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Tony Petersen had barely finished creating Real Enough For You Now — the Minnesota native’s debut release as Ditchbird, a solo project launched after the pandemic brought his hard-touring indie rock band, Social Animals (Rise Records), to a temporary standstill — when he began writing songs for a more aggressive, rock-influenced follow-up. 

“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.”

Raised in Cloquet, Minnesota, Petersen discovered rock & roll while riding around town in his father’s car. Those memorable trips — with music on the radio, Petersen in the backseat, and his Dad behind the wheel — left a lasting impression. Petersen began playing electric guitar and eventually hit the road with Social Animals, opening for acts like Dashboard Confessional and All-American Rejects, while playing an anthemic, modernized version of the genre that had first captivated him. Along the way, he stockpiled a number of newly-written songs that didn’t necessarily gel with Social Animals’ cathartic stomp. Those songs piled up, unused, for years, then found their way onto Ditchbird’s full-length debut, Real Enough For You Now, in early 2021. 

If Real Enough For You Now merged Petersen’s abilities as a multi-instrumentalist with Americana influences, folk-rock arrangements, and scaled-down sonics, then Some Dreams finds him plugging in and turning up. “Better Than Nothing” is a heavy-footed rocker that both salutes and skewers the road-warrior lifestyle, while “Think She Was Right” rides a guitar riff and drum loop toward its own hook-filled horizon. Throughout it all, Petersen pulls triple-duty as singer/songwriter, multi-instrumentalist, and producer. He keeps the guest list small, with keyboardist Ben Cosgrove and mastering engineer Bruce Templeton serving as the only collaborators on what is otherwise a one-man record. 

“Real Enough was a collection of songs I had been sitting on for a long time, and once that was complete, I fell quickly into a distinct group of songs in a very different sound and different voice,” he says of the five-song EP. “I knew I wanted to showcase more electric guitar, more powerful instrumentation, and more aggressive vocals. I clicked into a different place, spontaneously. I immediately wanted to get back to work while I had the time to do so this summer, and I felt I really needed to make this next collection happen, to show a different side of Ditchbird.”

Petersen’s music has always been multi-faceted. With Social Animals, he’s an internationally-celebrated rocker and lead guitarist, adding atmosphere and attitude to songs built for stadiums. With Real Enough For You, he scaled his songwriting back to its acoustic roots, reworking the influence of Neil Young, Bruce Springsteen, and The Replacements to his own brand of heartland folk-rock. Now, with Some Dreams, he punctuates songs about the artistic experience — the elation, the anxiety, and the long drives from one show to the next — with guitar-heavy arrangements that nod to his rock & roll roots. This is Petersen’s story, but it’s our story, too: a universal tale about chasing down one’s dreams, set to a soundtrack that’s as melodic as it is muscular.

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When tuning into A Matter of Time’s first track “Requiem,” it’s not hard to imagine the Doof Warrior (of Mad Max:Fury Road fame) orchestrating some manic Fellini-esque carnival and finally finding his perfect drummer. As the drum set shatters in a moment of hardcore jazz lunacy, we are thrust into the opening salvo of producer, solo artist, and shit-kicking drummer Giovanni Carnuccio III’s new album. 

The majestic splinter of this head-turning intro perfectly conveys his unadulterated and singular style of clattering boom-bap drums, jazzy progressions, western-influenced guitar hooks, and blissed out orchestrations, all of which makes for as unique an artistic vision as you are likely to see all year. Of course, the ability to make records like this wouldn’t be possible if it weren’t for his decade plus of hard work, be it in his solo efforts or in his litany of production work with artists like Zach Aaron, Jason Eady, Courtney Patton, Turnpike Troubadours and a bevy of others in the indie/folk/Americana canon. In fact, it’s this hard work that has earned him countless wins & nods at year-end award shows, most prominently a “Best Americana Album” Grammy nomination with John Fullbright for their work on From the Ground Up. 

While enduring the pandemic like the rest of the world, Carnuccio was struck by – and still exists within – a stretch of creative inspiration, using the past year to let his freak-flag fly: “[I] invaded an acoustic record with synths because so many normal everyday interactions and communications with people had just been forced onto screens.” Surprisingly, though Carnuccio has made a reputation for himself being a polymath on the Americana scene, A Matter of Time defies classification by mixing elements of psych-rock, trip-hop, jazz, and Ennio Moriconne, all while maintaining frenetic, whiplash rhythms. Aforementioned opener “Requiem” might be a daunting show of skill in someone else’s hands, but Carnuccio imbues it with the skittering immediacy and fluidity of Busta Rhymes – an inspiration on this song and others. Songs like “Hot Time Traveler” ride a Massive Attack-like gait, with clacking drums, while the strings and guitars create an acid-drenched dreamscape. And then there’s “PCHDMT,” which wouldn’t feel entirely out of place on say – Rosalia’s last record, all fluttering flamenco guitars and ebullient strings, with an additionally healthy serving of the psychedelic. Appropriately, the song itself was inspired by Carnuccio’s own trips down the Pacific Coast Highway. 

Elsewhere, the playfully titled “Baby Godzilla Steps” tethers jazzy piano stabs to phased-out keyboards, giving us what you can imagine Mark Ronson and Tame Impala might create if they indulged their more cinematic tendencies. Fittingly, the album’s closing track “Why is This Happening” is also its most contemplative, lush, and engrossing, as Carnuccio utilizes his gift for creating atmospheric orchestrations and takes direct aim for the heartstrings. Pathos aside, these are songs that are “designed to be jammed out by a badass live band,” a vibe easily heard in the album’s expertly executed psychedelia; while being careful not to downplay or overstate the importance of their role in his early oeuvre as a solo artist, Carnuccio credits DMT, mushrooms, peyote, and other mind-altering subs with deference. 

At this point, Carnuccio half-jokes, he is hoping for this whole “folk Mark Ronson shit to take off” before wryly qualifying that he might actually be “like an Italian unplugged Dr. Dre or something.” All jokes aside, this isn’t too far from the truth as his creative touch has added a dash of the cutting edge to a genre steeped in obstinate traditionalism. Instead of allowing himself to sit in tradition, Carnuccio aims to innovate by taking cues from the atmospherics of Nine Inch Nails, the pluckiness of the Punch Brothers or Cornelius, and the orchestral dramatics of Spaghetti Western classics.

Carnuccio’s genre-melding style, though lighthearted and playful, conveys a much more timely and heartfelt message than you might expect. Whatever the future holds for Giovanni as an artist, producer, and musician, now we have A Matter of Time, a kaleidoscopic journey reminding us to embrace creativity and cast our fate to the wind.

“Mouth-watering sonic clarity, modern flourishes that’ll make a gunslinger gawk, and bizarrely beautiful instrumentals.” – KUTX 98.9

“An acid-drenched dreamscape.” – VENTS Magazine

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Ross Adams – Escaping Southern Heat

From the opening lines of “Ease Me Into Dying,” the leadoff track from Ross Adams’ latest album Escaping Southern Heat, Adams’ vivid poetry paints a picture of love lost, wanderlust, and the gritty reality of working-class America. Atop jangling guitars and a pulsing rhythm section, Adams evokes images of run-down Southern industrial mills and grimy New York subway stations as he sings of the ghosts of romances gone-by, laying the beautifully wistful foundation upon which Escaping Southern Heat is built.

Sonically, Escaping Southern Heat runs the gamut of Americana influence, from distorted Southern rock to melodic folk ballads and barroom country shuffles, brought together by the most prestigious backing band in the genre, The 400 Unit. 

Adams first met The 400 Unit over a decade ago while sneaking backstage at Jason Isbell shows to help load gear and talk shop with bassist Jimbo Hart. Ten years later, Hart and Adams teamed up to record Escaping Southern Heat at East Avalon Recorders in Muscle Shoals, Alabama, with Hart recruiting the remainder of The 400 Unit to round out the sessions: Chad Gamble on drums, Derry Deborja on keyboards, Hart on bass and Sadler Vaden on guitar alongside Adams. As if the group weren’t powerful enough, Adams tapped former American Aquarium alum Whit Wright to add his signature pedal steel flourishes throughout the album, helping to create a record as musically powerful as it is thematically thoughtful. “We recorded everything in about three days,” says Adams. “I had about twelve songs all written out and we did about three takes of each with the guys and they just banged it out. I don’t think I’ve played with a more talented band in all my life.”

As his core, Adams is a narrative storyteller, and throughout Escaping Southern Heat, his stories revolve around volatile relationships, civil unrest, and the forgotten communities in America. “Every song I write has a narrator that’s not me,” says Adams. “It’s obviously influenced by my life and experiences, but it’s never truly me in these songs. I just love creating characters and telling stories.”

The album’s title track explores the changing South—and its resistance to change—in the wake of the Civil Rights Act, specifically inspired by the assassination of Martin Luther King Jr., the Heart of Atlanta Motel VS The United States Supreme Court case, and the Orangeburg Massacre, during which South Carolina Highway Patrol officers opened fire on African-American protestors demonstrating against racial segregation at a local bowling alley. “I’ve just been getting tired of the heat down here,” says Adams. “The racism and the way things haven’t changed enough. We’re still seeing this shit daily, and people are reflecting on the past but still having to go through the same terrible shit today.”

Reckoning with the history of the South is a complicated task, and on Escaping Southern Heat, Adams makes no attempt to justify the hatred that colors the South’s history. On “Tobacco Country,” however, he does allow himself to reflect romantically on the working-class region that he calls home singing, “We might have got a bad rap or two / But there’s good people down here / One who believes in equal rights and freedoms / And for that old southern reputation to disappear.”

“I don’t plan on staying in the South forever,” says Adams. “I have this dream of moving out West, but ‘Tobacco Country’ was me sorta remembering my roots, but still wanting to get out and see the world.”

Many of the songs on Escaping Southern Heat address institutional issues, such as the reflective, atmospheric country track “Teach Me How To Moune,” where Adams takes the story of a PTSD-addled soldier returned from war and forgotten by the government, and crafts an emotional character study that doubles as a poignant anti-war anthem. Elsewhere on the album, however, Adams tells some more personal issues. On the Dylan-channeling “4th Street Up,” Adams addresses the anxieties and inner demons that can keep you from moving forward and making progress in your life. Meanwhile, on the shuffling “30 Days,” he sings about quitting drinking and pledging allegiance to your love, and shouting out Johnny Cash and June Carter in the process.

Adams’ ability to blend both micro- and macro-level distillations of American life throughout Escaping Southern Heat are a product of his literary passion and genre-spanning influences that have defined his career. As a young preteen, Adams’ was tuned into the confessional and emotive grunge poetry of Kurt Cobain before finding the world-weary narrative lyricism of Neil Young, Bob Dylan, and, eventually, Drive-By Truckers. Eventually, songwriters in the Charlotte, N.C. scene started to take notice of Adams’ talent and he spent years cutting his teeth on tours up and down the East coast and throughout the midwest United States, performing songs off his 2014 LP, Ross Adams, 1952 and his 2018 record, Songs from an Ancient Terrace. 

Now, with The 400 Unit backing him on his most poignant, expansive collection of songs thus far in his career, Adams is poised to make a name for himself as one of the premier songwriters in modern Americana.

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Sonja Midtune is an artist and songwriter from Minnesota located in Los Angeles.  She received her BA in Music Theory and Composition at St. Olaf College in MN with additional training from The European American Musical Alliance at La Schola Cantorum, a Juilliard affiliated program taught by their grad professors such as Phillip Lasser. 

Sonja writes all her original music. She is known for her poignant lyrics and storytelling, with an organic sound that incorporates her composition skills.  She’s played all over the Los Angeles area including venues such as the main stage at the Hotel Cafe, a 9-month residency Bar Lubitsch, Vibrato Jazz Club in Beverly Hills, The Viper Room, The Bootleg Theatre, etc.

Sonja teaches Songwriting levels 1 and 2 at Cal Poly Pomona and Intro to Songwriting at Mount Saint Mary’s University. Her new 4-song EP “Dreams Melt Away” was released April 2nd, 2021