little echo chamber. So consider this as us shutting up for a few minutes, both to give space to voices that need it and a reminder that we’re standing by, on your side. You’ve lit the match, it’s time the void went flash. Never think that what you are doing is too small, and never assume that you are doing enough.

Tracklisting:

1. Jenny Hval – Untamed Region
2. Oh Rose – Running
3. Camp Cope – Jet Fuel Can’t Melt Steel Beams
4. The Breeders – Hag
5. Screaming Females – Mothership
6. BB Cream – Heroine
7. Shannen Moser – A Funeral, A Friend, My Sanity
8. Tanukichan – Enough
9. Noname – Reality Check
10. Patti Smith – Kimberly
11. Sammus – Perfect, Dark
12. Vagabon – Fear & Force
13. Diet Cig – Tummy Ache
14. Jay Som – The Bus Song
15. Haybaby – Her
16. Betty Becky – Telegraph Ave
17. Suburban Lawns – Janitor
18. Heavens to Betsy – Nothing Can Stop Me
19. Tacocat – Dana Katherine Scully
20. Colour Me Wednesday – Two Fifty For You Girls
21. Allison Crutchfield – Dean’s Song
22. Cherry Glazerr – Nuclear Bomb
23. Mal Devisa – Dominatrix
24. Nicole Dollanganger – American Tradition
25. Angel Olsen – Sister

P.S. This seems a good time to remind you that Nancy Kells of Spartan Jet-Plex recently put out Friends For Equality, a compilation in support of the Southern Poverty Law Center, ACLU and Planned Parenthood. In addition, she has arranged a benefit show in Richmond, VA in support of Forward Together and Sister Song (full details here).

There have also been similarly great releases like Wren & Shark and Friends, Don’t Stop Now (featuring covers by the likes of Lisa Prank and Augusta Koch of Cayetana) and Our First 100 Days. Oh, and some specially written songs by Hip Hatchet and Adeem the Artist.

Photo by Benjamin Lovell

The post Lit a Match, the Void Went Flash: A Playlist for Moving Forward appeared first on Various Small Flames.

“For all the woe and doubt, the record never deviates from its primary message – each and every moment is a law unto itself, be sure to live in it and for it because, be it good or bad, it will not last forever”

To explore the record a little further, we put some questions to the faces behind Dicktations and received some rather interesting answers. Dig in below!

Hi Dicktations, thanks for speaking with us. How is life at this time of year in NYC?

Miguel: It’s just now starting to become very cold. The heat in our building is finally on and it gurgles in the manner of a large beast with Troubled Bowels. The leaves are half gone, and it is all very pretty. I find myself compulsively listening to Yo La Tengo, Nico, and Joni Mitchell. The fall is a special time—I always feel completely awful. Maybe recent L.A. transplants Brian and Torsten can offer their thoughts on the west coast’s take on this season.

Brian: LA is its usual sunny self but we actually got some decent rain this past weekend, which I loved. I’m troubled at how cold 60 degrees feels to me now. It was funny watching the debut of Jared Goff, the no. 1 pick of the Rams, playing at home in the pouring rain.

In our review of Super Paradise we mentioned how you said the album was “an index of a weird time in our lives” and was created in response to a period of what can only be described as existential crisis. Did the record help you make sense of all of that? Was it a cathartic experience in recording and releasing it to the world?

Miguel: It’s hard to say. The record took forever to make and felt like a sticky thing. Letting go of the record helped me let go of that time. But I don’t know that making music or art, for me at least, is really cathartic, or even a way of processing things. Music-making is like this alien compulsion that the events of my life, at best, furnish. My emotions and experiences are the most readily available material through which to articulate it. The compulsion is indifferent to all of that, though. Most of the time it is hard to express how I’m feeling or where I am through any medium or mode of communication, let alone music. I can’t say I really sit down and make music for the purpose of expressing myself. That being said, making music feels extremely correct, in a way that nothing else does, and in a way that I think is distinct from the classic artistic framework of catharsis and sense-making. It’s probably the only thing I do for the sake of doing it.

Brian: Agree completely with the last line, I think you summed it up really well. As far as the “weird time in our lives,” Miguel and I were both living at home, working mindless if not thankless jobs and wondering what the next step was. I kind of see my last year as a state of limbo – most days I felt like I was just hanging suspended in this reality. For me at least, it was existing, not living. That impulse pushes me to make music.

At twenty tracks, and running through a variety of styles and moods, the album is pretty much a double album in terms of length and scope. How/why did you decide that these songs all belonged on the same release? Was it to do with themes? Or the period of time in which they were written?

Miguel: We were eager to produce as much material as possible. The folder on my hard drive that contains the original demos for this record is titled ‘Dicktations Swan Song.’ It was my understanding that this was the last thing we would make when we started making it—at the time, towards the end of college and the beginning of that summer, I thought I might be moving to L.A., too. ‘Dicktations Forever’ was one of the first songs I wrote for it. The lyrics came to me spontaneously, which is rarely how it works out for me. I was about a month before graduating from school and, maybe I couldn’t recognize it at the time, I was on the cusp of this really difficult reckoning with how the self is constituted and the strangeness of being able to identify all these major, imminent changes in your life but being unable to anticipate how they will feel. That kind of provided a goal post for what the record would be about.

We used every song we recorded on the album. I tried sequencing it as a full twenty track record, and I think, by merit of these songs being written by us throughout this whole period, it felt thematically cohesive and even had a narrative arc. I think by the time I wrote ‘Heather,’ I knew it belonged at the end of the record that charted out this course towards refusing to be defined by history, trauma, and sadness. We talked a little about cutting tracks but decided not to. I have always been drawn to sprawling records that jump across genre. The first quasi-Dicktations record set out to be that way very deliberately. H*CKHOUND is basically the one time we’ve ever engaged in self-editing.

Brian: I also love the sprawlers. I’m really happy with how all the songs ended up fitting together despite the different styles. I love records that flow from song to song and I think we achieved something like that.

Who/what do you consider influences on your work, both sonically and in terms of writing? Are there art forms other than music (literature, movies, visual art etc.) which you consider important in shaping your style?

Miguel: I’ve always seen Dicktations as my dream rock n roll outlet. Something that takes its cues from everything I like from rock. I think the main reference points for my songs on that record—Thin Lizzy, The Replacements, Big Star, The Wrens—were formative for me but not necessarily indicative of what I listen to and resonate with most at this point in my life. Writing lyrics is extraordinarily difficult for me. When I was writing words for my tracks on the record I kept pushing myself to be as direct and frank as possible, which I think all those bands do well. I love the unceremonious nature of Paul Westerberg’s confessions. The way he loses his resolve at the end of ‘Unsatisfied’ or has to work his way up to sing a line like “[a]ll I know is that I’m sick of everything that my money can buy” on Here Comes a Regular. There’s nothing monumental about the way he expresses his feelings. I like to think that for all its length and scope, Super Paradise is ultimately pretty unambitious and understated.

I find literature and critical theory to be really influential on how I think about my relationship myself and others and how I ultimately write. I think my anxiety about being overdetermined by history was a pretty direct result of the spiritual and intellectual fatigue I felt studying Anthropology for four years. Most recently, the novel I Capture the Castle [by Dodie Smith] helped me finally write the words to a very difficult song.

Alex: For me, my playing style is truly influenced by my personality…and my personality is truly influenced by Kate Bush (my perception of her based on videos, interviews, and her music in general, at least). I feel very animated and emotional when playing music; sometimes I think about what I would look like if the drums were totally transparent, with just my wobbly, swishy, bouncy, flailing and/or unnaturally still body visible (i have no formal training on how to play drums in a way that won’t eventually cause self-harm) and every time: I see myself surrounded by characters in one of her amazing choreographies.

Brian: Musically, influence #1 will always be The Beatles for me I think. As far as influencing me as a writer and rocker, Bruce Springsteen. I’ve teared up to “Backstreets” so many times. Richard Thompson is a guitar god I dream of playing like one day. The Smiths, Weezer, The Band and Teenage Cool Kids are some of my other favorites. The Wrens were my soundtrack for the past year, they’re an amazing band. If I did a ‘Mount Rushmore’ of my singing influences, it would be: Jonathan Richman, Charles Bissell, Kevin Whelan, Rick Danko (so f*cking plaintive!) and Andrew Savage.

Most of your releases were accompanied by creative and rather in-depth supporting pieces of writing, which I find really interesting and illuminating. I was wondering how central these are for you to the albums as a whole? Are they footnotes or another facet of the main body?

Miguel: I think the way I’m about to answer this is a way of thinking about it that definitely came after putting out Super Paradise, so I’m almost interpreting myself here. I think of the essay and annotated map that you get when you download the album are all parts of the artwork-as-a-whole. A friend of mine mentioned using Google Maps—I do this all the time—to cruise the locations on the annotated map and in the essay while listening to the record as an illuminating experience, and I think that’s almost how I would recommend experiencing it. I think the internet and digital medium offer great opportunities to rethink what an ‘album’ is. Lemonade and visual albums are a big budget way of approaching this, but I think there are plenty of more DIY ways to realize the possibilities of the medium. H*CKHOUND dabbled in this too—the liner notes featured “stage directions” for each track.

I can be very obsessive. I love the idea of exhausting something, like what Georges Perec does in An Attempt at Exhausting a Place in Paris, where sits in one intersection for days and describes every detail he sees. Or a gothic cathedral—a space so dense with signification, through all its decorative statues and stained glass, that it’s never available in its entirety to any given viewer.

You said in a recent Facebook post that Dicktations are no more, and posted a song from a new project. What can we expect from you in the future? Do you see your new work as a marked change from Dicktations?

Miguel: I’ve been doing stuff as Miserable chillers for a few years alongside Dicktations and other projects, like Drug Pizza and Magic the Happening!. Miserable chillers is my outlet for music that engages with referents that have more in common with what I’m into now. It’s synthier and a little more abstract. I’m letting my love of all those British sophisti-pop bands from the ‘80s, like Prefab Sprout, or Blue Nile, consume me.

Brian: I’ve been releasing music as Living Large since high school and recently my brother Dan (aka Rick Rubin of Dicktations) and I have recorded two albums at his spot, Boca Studios in Somerville, Mass. (Boston bands, hit him up!)

Finally, could you name four or five acts you think we should be listening to (be they old or new, popular or obscure, etc.)?

Miguel: Jay Som, Tredeci Bacci, Wintertime, and Mal Devisa are new artists that I really like. Willis Alan Ramsey is a Texas troubadour from the ‘70s who is somewhere between Townes Van Zandt and Harry Nilsson and his one album has been on heavy rotation for me for the past year. Also, Will Toledo of Car Seat Headrest has been a pretty indispensable champion of our music, and I owe him a big thanks and shout out. Teens of Denial was one of my favorite indie rock records this year.

Brian: Teens of Denial is an amazing record and the show we played with them was also one of the best concerts I’ve attended. I mentioned them before, but The Wrens are one of New Jersey’s greatest bands. Out here in LA, I’ve been listening to two artists heavily: Steely Dan and more recently R.E.M. Aja and Murmur are both classics. Check out the early records. Early R.E.M. can hang with The Smiths. Our friend Chris has a gallery space (As It Stands LA, if you’re out here!) and a local band called Roses played there one time. I wasn’t at the show but I like them a lot, especially their song ‘Florence Girls.’ I recently found Greatest Palace Music by Bonnie ‘Prince’ Billy at the thrift store down my block so that’s my go-to driving CD. ‘New Partner’ is one of my all-time favorite songs.

Torsten: When I listen to Bach I feel as though God is real and that, though am I not perfect, there is a perfection I can sometimes glimpse and aspire to. It is a worthwhile trick to play on yourself. I really like John Eliot Gardiner’s groups performing the cantatas and Glenn Gould’s performances of the piano works.

You can grab Super Paradise and all of the Dicktations release now from Bandcamp.

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Henoheno – I Made These Songs Before I Moved (REVIEW)
(RIYL: Bedroom pop, Elvis Depressedly, Alex G)

Henry Demos & Lewtrakimou – I Was trying to Get There But it Was Hard to See From the Balloon (REVIEW)
(RIYL: experimental, psychedelic, lo-fi, incredibly cool/nice people <3)

Hermann Doose – Hawaii Was Beautiful
(RIYL: pop, surf rock, ARMS)

High Bloom – Haloed
(RIYL: ambient, electronic pop, Orchid Tapes)

Honeyuck – very tiny songs (REVIEW)
(RIYL: bedroom pop, twee folk, Frankie Cosmos)

Isabel Rex – American Colloquialisms/Two Hexes (REVIEW)
(RIYL: lo-fi, garage rock, Olive Drab)

The Island of Misfit Toys – I Made You Something
(RIYL: emo, indie folk, hardcore)

Jake Rollins – Spend a Few, Make a Few (REVIEW)
(RIYL: lo-fi, summer pop, slacker rock)

JANK – Awkward Pop Songs
(RIYL: power pop, emo, Algernon Cadwallader)

Jay Som – Untitled
(RIYL: dream pop, woozy rock, dreaming of summer)

Joplin Rice – Low Hum (REVIEW)
(RIYL: indie rock, lo-fi)

Katie Dey – asdfasdf
(RIYL: bedroom pop, experimental, lo-fi)

The Kickstand Band – In the Sun
(RIYL: indie pop, surf rock, )

Kip McGrath – S/T EP
(RIYL: lo-fi, bubblegum pop, twee)

Kitten Crisis – Have a good summer
(RIYL: pop punk, summer days, Radiator Hospital)

Lady Paw – Long Shadow

(RIYL: dream pop, experimental, Twin Sister)

Laurence – Happy Town
(RIYL: bedroom pop, folk)

The Le Sigh – Vol. II (close enough to 2015!)
(RIYL: bedroom pop, compilations packed with goodness, female-identified/non-binary artists)

Letters From Bummer Camp – Vol. 1
(RIYL: punk, Boosegumps/Long Neck/other NJ-indie artists, helping good causes)

Long Neck – Heights (REVIEW)
(RIYL: bedroom pop, Two White Cranes, Cyberbully Mom Club)

Kizzy Hall – one last shame spiral
(RIYL: scrappy rock, basement pop, Coma Cinema)

Mike Pace and the Child Actors – The Flood
(RIYL: box-office music from the 80s/90s, Oxford Collapse)

Miniature Philosopher – Leaving ‘Bula
(RIYL: Paul Baribeau, Nana Grizol, Talons’)

Mini Dresses – FOUR
(RIYL: dream pop, laidback vibes)

The Modern Folk – Surround Me / Leather Jacket (REVIEW)
(RIYL: lo-fi, DIY, shambling rock n’ roll)

Morning River Band – Abyssal Channeling (REVIEW)
(RIYL: folk, country, bar-room rock)

We’ll be sharing a new section of the list every day this week, so be sure to check back for the complete collection. If you find something you like, or think we missed something life-changing, then why not let us know on Facebook, Twitter, Instagram, Tumblr or good old email.

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