Niall Connolly has never shied away from his own artistry. In listening to his repertoire you’re unlikely to sense reluctance. Instead, the folk singer rushes headlong into his music, laying his soul bare for the world to witness. “In this house, if you wanna cry, you can cry,” he sings on his latest album, The Patience of Trees, out June 2. And with a shuddering breath, we believe him.
The Irish-born troubadour has been a steady presence in the New York City folk scene, telling his musical stories across the din of nondescript bars and Manhattan’s broad stages alike. At every Connolly gig audiences are ushered into his world of unflinching honesty and disarming resonance. Whether listening to him live or on recording, the listener is wrapped in a strange combination of isolation and warmth, a mix that leaves a profound effect: one of having been held and lonely at the same time. This is Connolly’s unique ability to transform his art into something capable of providing tangible comfort.
The album’s first single, “We Don’t Have to Talk About It”, approaches the topic of self-harm in this same manner. “I know you get tempted by the third rail late at night,” he sings, acknowledging and stripping the power away from one’s demons at the same time. The latest single, “It’s a Beautiful Life,” gives an unrelenting perspective of the struggles many of us endure and, ultimately, the love that attempts to pull us through. The song evokes the painful journey through mental health and offers a unique perspective of the collective’s ability to triumph by giving voice to our experiences.
“Out of the Light” feels like an offering at the altar of Leonard Cohen’s emotional legacy. Thoughtful and serene but also spare in its hints of loneliness as he observes “every kind of messy road that leads to love.” Similarly, “Orchids at the Supermarket” haunts like a Nick Drake ballad, making beauty out of brokenness. Yet despite the gentle presence of such ghosts, the presence of Connolly’s emotionality makes each song the kind of experience that only he can create.
The Patience of Trees is enriched by the presence of Connolly’s friends and collaborators, including Mick Flannery, Anna Tivel, E.W. Harris, Javier Mas, and Warren Malone. The arrangements of each track serve as an echo of their lyrical power, emphasizing the story at the center of each song. Expansively, the songs stretch out across the album to create a rich journey full of remarkable souls and powerful experiences. At once demanding and exquisitely comforting, The Patience of Trees takes us into our own depths and offers us solace.
“The clouds were forming question marks, like the sky was doubting me,” he sings in “A Cloud on the Summer Sun”. “I’ve got every right to be here, as much as everyone.” While his songs take us into the caverns of human struggle, likely to cause the sharp, stabbing breath of resonance as the days, weeks, years of tamping down our emotions burst to the surface, the underlying tenet of Connolly’s work is always hope. Aggressive fucking hope. No longer the lame figment to punk theology. His words and his music welcome us into a world where hope and kindness are the bravest of things. In his house, if we wanna cry, we can cry, but ultimately we will heal.
Folk-led, genre-blending musician Mike Pope has, arguably, been one of Southern California’s best-kept secrets for years. He has certainly shared his talents by making the rounds at venues around San Diego, but it took some time before local record label Blind Owl could get him into a studio. There, he had so much material to work with that this week he released not only his debut album Songs For People (High & Low), but a bonus sophomore album titled Ripening (Ain’t It Strange).
Songs For People (High & Low) is a more self-reflective album, dancing beautifully through the speakers with its haunting melodies, striking lyrics, and captivating musicianship. From the very first lines of literal self-reflective first track “Mirror,” through the slightly quicker pace of “Steeped Cracked Rocks” and into the meandering “Teach To Sow,” the listener is transported to a slower, quieter neck of the woods. The album itself continues at a beautiful, calm clip, the compositions as though the music is physically leading us into autumn nights with friends and family.
If you are looking for a particularly complex bit of picking, “St. Augustine” will breathe life into that craving. And while the 11-track album provides a particularly pleasant audible journey, taking the time to listen to “Maryanne,” “Maryanne (Again),” and “Maryanne (Again and Again)” will light a special fire in your heart.
Dropping into the second album Ripening (Ain’t It Strange), you can tell that what’s to come will be equally pleasing. The heavier instrumentals and incorporation of more rock-focused compositions make for a completely different soundscape. While we were absolutely delighted by the percussion in the vocal-less second track “Homunculus,” the fuzzier sound to “My Spirit Orbits” makes it the perfect track to bop to on vinyl with the windows open, autumn breeze flowing through.
Ripening feels, at its core, a little edgier, but still carries a similar warmth to its sister album, stirring energy and acute want for community leading into the colder months. Colder months if you, for instance, live anywhere BUT perpetually 70-something degree San Diego.
Take some time to play in the soundscape of both albums. Now that Mike Pope has found his way out of the San Diego-specific woodwork, we’d love to maintain a mainline to his work worldwide. If ever there were an opportunity to support and encourage an artist to head back into the studio sometime soon, this is it.
Al Olender is a songstress from upstate New York, with a knack for unraveling our biggest fears and emotions in her own words. As recent years have forced her to get to know herself on a deeper level, her music stages itself as borderline therapy for those of us who are muscling through tough times as well. Her first full length–aptly titled Easy Crier–is out now, and we implore you to experience it with your own ears.
“All I Do is Watch TV” has a title we can all get behind after being locked away during a pandemic, but the song itself is so unimaginably magnetic, and such a beautiful way to open this initial full-length of hers. The song itself is about dealing with the loss of a loved one, found in lines like “I read a book on grief, it told me to lay in bed.” Second track “Keith”–named after her older brother, who was lost too soon–is a testament to a life gone awry. Incredibly specific, yet viscerally relatable. She continues in this pattern with the delicate “Liar Liar,” which transports you to these moments and this intense feeling of melancholy.
“Djouliet” picks the pace up a bit, with notably light piano that makes the track, quite honestly, perfect for the summer months. The title track is infinitely relatable, as Olender discusses her experiences as though they are fleeting moments, passing her by on a screen. Her detachment–even during the pleasant memories–is incredibly notable, especially for those who have experienced any level of depression in their lives. And yet, she sings it all with an ethereal disposition, as though it hasn’t affected her at all.
But that is, perhaps, Oldender’s greatest superpower, as revealed throughout all ten tracks of this release. Her beautiful vocals feel untouched by any negativity, a slight release from the chokehold of seriousness that has seemed to enshrine us these past few months especially. And yet the subject matter is so much more complex. “Forget Your Number” is bittersweet and a bit vengeful, and we’re absolutely in love with it. “Neptune Pool” and “Minnesota Waltz” follow suit, employing silence between the notes to encourage a more emotional pull. “The Age” picks the pace up and layers in more instruments alongside boosted optimism. It serves as a quick one-two punch to get your heart rate up, almost blindsiding you with the return to delicacy in the final track “Mean.”
Keep up with Al Olender and her endearing music here.
A Mix for the End of the World pt. 1, the newest LP by the Provo, UT-based band The National Parks, is set for release on October 8. The eight-song collection “…was inspired by love and life, and chronicles the fear, joy, uncertainty, and peace that life might look like at the end of the world.”
A Mix for the End of the World pt. 1 is an album that you will want to hear again and again. I would recommend listening to it from beginning to end, at least the first time out. The first piece, “At the End”, serves as a short (52 seconds) introduction to the music coming next. They have incorporated the same device with “Continuum” – a 41-second interlude leading to the end of the album. Both allow your ears to adjust to the next music.
My two favorite songs on the release, “Headlights” and “Dizzy”, showcase the very lyrics, tunes, and harmonies that have made The National Parks a band that has developed a strong national following.
The National Parks will finish 2021 with a 15 city tour in support of Mat Kearney.
It’s hard to function after being in an unhealthy situation, but it’s even harder to overcome and embrace your emotions so you can become a better person at the end of the day. Miami-born Spanish singer-songwriter Jacqueline Loor takes listeners through this laborious yet rewarding journey on her debut album, Show Them, due to release this Friday. In response to seeing her sister endure a toxic relationship and eventually gaining the courage to leave her partner, the mother of two wrote this collection of empowering songs to inspire others to thrive and do the same.
At the beginning of the album, Loor recognizes how her relationship is in shambles and reminisces how it used to be. Over time, she realizes how her significant other is only a distant echo of who they once were until she cuts them off from her life and finally gets the opportunity to exhale without them breathing down her back. This alone time allows her to find her footing and take the reigns of her life back, so she can show the world how she can soar and carry on without her former lover.
Although she just started singing several years ago, at the age of 36, Loor’s commanding vocals and intricate, vulnerable lyricism shine throughout, ultimately sounding like an intriguing blend of the cinematic melancholia of Lana Del Rey and the ecstatic optimism of Sara Bareilles. With that in mind, if someone told me that some of these songs were from a musical on Broadway, I’d probably take their word for it.
All in all, this project is remarkable, as it aims to empower listeners worldwide to escape the darkness and discover the light inside themselves.
Loors’ passion for performing is ever-increasing, as seen by how the singer-songwriter self-produced one song on the album, “I Broke My Heart,” and has been releasing a variety of songs sung entirely in Spanish as well.
If this is her first comprehensive venture into the music industry, I’m excited to see what she has in store for the years to come.
Isaac and Thorald Koren – or The Brothers Koren – recently released their debut collection of tracks, an exquisite full-length titled I Went To The Sea To Be Free. Dedicated to the memory of their grandmother – who flew her plane over the Southern Ocean on Mother’s Day of 1974 and was never seen again – the album itself is laced with a sense of longing in the emotional lyrics. It’s hard to believe that the brothers approached music separate from each other, and later discovered their co-creating abilities. Their harmonizing abilities are almost haunting in a way, as displayed in tracks like “Say Everything”, “Gold”, and “Like Water”. (And virtually every other gorgeous track in this collection.)
Beginning at a leisurely clip with “Easy,” the album is introduced to us in a lighthearted, open-minded way. The song itself encourages its listener to take things as they come, while the brothers sing of how easy life can be with the right person. They transition with ease into the remaining thirteen tracks, presenting a true storytelling ambiance to the piece. Their cover of Prince’s 1984 hit “I Would Die 4 U” would otherwise fall short however the single has been stripped down into a different realm than its existing danceable pop energy, highlighting the love letter nature of it all. Crowd favorites include “Like Water”, “Beyond the Wild”, and “More Than You Know”.
For a rip-roarin’ good time, country singer/songwriter Charlie Treat’s new album is the perfect answer to your prayers. Beginning with the amped-up energy of “I Ain’t Gonna Be The One To Do It,” he finds a way to lure the audience in with wit and a bite of nostalgia in the instrumentals. Even the slow down of pace with the second track “Drink With Me” holds lengthy, rhythmic lines, with (what appears to me to be) clear nods to The Black Crowes. (“Hard To Handle,” specifically, for those of you asking. And yes, it did take me calling the insanely talented music journalist Elizabeth Schneider to pinpoint the exact sound. Kudos to her.) Just those two tracks will have your mind spinning, but there are ten more inspired songs left to enjoy past that with this new release.
“The Two Best People” really brings the energy down, while singing of “bringing each other down.” Bluesy, beautiful energy to launch you into a light, airy “Tune As Pretty As You.” “Steamshovel Blues” brings the pace up again, but “So Much Better” lulls us back into that slow, glittering, 70’s sound. “Rain Again” comes at you with an edge off the bat, with some quick bongos and even quicker lyrics.
“Drive My Blues Away” is the most melancholic track we have yet to experience on this collection. The vocals seem very inspired, at times Springsteen, and at others Steven Tyler. The piano and whirring guitar solo make the whole thing feel like it could have been recorded in the 90s.
Thank goodness “Dollar For Dollar” brings the pace back up, as the subject matter isn’t entirely something to celebrate. However, the idea of rallying for the working man is something we can all relate to, especially after the trials the last year has presented us with. “Dancing At The Bar (The Quarantine Song)” starts out with glittering synth, and honestly we could see this track being performed alongside anything by ABBA. (Can you hear it?) “Candi” plays with dissonance before the first vocals hit, making it feel almost calmer as the lyrics set in. The whole album is rounded out quite well with “Biggest Fool,” which somehow blendsseveral of the aforementioned genres into one song. (Is that sitar? Are we in a 70’s music video? Where did that trumpet come from?)
One thing is for certain. Charlie Treat has chops. His ability to write lyrics that somehow perfectly complement each instrumental, creating new sounds that simultaneously pay homage to genre-spanning predecessors, is actually quite unique and very appreciated. The Comet should be approached as an adventure and a very appreciated leap into nostalgia.
On his new album Beautiful Machine, Matt Boroff ventures into unknown territory to examine our relationship with technology. While Boroff has been making music for years, this album finds him still evolving the way artists should. Boroff compares the tracks on his newest release to episodes of Black Mirror, and this comparison is an appropriate one. With dark and sometimes dreary tones running throughout, one can easily see how these tracks could end up as the soundtrack for the show.
The first track, “Beautiful Machine” is a perfect start, representing the dark vibes that the rest of the album gives off. As the title suggests, it also is a perfect way to get us thinking about our relationship with technology. “Trust” is the realization that we cannot depend on everything around us. While this track gives off some political vibes, it also can easily be related to what we see online. Another stand-out track is “Echo Chamber”, which speaks of the frustration of having your voice lost in the mix of millions of others. Boroff closes out with “Future Crimes”, a chaotic look at our online world, one that declares nobody is innocent.
The gift of music is always the best and I was recently gifted a vinyl remastered copy of Sign ‘O’ The Times by Prince. And it is the best.
Originally released on March 30, 1987, the re-release on September 25, 2020, was a much-anticipated balm for this year of canceled live tours and shows. The songs on Sign ‘O’ The Times sound as fresh as they felt to audiences 30 years ago. Prince created a tour de force with wide-ranging genres, rock-solid vocals, and lyrics that stand the test of time.
Although “Sign ‘O’ The Times” and “U Got The Look” were the two singles off the album that got the most attention, there are so many more choices that will become favorites on your playlists. “Play In The Sunshine” and “Housequake” are back-to-back songs designed to get you moving. “If I Were Your Girlfriend” also never disappoints.
I have discovered my own new favorites – “Starfish and Coffee” is one of those. Written by Prince with Susannah Melvoin, it sparkles with fun lyrics and bright beats. It’s catchy and surprising. Additionally, Prince performed it with The Muppets in 2016, which makes it that much better!
I have played Side B of Album number Two three times now while I write and I see a fourth play in my future. “The Cross”, “It’s Gonna Be A Beautiful Night” and “Adore” are the three songs on this side. They are completely different from each other, but each one is brilliant.
Sign ‘O’ The Times is becoming one of my favorite albums in my collection. Although I was aware of, and heard, all of these songs over the years, I had never purchased the album to listen to in its entirety . Now that I have it, I will make up for lost time.
