"A couple years ago during Canadian thanksgiving I was phoned by a friend Diane and she asked me to pray for her friend, a 30 year old woman who had two children and had been just diagnosed with cancer. She had been given two weeks to live. I really didn’t know what to do, so I wrote the first half of this song. I sang it every day for those weeks and she ended up living another 2 years.
After she passed the song took on a new meaning for me. Originally it was about giving her another chance to live, but now it’s song of hope. A song that is about fighting when you feel you have nothing left. It’s about supporting your friends and being unafraid to strive for your dreams.
So why release the song now and not 4 years ago? Well there’s been a new fight for me recently. The beautiful natural habitat which is featured in this video currently has a court case where developers are trying to rezone it and rip it up. This is our fight to keep it green.
The song is about hope and supporting each other, and the music video is about supporting the people, plants, and living things in your environment."
Katey Morley's music follows few rules, weaving together singable yet unexpected melodies, and effortlessly fusing her lifelong love of country, folk, jazz and pop music. The forthcoming EP is a collection of songs that swell from deep sources. She is a storyteller, and her words invite the listener to see as well as hear.
“'Good Little Girls' is the second single from Katey Morley’s forthcoming EP "Then". The song showcases the timelessness of Morley’s songwriting, transcending the roots genre by adding in elements of jazz and pop. Sweeping arrangements brings an anthemic and uplifting sensitivity to the song, while every piano hit relays an intense, emotive rawness that carries the song forward into a climactic final crescendo.
Her upcoming release 'Then' was produced by Scott Currie (Gypsy Sol, Emily Haines) and Tom McKay (Joydrop, Sate, Nightcrawlers), and features the talents of some of Canada’s finest musicians: Maury LaFoy (Jann Arden, Barenaked Ladies), Dafydd Hughes (Feist, Jacksoul), Duncan Coutts (Our Lady Peace), Paul Mathew (Matt Barber, Hidden Cameras), Joshua Van Tassel (Doug Paisley, Amelia Curran), Jody Brummell (Shanks, Bella Clava), Louis Simao (Nelly Furtado, Mary Margaret O’Hara) Kevin Neal (Ron Hawkins, The Do Good Assassins) and many more.
On Saturday, May 20, multi-instrumentalist and lauded bass player Erik Kramer released his debut studio endeavor, an EP entitled ‘Missed the Boat.’ The Brooklyn-based musician has an especially eclectic sound, one that employs the talent of a slew of musicians: saxophone, trombone, viola, trumpet, back-up vocalists - they’re all there. An experimental record through and through, ‘Missed the Boat’ is an indie record quite unlike anything else that’s come across my desk in recent months.
The most unique quality ‘Missed the Boat’ boasts is its ability to effortlessly hop between genres, all while maintaining an aura of cohesiveness. It’s very difficult to be an artist that pulls influence from so many sonic avenues and keep your sound organized, and Kramer does this remarkably well. The titular track, which opens the EP, has a very Radiohead-infused sound. The soft vocal croons, funky bass riffs, and erratic brass sections all sound like they’re from a ‘King of Limbs’ session.
The following track has much more of a jazz influence, offering a rather beautiful soundscape of piano noodling accented by a fantastic string section. If New York experimental music was written for a late night jazz club, ‘Seagulls’ would be the song that would result from it. ‘One of Many,’ the track after that, is a tune that really lets the brass section shine. There’s more funk and fusion influence apparent on that song, and the more upbeat nature of the track gives Kramer more room to experiment as a vocalist.
The EP’s most easy-listening track is surely ‘Tell You Otherwise,’ a sublime listening experience that washes over the listener in a surreal fashion. The equally enigmatic lyricism matches the instrumentation beautifully, as does the sparse, but effective female vocal backing. Heavy jazz inspiration then returns for ‘The Way It Goes,’ exhibiting some of the collection’s most excellent musicianship.
The finale of the EP, ‘The Light,’ may be its strongest song, at least, lyrically. The story-like lyricism puts the vocal content at the forefront of the song, whereas the rest of the EP usually reverses that dichotomy. At this point, it’s also very much worth mentioning that the production on ‘Missed the Boat’ is incredibly good, too, and Kramer has a superb hand over such a large soundscape of musicians.
‘Missed the Boat’ is an excellent EP from beginning to end, defying genre by jamming together funk, jazz, and experimental influences. It does it in an unpretentious fashion, too, which is rather vital to success in this arena.
Galaxxu's music can best be summed up with this Sonny Sharrock quote: "I’ve been trying to find a way for the terror and the beauty to live together in one song. I know it’s possible." Galaxxu draws inspiration from Chicago's incredible free jazz and indie scenes of the past and present, European free improv, and electronic noise to create spontaneous compositions that range from quiet, delicate serenity to an abrasive, pedal-to-the-floor assault.
Galaxxu is currently finishing mixing for several upcoming releases and planning a couple of tours in summer and fall of 2017.
Chicago’s Galaxxu is excited to announce a super-limited edition seven inch lathe cut, featuring artwork by Alex Dycylyxyvyi. The two sides reflect the terror and the beauty the quartet tries to capture in their free improvisations. Side A starts off innocently enough, until devolving into a mess of disjointed interplay between a sax crying out, and a guitar that is seemingly being torn apart at the atomic level. Suddenly, the drums offer a rallying cry and Galaxxu breaks out into a wall of furious noise. Side B offers a glimpse into the more subdued side of Galaxxu. At times even soulful, albeit still operating within the confines of their chaotic take on free improvisation, it ends things in a dreamy sequence as if the Galaxxians are surveying the damage they wrought on Side A.
A Tisket, A Trifle, A Flittering Flutter [Stereo Edit] - 05:22 info
"Somewhere between madness and lack of education, Diablo 2 and adolescent sweat, the mysticism of the big world computer network and the TV attached alone in the living room. From that place in your mind that you do not know invented or The pastime glued to the upper molar and the acidity of Coca-Cola in the depths of his tongue imploding his palate in a fractal of crazy memories and associations and a very secret truth that one day you almost understood and today lives in the Part of your dreams that you no longer remember.
It is from these things that "Which are the True Midnight Monsters?", The first record of the Phantom Sites project, is done. Composed in a solo way by Felipe Soares (Amandinho, 151515) he cuts nostalgias, adds sensations, coexists between opposites and finds in a network of memories that we think are intimate and insurmountable.
The abstract romanticism of the beginning of the millennium, the first generation that grew more inside the internet than it had been and now does not know what to do and that mainly does not know to differentiate the things that believe othe things in itself. Who did not see the end of the world but knew the end of the Polara that is much worse. The profile of your friend who has a child, works, and does not care much more for the internet. It's about this ocean where you came from and now it separates you that this disc speaks.
Phantom sites clandestinely accessed on the computer of their friends' parents. The midnight monsters between unfinished purchases and that message you never answered. Conspiracies, terrorists and the myth of freedom. Now at a young pace.
Ali Murray is an ethereal folk songwriter/musician from the cold isle of Lewis in the north of Scotland. He writes dark atmospheric folk music with lush sweeping dreamy soundscapes and Celtic-twinged instrumentation. His new album LAND OF EVERGONE strikes a balance that is intimate and soaring, peaceful and haunting, sad and quietly joyful, delicately reverberating with Murray's dreamy voice and guitar playing.
Orellana is a neo-classical/post-rock collective hailing from Bristol, UK. Their new album “52”, released in late December, brought in the new year with it’s explosive and intricate sound. The project’s music transcends genre definitions in order to focus on a broad, diverse concept that is more emotional than tangible. This particular release is full of rich and diverse arrangements, but it is also a powerful exercise in minimalism, one that showcases the strength of very few notes placed in the right spots. The simplicity of the arrangement is actually one of the strongest aspects of this entire release: there’s a palpable stillness created by the long, drone notes in the background, which almost makes you feel like the world is happening in slow motion. When the chords and notes change, it feels quite monumental due to the beautiful contrast between the stillness of the background textures and the expressive sound of the guitar-based melodies.