If you didn’t know that Giovanni Carnuccio III was a drummer, then you sure as hell will know by the end of “Requiem”, the 65-second opening track to his new album, A Matter of Time. Hi-hats chatter rapidly, elastic-sounding toms warble quickly as drums sticks skip over them, cymbal crashes splash about the mix, and snare hits roll out so fast it’s like the sound of a river flooding on by. “Requiem” is a mass flurry of drums, polyrhythms aplenty, and an almost dizzyingly virtuosic display of percussive talent.
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Carissa Johnson
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Carissa Johnson – Blue Hour
Carissa Johnson had been on the road for two years when the world shut down. Suddenly, the Boston-based synth-rock artist was confined to her home, forced into a radical lifestyle shift that left her questioning her goals and relearning how to live a life in one place. Johnson’s new solo album Blue Hour finds her reconciling with her new life, exploring the loneliness of isolation through confessional lyrics and musical collaboration. “I started to feel homesick in my own house,” says Johnson. “Home, for me, is the life I had before of being in motion and on tour, so actually being in my house felt foreign.”
Johnson’s forthcoming LP Blue Hour is a ten-track collection of kinetic synth-laden indie-rock songs that serve as a chronicle of a year spent inside oneself, a study of loneliness, self-doubt, frustration and motivation backed by dreamy electronic production and driving percussion. Lyrically, many of the songs on Blue Hour are reflective of the isolation in which they were born, but musically, the record buzzes with the energy of collaboration, a sea of disparate influences coming together to create a modern indie-pop masterpiece.
While Johnson wrote the bulk of Blue Hour alone in her room, the album swerves any notion of the bedroom-pop label in favor of massive, arena-ready soundscapes, created by primarily by Johnson and producer Benny Grotto (Ben Folds, The Magnetic Fields, Daughters) at Mad Oak Studios and mastered by Jeff Lipton and Maria Rice at Peerless Mastering (Arcade Fire, LCD Soundsystem, Bon Iver). To fill out the sound, Johnson brought in a rotating cast of players including guitarists Tanya Venom, Lukas Kattar, Steph Curran, bassist Sean McLaughlin, and drummer Ryan Manning. “I brought in a bunch of friends to play on the record, I wanted it to be really collaborative,” says Johnson. “All of the people who played on it are good friends that I’d worked with before, so there was a really healthy back and forth between taking direction and getting their personal flourishes on the album.”
With New Wave-inspired synths backing Johnson’s moody, expressive vocals, “Wasting Dreams” sets the tone for Blue Hour, blending driving rhythms and catchy melodies with intimate lyricism. “‘Wasting Dreams’ is like a quarantine fever dream,” says Johnson. “It’s about that feeling of being so wrapped up in your head that you can’t even understand one ounce of reality. When everything shut down, I started to not feel like myself and was constantly asking myself ‘What am I working for? Is this going to go anywhere?’ I felt like I was chasing after something, but didn’t know what.”
Blue Hour’s second track, “The Sound,” explores these themes more deeply, prodding into the surreal juxtaposition of falling in love while living in isolation and the defeatism of wondering if it’s possible to sustain that connection under such circumstances. Elsewhere on the record, Johnson plays the role of her own therapist, such as on “Time, Only Time,” a postcard Johnson wrote to herself as a reassurance that the hard times will eventually pass. The album’s closing track “You,” meanwhile, ends the record on a note of appreciation for the support system that guided Johnson through the darkness. “I wanted to end the record on something positive,” says Johnson. “It’s basically an ode to my friends who helped me get through this year, I would have completely lost my mind if I didn’t have them.”
Though Blue Hour is Johnson’s fifth LP, it’s the first non-acoustic solo record that she has released since 2016’s Only Roses. In the time between, Johnson released multiple EPs and LPs with her band The Cure-Alls, garnering praise from numerous media outlets and, in 2017, winning Boston’s legendary Annual Rock and Roll Rumble, whose previous winners include ‘Til Tuesday, The Dresden Dolls & more. That same year, Johnson and The Cure-Alls took home the New Act of the Year award at Boston’s 30th Annual Music Awards, and were named 2019’s Rock Act of the Year at the New England Music Awards.
Now, Johnson has reemerged as a solo artist and is embracing both the freedom and vulnerability of the spotlight. “I used to feel like I had to be more restrictive or formulaic and force the songs I was writing to fit my ‘sound’ but now I want my sound to grow and change with me,” says Johnson. “I used to be so protective and would overthink the lyrics I’d write, not really saying exactly what I wanted to. It’s been a process of getting over feeling super terrified and vulnerable, but I’m trying to embrace it and write exactly how I feel.”
Northern Transmissions debuts the latest track from Ditchbird, “Think She Was Right”
“The name ‘Ditchbird’ sounds like a folk artist,” he says from his home studio in Minneapolis, where both Real Enough For You Now and the harder-hitting Some Dreams EP were recorded, “but I wanted to make sure people were aware that I’m not going to sing songs with an acoustic guitar on my couch forever. There’s nothing wrong with that, but I have more rock songs in me. It’s the sound I grew up hearing.”
The Tape Deck sits down to talk with Left at London about her new record t.i.a.p.f.y.h
About fifteen minutes into our conversation, Nat Puff has some choice words for me. It had taken that long for us to properly introduce ourselves – it was an early morning and we were both very tired – and I joked that it ultimately didn’t matter because I was, in my words, “just a person.” READ MORE…
Glide Magazine debuts new single + video from Megan & Shane, “Alone,” produced by Bob Hoag (Courtney Marie Andrews, Gin Blossoms)
Glide is proud to premiere the song and video for the knock-em dead single “Alone,” which features the cool windswept pedal steel of Jon Rauhouse. In a crowded Americana scene, Megan and Shane stand out as licit ambassadors for a vintage sound, where accomplished vocals, stirring musicianship and colorful nuances give its music a sense of time and place. Let’s hope they can get out to Nashville soon and use their teaching chops to put on a clinic of their own.
Glide Magazine shares James Houlahan’s new video for “On My Own,” his song featuring Bob Dylan / Rolling Thunder Review violinist Scarlet Rivera
While too many artists these days patronizingly try to copy their peers, nobody actually goes to the source itself. While James Houlahan might not evoke the name recognition of others, his instinct and passionate take on folk is one to behold. On his new LP, Ordinary Eye, Houlahan features Lou Reed / Fiona Apple drummerDanny Frankel and violinist Scarlet Rivera, the timeless fiddler on Bob Dylan’s classic 1976 album Desire and was part of the infamous Rolling Thunder Revue tour.
Produced by longtime collaborator Fernando Perdomo, the album was recorded at L.A.’s Reseda Ranch Studios during the weeks leading up to America’s Covid-19 quarantine. This context adds new gravity to Houlahan’s music, while the A-list studio band—including drummer Frankel (Lou Reed, Fiona Apple, Nels Cline), violinist Rivera (Bob Dylan’s Rolling Thunder Revue) and vocalist Esther Clark—fulfill this fully realized effort.
Glide is premiering the video for the hush landscaped folk of “On My Own,” which showcases Houlahan’s crafty songwriting styling that is a mix between the introspectively daring sounds of Bill Callahan, Greg Brown, and Will Oldham.