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Oginalii’s video “Substance Abuse” featured in PopDust’s Release Radar

Taking a song from their most recent release, The Grey – EP, the band has straddled genres with their tracks, including elements of rock, psychedelia, and more. Their new video explores the darker, emotional side of their sound. Be sure to check them out of tour at the following times and places…

March 22 – Funny Ears Fringe Festival – Knoxville, TN

March 23 – The Ante Room – Charlottesville, VA

March 25 – Brighton Bar – Long Branch, NJ

March 26 – The Knitting Factory – Brooklyn, NY

March 27 – Pianos – New York, NY

March 28 – Kung Fu Necktie – Philadelphia, PA

March 31 – Georgia Theater Rooftop – Athens, GA.

For Folk’s Sake Interviews Charlie Overbey

Though he’s spent his entire life in California, Charlie Overbey’s music is unapologetically steeped in deep Southern influence. Growing into the world of roots rock and alt-country at a young age, Overbey was raised in “the school and church of Johnny Cash” whilst living in an LA barrio called La Habra. All of this crafted the artist’s wide-spanning worldview, which absolutely seeps into his newest album, Broken Arrow. For Folk’s Sake recently spoke with Overbey on his upbringing, his goals, and the adventure so far.

Please tell us a bit about yourself. Where are you from and how did you get started in music? Any defining moments along the path to present day?

I was born in Lynwood, CA–which is basically Compton–near where country music in Los Angeles really had its start with the “Compton Town Hall” which most people don’t know about. I grew up in a barrio called La Habra with predominantly Hispanic people which very much had a strong hand in shaping me and my respect for hard work, folk art, low-riders and tacos.

My mum is from Torquay, England & my old man was a hard-working, Johnny-Cash-lovin’, guitar-pickin hot rodder from Lamar, Arkansas. Growing up, I was surrounded by Benny Hill, Hee Haw, Guinness, Scotch and California, all of which which I grew up to have great love for. I started playing bass and drums at about 13 because I knew that’s where the chicks were. It was about the age of 15 while sitting in drug rehab that I knew I was always going to be a road dog musician and songwriter.

by Baby Robot Media

Indie-folk outfit Book Club share their latest single “Space Between the Days” at PopMatters

As much as Book Club’s lineup has shifted and evolved over the years, at its center has always stood guitarist, singer, and songwriter Robbie Horlick. In the ironic social landscape that mainstream “folk” now resides in, much of what represents the genre on the radio today feels more like pretentious pop-rock than anything else. With Horlick at the head, however, the multi-faceted frontman has kept the band humble and, thankfully enough, utterly folk throughout all of Book Club’s renditions. There may be a contemporary twist here or there that carries the music along, to be certain. Yet, this is more along the lines of Cash meeting Ledbetter than Led Zeppelin meeting a banjo.

“Space Between the Days” soaks itself in Atlanta sunshine, instantaneously evocative of the sort of rural landscape that Horlick has been invoking into Book Club’s songs since the beginning. It comes easy, with his plaintive trademark vocals carrying a certain wistfulness that, when paired with the song’s piano, cello, violin, guitar, and drums, makes it feel like a bonafide windswept number in a string band’s set. Accentuating the tune with her own gorgeous vocals, Lauren Love sings alongside Horlick as they paint this Americana-marked picture together. READ MORE…

by Baby Robot Media

American Songwriter Premieres Ross Cooper’s New Video For “I Rode The Wild Horses”

A lot of country and Americana artists like to write tunes about riding and wrangling, but only a handful of them have actually done it. Ross Cooper, who just released the aptly titled album I Rode The Wild Horses, is one of those artists, as he had a career as a professional bareback rider before trying his hand at music.

In a new video for the album’s title track, Cooper offers a glimpse of the rodeo life, from loading up the trailer the night before to hanging on for dear life atop a bucking horse. Cooper shot the video at the Texas Cowboy Reunion Arena, the Swenson Ranch, the Mallet Event Center, and Lubbock, Texas bar the Blue Light.

“I’m a second generation cowboy,” Cooper says. “Both of my folks used to rodeo, and my brother and I grew up riding bucking horses (saddle-bronc and bareback). That’s how we were raised. I was brought up in and around rodeo arenas. So when I sat down to write this song, it didn’t take a whole lot of time. I know the characters and could see the story.”

Eric Masse produced I Rode The Wild Horses, and the album features contributions from Erin Rae, Steelism’s Jeremy Fetzer, Eli Beard, Tommy Perkinson, Skylar Wilson, and Eddy Dunlap.

by Baby Robot Media

Texas Monthly Exclusive: “Abhi the Nomad Wants to Settle Down”

Even by South by Southwest standards, Abhi the Nomad is in for a hectic week. Along with an official showcase put on by his record label, the rapper—who moved to Austin last fall—also signed on for a half-dozen unofficial shows to promote his debut album, Marbled. Like many other musicians, he’ll be using the weeklong frenzy of shows, parties, and “brand activations” for networking opportunities with industry types and other artists, looking for connections that could help get him to something bigger. He, like the other artists who will spend the week navigating the Sixth Street throngs, is hoping for the SXSW success story.

But for 24-year-old Abhi the Nomad, the stakes are a lot higher than the average musician’s. For him, it’s not just Apple, or Pitchfork, or C3 Presents that needs to decide if he’s the next big thing as an artist—it’s the Department of Homeland Security.

Abhi Sridharan Vaidehi was born in Madras, India, in 1993. Sitting at a coffee shop in North Austin, where we met a few days after the release of Marbled, in February, he gestures to the cramped room of people pecking away at laptops on tiny tables; until he was four years old, he, his parents, and his paternal grandparents all slept on the floor of a room smaller than the one we’re in. But his life changed when his father, a diplomat, was assigned overseas. Suddenly the nomadic part of Abhi’s existence began: he lived in Beijing, Hong Kong, New Delhi, the Fiji Islands; returned to Beijing and Delhi a few times; and finally—fulfilling his dream of living in the U.S.—landed in Ventura County, California, as an eighteen-year-old student studying music production at California Lutheran University.

Abhi’s journey to music was a little more direct. When Abhi was in high school, his dad—who liked working out to hip-hop—first introduced him to rap through Kanye West. Shortly after, the teenager began using GarageBand to make beats on his laptop. He admits that he was more enthusiastic than he was skilled at first. “My friends were always just, like, ‘whatever’ about it for the first few years, and I don’t blame them. It wasn’t good,” Abhi says.

He eventually found a groove. His tastes are omnivorous—he likes modern rap stalwarts such as Jay Z, Chance the Rapper, and Kanye West, but also the Foo Fighters and Phantom Planet. Those influences collided when he put together a college capstone project, a rap EP called Where Are My Friends, which he put on Spotify and other streaming services at the end of 2015. After spending much of his college career playing small shows around campus, Abhi was surprised when the EP found a sizable audience. Spotify’s algorithm identified him as an alternative hip-hop artist, and recommended his music to listeners of Chance the Rapper, who dominates that genre. Soon, his moody, melodic hip-hop and pop songs racked up a staggering number of plays—hundreds of thousands of monthly listens—making him the rare independent artist to secure meaningful checks from streaming music royalties. READ MORE…

by Baby Robot Media

Mother Church Pew Interviews: Kellen Of Troy

“It was the worst of times, it was the best of times, that’s more like it. The worst came first,” laughs Kellen Wenrich of the birth of his most recent project, Kellen of Troy, formed amidst life transitions, a breakup, and the demise of his band, Apache Relay. “There were a lot of things coming to an end then. But, I met my now wife during that time, and it was a renaissance period, a good time of change in my life.”

Wenrich, who was always a fixture on the Apache Relay stage (and now onstage in the backing band for The Devil Makes Three) with his fiery fiddle skills and mane of long red hair, began playing violin at age five. “My mom asked if I wanted to play violin or piano; when I chose violin she asked me why, and I said, ‘Because I can’t carry a piano,’” he laughs. “I started writing in high school like everybody does, and it was pretty grim. Every couple of years since then, I’d go in spurts of writing, but I’d never found a voice that worked for me until I started Kellen of Troy.”

Kellen of Troy moved from casual side project to main gig, as he spent the last couple of years writing songs for his 2017 EP The Sad Bastard and his brand new LP Posthumous Release. “I started writing to work through some personal stuff and force myself to do something uncomfortable,” he explains. “It’s a lot easier to be the side guy, you don’t have to put yourself out there emotionally, you just put the frosting on top of what’s there. To be the frontman is a bit more taxing, but way more rewarding. I’ve learned not to compromise what I want to say artistically, and not to whitewash anything, to chip away at anything that will obscure what you’re trying to accomplish,” he continues. “It’s an ongoing battle, but I’m getting better at it.”