Lisa delivers a playful take on repetition on ‘A Fleeting Thought Becomes Another Fleeting Thought,’ the opening track from Patchwork, her sixth album. Set to a galloping rhythm, the song builds in intensity with dramatic organ melodies and a folky 12-string electric guitar while showcasing Lisa’s enchanting vocals. The layers of repeating vocal harmonies echo her restless nature and the fleeting thoughts that often cross her mind before she can even grasp them, a theme that directly inspired this new earworm.

Lisa explains, “This was the first song to be written on what would become the Patchwork record. I wanted the chorus to repeat multiple times to create a sort of hypnotic drone that mimics the restless feelings and thoughts that constantly spiral in my mind. The influences were a mix of ‘Edge of Seventeen’ by Stevie Nicks, 60s rock and roll and even a little medieval touch with the 12-string electric guitar.”

Director, Alexandre Pelletier says “Aiming for exceptional performances in exceptional settings was the mantra that guided us while making this music video. Much like the song, the Acadian landscape is as magnificent as it is mysterious. Both during location scouting and filming, we were mesmerized by the sunsets that lit up the fields and the twilight mist gliding across the water—and we tried to capture those moments on camera.”

Patchwork:

1. Fleeting Thought Becomes Another Fleeting Thought
2. Too Many Cooks
3. Pleasure Way
4. Landscapes
5. Beat of the Drum
6. St-Vincent de Paul
7. Tolla
8. Satisfied
9. Pressure Cooker
10. Way Too Sober
11. Whole Lotta Talkin’
12. Bring out the Fiddle

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The artist’s defiant second studio album Regarding My Heart is due out September 27. With her most refined, self-assured sound to date, Regarding My Heart is a sweeping sonic exploration of love, loss and loneliness that allows Tuelo to cement her place in the folk-rock sphere.

Explaining the concept of the title, Tuelo says, “Being loved and cherished to someone, may it be family or friends, is for me what makes the world go around. In nature, I think love is this concept that explains the electricity that sparks progress, creativity and creation, be it bad or good. It’s a song from the perspective of the one who loves – comforting, shaking, and rescuing a person who is struggling to grasp life. It is also written by a person imagining how loved ones would live and cope with their chosen death.”

Though these topics may be heavy, Tuelo says the track aims to shine a light on the positive, healing aspects of these thoughts and the beauty of self-acceptance and honesty. Tuelo continues, “It feels like a dark topic, but it’s not. Many people have pondered self harm; many are in one way or another harming, self-sabotaging, and holding on by the thinnest threat. Very often when I find the peace of mind to write I know that I’ve jumped a hurdle. Simple truth is that ‘Bitter Weeping’ was a diary entry to myself and made with my typical heavy, solid, and consistent strum.”

The accompanying video is a tribute to New York City–the buzz, chaos and beauty. With the city as its backdrop, Tuelo says despite its busyness, it’s easy to still feel lonely, and encourages New Yorkers to find their peace. Tuelo adds, “It’s a New York song; it’s a New York video. I’m just happy to include the city as a backdrop to the video. We live in such an exciting city that has millions of people, but it can often be lonely. This video made me want to remind people to make peace with themselves. The world is a mess already and I need for everyone to hold on tight and more than anything, be at peace. You can only make peace with others when you make peace with yourself.”

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Gigi’s music spans a wide range of genres and styles, from folk to rock and blues; this unpredictability in her sound mirrors the unpredictability of her artistic direction, as she remains open to whatever creative path she chooses to pursue next. The West Virginia-born artist’s debut is equal parts alluring, rebellious and empowering, covering themes of self-discovery, introspection and vulnerability. The sprawling five-track mini-movie paints pictures of highspeed desert drives with the roof down, smoke-filled speakeasies dense with Bond-esque intrigue, and tangled in all the highs and lows of a fated cinematic romance.

Few artists are more exciting than those capable of anything, and the possibilities are endless for established rock singer turned solo artist Gigi Gold. “I walked into this project not knowing what I wanted it to be”, Gigi says, “but I think the beauty of it is not having a preconceived notion.” This is manifested in her upcoming Souvenirs EP, her debut release, a blend of everything from modern folk to classic rock, at once familiar and exciting and stamped with her unmistakable style of self-searching lyrics.

Speaking on the first new single, ‘Why Should I,’ Gold comments, “It’s about taking your power back, be it from a situation where someone else has had control or even just getting older. I’m not 22, and I’m aware of that, especially as a woman, where your age is taken more into consideration. I don’t think that should stop anyone trying what they want to – it’s me saying, ‘screw it, I’m gonna do what I want.’”

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The title track, out today, encompasses a life in its entirety–the love, loss and lessons learned. It was the making of this song that ultimately served as the catalyst for the making of the album. Tuelo shares, “’Regarding My Heart’ is a life-long journey of a song: a release, a reflection, a pacing of the story of love and loss.” The artist’s South African roots influence all facets of her artistry, as Tuelo shares, “It allowed for us to build a specific sound that reflects my particular way of song that I always compose from: my wailing vocal style with cinematic sounds and Etherial guitars, all rooted in my chanting culture.”

On the track’s subject matter and its universal, relatable quality, Tuelo says, “The song shows that in a ubiquitous world there lives a person in solitude, with a fascination for adventure, fantasy, and big dreams of great love. That is me. That would be ‘Regarding My Heart.’ That might be you.”

Built around the track’s central theme of loneliness, its accompanying music video directed and edited by Kevin Wenzel brings viewers into an opulent dining room where Tuelo is grievously setting a table for guests. After inviting guests in, Tuelo finds herself all alone. The artist says about the eerie visual, “The video is simply setting a table with no one coming to the party. It is the ritual of breaking bread and preparing for guests with no one to be in community with or to share burdens. I like the video because the annunciation is just a little awkward and makes you watch differently – even to be slightly bothered by it. It is beautiful but haunting and slightly off. More than anything it is the empty room, the ghost of friends, the nothingness, the lonely person we see.”

Shot on iPhone to cultivate its personal, intimate atmosphere, Wenzel adds, “We took it as a creative challenge to limit ourselves with space and equipment to see what we could create that would help to tell the story of the song, but still give the song the space to live and breathe on its own. The slow motion singing gives it a strangeness and also a calmness that hopefully allows you to sit in the song and in the world of the video.”

Regarding My Heart:

1. Regarding My Heart (Chant)
2. Regarding My Heart
3. Some Kind of Love (Chant)
4. Some Kind of Love
5. Green Light (Chant)
6. Green Light
7. Enemy of Love (Chant)
8. Enemy of Love
9. Bitter Weeping (Chant)
10. Bitter Weeping
11. My Friend Saba (Chant)
12. My Friend Saba
13. Some Kind of Love (Piano)
14. Audio Journal

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Kallen’s folk-rock debut grapples with grief, rage, rebirth and love with raucous urgency and whimsical charm. “I chronically ruminate. Most days my head is like a rock tumbler. Gets pretty noisy.” Exotherm was recorded live over 2 days, serving the songs written mid-pandemic lockdown with extra urgency. Embracing subversiveness in life and lyrics, the songs pave a path of nimble metaphors interlaced with charming aphorisms—and a healthy dose of existential dread.

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A dynamic collection of soothing strums, sparkling finger plucks and booming choruses, Kallen delivers a combination of anger and confusion, often walking the line between cynicism and hope, and yet still holding space for silliness and a soft spot for non-human critters. Bouncy lead single ‘Ink’ tells a relatable tale of how time flies by when you’re stuck in a rut. Opening with the line, “Monday, Tuesday, Thursday, the time flies when nothing changes,” the song builds to a suspenseful chorus like a wave crashing over the monotony.

Kallen’s folk-rock debut grapples with grief, rage, rebirth and love with raucous urgency and whimsical charm. “I chronically ruminate. Most days my head is like a rock tumbler. Gets pretty noisy.” Exotherm was recorded live over 2 days, serving the songs written mid-pandemic lockdown with extra urgency. Embracing subversiveness in life and lyrics, the songs pave a path of nimble metaphors interlaced with charming aphorisms—and a healthy dose of existential dread.

Exotherm:

1. A Garden Bed of Thistle Weeds
2. The Knife
3. Something Something
4. Exotherm
5. Ink
6. Cut the Line
7. Pig in a Poke
8. Mile Eleven
9. Running Shoes
10. Oolong

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Despite what the song’s title would suggest, ‘Hurt Me’ is a surprisingly elevating single that combines folk, rock and country-infused sensibilities. Twins Helen (vocals, flute) and Nicola Frisby’s (vocals, acoustic guitar) undeniable chemistry is second-to-none; sounding akin to the likes of First Aid Kit and The Shires as a result.

Talking about the single, the band elaborate, “its about starting a new relationship after a significant heartbreak and the battle of deciding whether you are ready to pursue something new when you are still recovering from past hurts. It’s also about the responsibility of protecting other people and recognising that if you’re not ready to move on, you might end up causing someone else pain. Basically… it’s a no win. It sucks to break up with someone and it sucks to be broken up with. The song is pretty upbeat though so it isn’t quite as depressing as it sounds!”

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Kallen offers up thoughtfully arranged folkish-rock that navigates grief, rage, and love with raucous urgency and whimsical charm, for fans of Phoebe Bridgers, Indigo De Souza and Haley Henderickx.

‘A Garden Bed of Thistle Weeds’ peers through the window of engrossed introspection. Hazy, ambient guitars set the scene, in what feels like an homage to Kallen’s foggy San Francisco roots. As Kallen (they/them) comes to “grip on the shovel” of their own fury, “Watch me dig, watch my cold blood boil while I figure it out,” they insist. The song squirms in the turmoil conflict brings: asserting power with clever defiance (“Some food for thought now, I should never be/ A reaper sowing your way to grief”), before returning to the aching confession, “I don’t want to leave”. The chorus rises in a slow and washy crescendo, as guitar and voice blend in unison.

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Recorded at the legendary Rockfield Studios, produced and mixed by Brit Award-winning legend Ethan Johns (Paul McCartney, Laura Marling, Michael Kiwanuka), Ella Grace’s new single is an enchanting showcase of her rich, soothing vocal talent and powerful songwriting. The track was aptly recorded on the legendary Studer A820 tape machine that spun the likes of Simple Minds, Annie Lennox, Paul Weller, Kasabian and Queen.

‘Grace’ embodies heartache and the torturous longing for someone you can’t have, sharing more Ella Grace explained: “‘Grace’ is a song about rejection, about wanting to be with someone who is too scared to move towards you – it’s like a love letter that’ll never be read.”

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Jones elaborates, “Ultimately, ‘Eighteen’ is a rollicking and anthemic celebration of female friendship on the road. Being on tour as a female musician is a unique experience and one that isn’t often reflected in music in the way men’s stories are, so we were keen to explore this, while addressing the sombre reality of ageism and misogyny within the music industry.”

Blending Jones’s signature searing vocals with Miller’s country-soul twang, ‘Eighteen’ is a flawless revival of the pair’s supernatural-seeming ability to weave their voices together while maintaining their distinctive timbres.

Miller elaborates on her shared lead role, “When Ruby sent me the initial verse, I immediately loved it and responded with my take on the lyrics. Ruby and I haven’t sung together since we were little ratbag backing vocalists in Clairy Browne and The Bangin’ Rackettes, so it feels quite magical to be working together again”. She continues, “It’s been a beautiful experience to create a piece of music collaboratively, that speaks to our shared experience as artists.”

The track’s writing process began somewhat nostalgically for Jones, at a piano, inspired by a lyric that came to her at a particularly contemplative time for women in music, “I had this lyric running around in my mind — ‘I know, I could do it with my eyes closed’ — which is about how at this point in my career, what causes me the most anxiety isn’t my ability as a songwriter, performer or vocalist, but the diminishing space the industry holds for women after they ‘age out’ at 25.”

Miller elaborates, “The song came to us at a time when we were both reflecting on our careers in music — how hard we’ve worked, how much experience we’ve gained, and how much we have to say and offer — however, we often feel like we’re only just getting started. We both have dreams of success in an incredibly challenging industry, and this song was born from the fire we have within to support each other on this difficult road.”

In her concluding words, Miller reflects on the uniqueness of her long-awaited musical collaboration with Jones, “Within popular music, there are very few female duets where the song is equally led and co-written by both parties. Singers don’t often work with other singers collaboratively; if they do, it tends to be a man and woman, or one artist is a guest on the other’s song.” She continues: “‘Eighteen’ is an equal portrayal of our shared experience as artists and an accumulation of our feelings around the reality of being a female musician.”

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