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Americana UK shares Katie Jo’s train-travel-inspired music video for her train-beat-driven new single “How Soon”

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The new single from Katie Jo is a sonic throwback: classic country with a classic country vocal.  Sounding both new and familiar at once, “How Soon” is immediately absorbing.  The strong and restless rhythm mirrors the song’s theme of fickle love, fading feelings and moving on.  Though it’s upbeat, the focus on the sort of love that is bound to fail has that stark bitterness found in much of the best country and Americana.   
 
Here, the twist is that it’s written from the point of view of the woman left behind rather than the rambling man.  The inversion of this country cliché gives the song a freshness.  The accompanying video, featuring footage taken by Jo while travelling by rail across the American west, works well with that railroad train beat.  The Los Angeles-via-Wichita singer-songwriter delivers this timeless song with such confidence that comparisons with Luther Perkins and early Cash are justified.
 
 
 

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VENTS Magazine debuts the latest track from Parker Smith, “Holy Water,” calling it “Asbury Park-indebted blues-rock.”

Unlike most of his peers in the Americana community, Smith manages to defy being pigeonholed by inflecting his music with touches of blue-eyed soul (“Fray”), Asbury Park-indebted blues-rock (“Holy Water”), and even Gordon Lightfoot (“Arrowroot”). Though Underground might technically fall under the umbrella of a “quarantine album,” these songs differentiate themselves from Smith’s oeuvre in their raw, confessional nature and their hummability: these are songs not easily shaken from memory.

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You, Me and This Fuckin’ Guy

You, Me and This Fuckin’ Guy / Garden Variety Fuckers

Los Angeles art-rock duo LoveyDove teams up with NYC’s legendary King Missile wordsmith/crooner John S. Hall to form their new project You, Me and this Fuckin’ Guy. Their debut album Garden Variety Fuckers (out now) is a synth and profanity-laced journey through the looking glass of Hall’s misanthropic mind. This LP is a not-so-ordinary ride through the mundanity of daily life that’ll keep you uplifted and laughing this summer. It takes a magnifying glass to micro-moments of New York City living or more general musings about nature. Although Hall made a name for himself in the early ’80s New York City poetry scene, his projects have recently been covered in Vice, Pitchfork, SPIN, Exclaim! and more.

Hall cut his teeth in historic venues like Speakeasy and ABC No Rio. In ’85, Hall began presenting his work at various open mics. In ’86, feeling that “20 minutes of me reading poetry would be totally boring,” he augmented his performances with original music, and King Missile (Dog Fly Religion) was born. The band released three albums on indie label Shimmy Disc. On the strength of the single “Jesus Was Way Cool,” the album hit #1 on the college radio charts. Hall joked “Jesus got me signed to Atlantic Records.” King Missile recorded three albums for Atlantic and Happy Hour spawned a notable hit with “Detachable Penis” which reached #25 on Billboard’s Modern Rock Tracks. Hall has released two books on Soft Skull Press: 1997’s Jesus was Way Cool, a collection of 40 poems, and Daily Negations. Hall continues to perform in NYC in various musical incarnations (Unusual Squirrel, The Hat Cousins, The Lincoln Memorial, Sensation Play, Silk Cut, solo ukulele performances) as well as with his spoken words.

Azalia Snail, the Queen of Lo-Fi, is an avant-garde songwriter who played a prominent role in the ’90s lo-fi music scene. Snail has released thirteen solo albums and Hall can be heard on “Baby Brother,” a song that describes their relationship, and the b-side of her debut single “Another Slave Labour Day.” Hall also contributes spoken word to her third album Fumarole Rising on the song “Having an Experience.”

Snail has scored several indie features and short films and has toured the world for decades. In 2000, she won the Los Angeles Weekly Award for Best New-Genre/Uncategorizable Artist. SiriusXM debuted Azalia Snail’s cover of Tom Petty’s classic track “The Wild One, Forever” and it remains in heavy rotation on Tom Petty Radio.

Dan West, also known as d’Animal, is an American rock and jazz musician, songwriter and producer, and one half of the duo LoveyDove. West has also released three solo albums: Hot Corners, Does It Suit You? and d’Animal l’Ogic. West has performed with such notable artists as Sky Saxon of The Seeds, Maynard Ferguson, Rosemary Clooney, and Love, and scored the music for the documentary Mr. Movie Poster which follows the life of artist Paul Crifo.

As LoveyDove, Snail and West have released two albums with a third one on the way. Their second album Showstopper was released in New Zealand by Powertool Records and in the US by Records Ad Nauseam, and received rave reviews. LoveyDove has performed all over the world and can be heard in the Sony film Space Station 76. 

Together, Hall, Snail and West recorded Garden Variety Fuckers to transform Hall’s curmudgeonly character observations into a hilarious, melodious musical excursion. You, Me, and This Fuckin’ Guy have collaborated with renowned music video director, Steve Hanft (Beck, The Cure, Phoenix) who directed a video for their song “FBI” and is in pre-production for their song “Owls.”

“Both endearing and crude, “Detachable Penis” was exemplary of Hall’s literary gifts and sneering wit. An absurdist rocker turned corporate analyst: Hall seems to have traced the fitful arcs of his verses…. he is casually prolific-his work includes four band incarnations, eleven albums, and hundreds of poems.”  – The New Yorker

“John S. Hall writes hilarious lyrics.” – LA Times

“John S. Hall works as an Intellectual Property Analyst, whatever the fuck that is. He didn’t always, though. He’s been a major recording artist, a published author, and a highly respected poet. Now he’s an Intellectual Property Analyst, whatever the fuck that is.” – Vice

“The band could become known for skewed, screwball humor along the lines of They Might Be Giants or Mojo Nixon, King Missile’s roots are more traceable to Pere Ubu, Jonathan Richman, Patti Smith and Lou Reed. With his waffling between irony and despair, logic and absurdity, Hall’s stream-of-self-consciousness seems to work as poetry, underscored by his speaking-singing delivery.” – The Washington Post

“Hall is completely word-dependent… But it isn’t just the consistency of the sarcasm that distinguishes this one. It’s the way he’s putting his hard-rock comedy, shaggy dog fables, and sophistical shit across.” – Robert Christgau, Dean of American Rock Critics (on The Way to Salvation)

“[Azalia Snail] beams with joyousness and youthful vigour.” – Exclaim! (on Azalia Snail’s Neon Resistance)

“Wherever Azalia Snail’s genre dial happens to be pointed at any given moment—hazy pop rock, windswept folk, sidles into the no-fi inchoate—the Los Angeles-based artist evinces a palpable sense of joy, if not complete abandon. Her voice itself is a smile sans guile—a beatific chirp that’s the hippie equivalent of Lady Miss Kier’s cosmopolitan, empathic raver coo and a kindred spirit to the B-52s’ awe-struck Kate Pierson/Cindy Wilson axis.” –  Raymond Cummings

“Harmonious psych-pop confections, the duo have outdone themselves. Sweet, savory, gorgeously rendered and painstakingly arranged, every track is a masterly example of their complex bubble-gum simplicity – a cunning, stunning contradiction that reliably engages the brain as it reaches deep into the soul. It’s an approach the pair has long since perfected, but on Showstopper, it’s displayed in even fuller, richer form than ever before.” – LA Weekly (on LoveyDove)

Alexandra Riorden

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Alexandra Riorden – Angel City Radio

Alexandra Riorden’s debut LP Angel City Radio is an abstract chronicle of the tumultuous healing process one endures after experiencing trauma, wrapped in a smoke-scented velvet curtain of shimmering indie-rock. Progressing like a Lynchian dream sequence, each song on the record takes the listener down a different hallway in the labyrinth that is recovery; some dark & menacing, others somber & reflective, but all moving towards empowerment and self-reliance. “The process of healing is not linear, it’s cyclical,” says Riorden. “You experience a trauma and then a lot of different things come up and you hopefully make progress, but it’s not just like it’s over and you’re done. Things come up again and again, but every time they do you’re getting stronger and making strides towards healing.”

Riorden began recording Angel City Radio in 2019 after relocating to Santa Barbara from Los Angeles, though she continued to work in LA with her co-producer Max Collier Goldenstein at his home studio. The informal tracking sessions allowed Riorden to experiment with different sounds and arrangements, free from the time and budget constraints of a professional studio. The extra time spent on experimentation, paired with their production techniques, resulted in an expansive set of songs that sound infinitely larger than the space in which they were created. 

Though Riorden and Goldenstein were the primary creative forces behind the record, they tapped Shane Graham to play drums throughout the album and featured Brandon Graham (guitar), Brendy Hale (synthesizer), Annaliese Kowert (violin), Laura Epling (violin), Bobby Chase (viola), and Austin Hoke (cello) on select tracks, with string arrangements by Nashville’s Raymond Joseph. After tracking, Riorden teamed up with mixing engineer Jason Quever (Beach House, Mikael Cronin, Cass McCombs) and mastering engineer Timothy Stollenwerk (Kevin Morby, Haley Heynderickx, Grouper) to smooth the edges and shape Angel City Radio into an ethereal psych-pop masterpiece.

With twinkling guitars and and ambling rhythm section supporting Riorden’s expressive vocals, “Animals” kicks off Angel City Radio as a direct response to a terrifying home invasion that Riorden experienced in Los Angeles which shocked her into a state of hypervigilance and distrust. “I’m torn by these conflicting desires to protect myself & hide away, and also wanting to connect with people and be open & romantic,” she says. “I had been pretty open and free-spirited before and all of a sudden I felt scared all the time and had a hard time trusting anyone. It spiraled out into so many different aspects of my life.”

Over the course of the album, Riorden explores the repercussions of trauma and the complexities of healing through independent but loosely connected vignettes. The dark blend of chamber-pop and alternative rock on standout track “Tenderness” supports Riorden’s depiction of inward criticism while searching for self-love. “I think at some point everyone feels they’re not good enough, and that can be such a block to expression,” she says. “This is me reminding myself that my voice is valid and that I’m allowed to vocalize my feelings and express myself and that I deserve to be heard.”

Elsewhere on the LP, “The Barrier,” written in the wake of her uncle’s passing, finds Riorden reckoning with the discomfort of being human and the temptation towards self-destruction, ultimately seeking comfort and strength in the simple beauty of the world. Meanwhile, the hazy art-pop ballad “Dirty Mirror” blends indie-pop sensibility with sweeping orchestral arrangements akin to a James Bond theme, while mining the experience of heartbreak and finding freedom in self-reliance. “It’s about realizing that you don’t gain freedom from the person you’re with, but that you create it for yourself,” says Riorden. “When that person is removed from the equation, you’re able to look inward and realize, ‘Now it’s just me looking out for myself and taking responsibility for my happiness,’ and it’s really freeing to realize that you can do that for yourself.”

The album’s closer, “Angel City Radio (Outro),” takes the record back to the beginning, repurposing the lyrics from “Animals” atop a new, spacious string arrangement that allows listeners to reflect on the progression of the record and the healing process itself. “I wanted to bring the record full-circle,” says Riorden. “Revisiting ‘Animals,’ which kicks off the record from such a painful place, then bringing it back with the new arrangement, it feels more open—like I’m reopening myself to the world.”

While healing inherently stems from a place of darkness, Riorden navigates the process with an air of hopefulness throughout Angel City Radio, never lingering in the dark too long and always moving towards something more empowering. The album is less despairing and more a journey of self-love, reassurance, and finding trust in the world. “I never want to leave a song in a place of suffering or darkness,” says Riorden. “Singing is one of the deepest ways in which I regulate my nervous system, so it’s also important for me to never leave a song in an abysmally heavy place. Through my expression, I’m transcending that tough experience and coming back to self.”

Angel City Radio is at once thematically challenging, emotionally rewarding, and sonically memorable, and it’s largely due to Riorden’s newly regained confidence both in life and as a singer/songwriter. “So much of this record was born from the healing process,” she says. “Being able to listen and look back and realize that I made it through that makes me feel like I can make it through anything. I hope this sense of resilience will comfort and inspire whoever listens to the album, through whatever healing process they may be going through.”