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Indie Folk Rock

Spotlight Feature: Kaitlin Cassady – Home Away from Home: A 12-Part Panorama of Indie Folk Rock Candour

Kaitlin Cassady’s inaugural album, Home Away from Home, is an emotive expedition into the heart of indie folk rock, through which she secures her place in the lineage of songwriters who stir souls with their harmonies and strings.

Home Away from Home unfolds over twelve tracks that promise to resonate with anyone harbouring a penchant for profound storytelling wrapped in melodious harmony. It’s an exploration of self-discovery, articulated with a candour that soothes as it sears. Cassady, drawing on the narrative depth reminiscent of Aimee Mann and the tender, plaintive tones akin to Kacey Musgraves, crafted each song as a chapter in an intimate diary of longing and introspection.

The album’s inception, nurtured within the confines of an Oakland apartment, mirrors the personal and unpolished stories that Cassady chooses to tell. Supported from afar by her father, a seasoned songwriter, her work not only explores her roots but also the bittersweet sting of leaving them behind.

With nuances of country, jazz and melodic rock, all adding evocative motifs to the work, the album can’t be acknowledged as anything less than a profound triumph. The inclusion of notable musicians such as Thad Polk and Julia Floberg touches the anthology of growing pains with dynamic tender strokes without overshadowing Cassady’s raw, narrative sonic signature as she scribes through sonic diary entries covering love, loss, addiction and mental health, turning personal plight into universal themes which speak to a generation grappling with similar issues.

As the streams and accolades accumulate, it’s clear that Cassady’s Home Away from Home asserts her as a vital voice in the indie folk-rock scene. Her ability to convey depth, connection, and haunting nostalgia ensures that this album will resonate with listeners long after the final note has played.

Stream Home Away from Home on all major platforms, including Spotify.

Follow Kaitlin Cassady on Instagram to stay up to date with news of her sophomore LP.

Review by Amelia Vandergast

Bask in the ‘Alpenglow’ of Lounna’s latest alt-indie folk rock rendering of poetic yearning

Louanna

Lounna’s latest single, Alpenglow, panoramically expanded indie-folk with a sound infused with the ruggedness of Big Thief and the euphonic beauty akin to the works of Gregory Alan Isakov and Boygenius.

The song unfurls with swathes of soul that seep through every note, achieving a séance of seraphic serenity with its Grammy-worthy craftsmanship. Louanna doesn’t just sing; she commands a profound respect that transcends typical genre confines, pulling listeners into a bask-able warmth.

The traditional folk instrumentation intertwines with ornate crescendos, crafting one of the most stirring aural experiences of 2024. The composition breathes the very essence of wonder, reminiscent of breathtaking landscapes, stunning beyond compare. Each note and lyric in the track feels like a brushstroke on a vast sonic canvas, portraying mental health struggles, difficult life circumstances, and the enduring human spirit.

Brenna Slate, under the moniker Lounna, is not new to the music scene. With fifteen years of songwriting, performances at notable festivals, and opening for nationally touring artists, Slate’s voice has matured into a poignant echo of indie folk innovation, which is exemplified in Alpenglow, which will leave you thematically alongside her, yearning for the nostalgia of lost love.

Alpenglow is being primed to debut on September 20th; purchase the single on Bandcamp; for more ways to listen, visit Lounna’s official website.

Review by Amelia Vandergast

Casino Moon boiled the human experience down to birth, sex, and death in their indie folk-rock revelation, Fearless

Casino Moon, the South London-based Americana folk-rock ensemble, has distilled the essence of the human experience into their latest single, ‘Fearless’, which unravels as a journey through life’s most primal elements – birth, sex, and death – wrapped in a melody that’s as infectious as it is profound.

‘Fearless’ grips you with its upbeat folk instrumental arrangement, setting the stage for a musical expedition that’s both exhilarating and introspective. The chorus bursts forth with a fearless tenacity, its lively rhythm a stark contrast to the more contemplative alt-indie verses that invite you to delve deeper into the song’s candid narrative.

Casino Moon’s cultivated sound, recognised by icons like Tom Robinson and Robert Smith, shines through in ‘Fearless’. The band’s talent for transforming untold stories into addictive sounds is evident in every chord, lyric and harmony. The vocals seamlessly switch up in energy, mirroring the dynamism of the instrumentals. From the resonant vibrato in the lower registers to the fervour and zeal in the soul-augmented choruses, the vocal performance is a masterclass in raw, unadulterated emotion.

Consider ‘Fearless’ a blueprint for living life with unbridled passion; the crescendos and echoes of evocative wisdom fuel the listener with invincibility. As Casino Moon continues to garner acclaim, with standout performances at festivals and alongside notable artists, ‘Fearless’ stands as a testament to their burgeoning legacy.

Stream Fearless as part of Casino Moon’s Woody Bay EP on Spotify now.

Review by Amelia Vandergast

Rossa Murray & the blowin’ winds will warmly render your heartstrings raw with ‘Who Really Wants to Get Clean’

Rossa Murray & the blowin' winds

The hype around the Irish alt-folk/rock outfit, Rossa Murray & the blowin’ winds, may be louder than the melancholic quiescence in the title single from their latest EP, but the accolades are far from hyperbolic.

Who Really Wants to Get Clean is a cutting- with razor-sharp precision – exposition on society’s issues around addiction; so much pressure is put upon the people numbing themselves by any means necessary to change, while the societal issues that make it a necessity for so many get ambivalently swept under the rug.

I can’t even remember the last time a track hit me this hard. The evocative delivery, the desperation in the vignette, the agony that lingers in the tempo of the minor keys, the profoundness in the strings, it all synthesises into a tear-jerking performance that leaves you in a sombre state of contemplation.

Fans of Bill Ryder-Jones and Frightened Rabbit won’t be able to tear themselves away from the Rossa Murray & the blowin’ winds’ discography after Who Really Wants to Get Clean has warmly rendered their hearts raw.

The Who Really Wants to Get Clean – Part 2 EP will officially release on September 29th. Stream it on all major platforms via this link.

Review by Amelia Vandergast

Skittish became the ultimate purveyor of folk-rock nostalgia with ‘Mannequin’

The LA-residing indie folk-rock artist Skittish is fresh from the release of their eclectic era and genre-spanning seventh LP, Midwest Handshake. Genre-fluidity may have become the default position for artists in the 21st century, but few succeed in making a smorgasbord of style as cohesively electrifying as Skittish.

Midwest Handshake is a route back to the golden era of emo via a road never taken. Jeff Noller’s vocation in film sound production in recent years allowed him to sonically visualise his concept in panoramic colour.

This time, Skittish enlisted Ben Etter (Deer Hunter, Kaiser Chiefs) to mix and master the album in his analog-centric studio, resulting in a project that draws you in with nostalgia and quells modern malaise with lyrical resonance that could have only been rendered in our blighted with dystopic blues era.

With the Weezer-esque guitars lending themselves well to the earwormy hooks and the drawling with deadpan attitude vocals in the verses evolving into adrenalized harmonies in the standout track, Mannequin, you couldn’t ask for more serotonin from a single. The raucously riled deliverance of unity is the ultimate olive branch to the disenfranchised by ennui outliers. After one hit, you will want to devour the cinematic album whole.

Mannequin hit the airwaves on August 25; stream it on Spotify.

Review by Amelia Vandergast

The UK orchestral folk duo River Knight is on melodious form in their sanctuary spilling single, Unsprung

The folk duo River Knight has been fairly quiet since their 2021 album, Grow. They are back on melodious form in their latest orchestral folk single, Unsprung, which borrows fractions of the melody to Take on Me, but with such a stunning orchestral string ensemble and hints of the Verve and 90s Britpop in the verses, who is complaining?

The earworm brings the ragged and rough timbres through the acoustic guitar strings and percussion while the smooth can be found in the gloss of the orchestral crescendos, which are as close to heaven as the impious are likely to get.

Each new progression is a brand-new opportunity to fall in love with the duo who banded together in 2017 as a form of therapy for Darren Knight after the tragic passing of his wife. Stone River was there for unwavering support and to offer the Ying to Knight’s songwriting Yang. The duo are well known on the London, Portsmouth and Southampton live circuit, but it’s only a matter of time before they take their international-level approach to indie folk rock to the status it beckons.

Unsprung officially released on December 16th. Catch it on Spotify.

Review by Amelia Vandergast

Frontier Station’s latest folk-rock single is ‘Mediocre’ in title alone

Frontier Station

Frontier Station wove a masterfully enticing tapestry with the close-knit boy-girl harmonies in their latest single, Mediocre, taken from their upcoming debut album, The Birds, The Stars & The Chimney Sweeps, which is due for release on January 20th.

The London-based folk-rock six-piece married Americana rock swagger with the roots of Irish folk and modernised the soundscape with The National-Esque production on the cascading guitars – to awe-inspiring effect.

With Frontier Station, there is the promise that every song tells a tale; with Mediocre, they put a swoonsome romantic epic into melodic motion as they set a scene in a mining town in Thatcher’s England. That name may make everyone with a semblance of empathy cringe, but her cursed capitalist legacy doesn’t stand a chance against the soul impassionedly poured into Mediocre.

Mediocre will officially release on October 28th. Check it out on Spotify.

Review by Amelia Vandergast

Sanchez. delivered an off-kilter folk-rock confessional masterpiece with his latest single, Feeling

Sanchez

Following his debut 2022 album, Burgundy, which was produced by the legendary Pete Maher, the already iconic singer-songwriter Sanchez., is here with his latest single, Feeling. With that title, the artist set the evocative bar high; he heart-wrenchingly transcended it with his folk-rock-inspired confessional.

In the cavernous intro that consists of little more than rugged folk-rock pulls of acoustic strings, names like Cohen, Waits and Dylan spring to mind. Yet, Feeling steadily grooves into its own distinct and artful gravitas as the soundscape is enriched by ascending melodies, raw and off-kilter choral sonic power and blisteringly luminous organ notes. It’s Richard Hawley meets Pixies. It is also the aural evolution that melancholic outliers have been waiting for.

Feeling is due for official release on March 2nd; dive into it yourselves by heading over to Spotify.

Connect with Sanchez. via Facebook and Instagram.

Review by Amelia Vandergast

 

Skittish shows us the future of thorny folk-rock with their eighth release, House on Fire.

Skittish

LA-based alt-rock outfit, Skittish, shunted folk-rock further into the future than it has ever been with their 8th release, House on Fire. If you can imagine what it would sound like if Hozier did thorny post-rock synthpop, you can get an idea of just how alchemic the fiery release is.

With the female vocals projecting a sense of innocence into the progressively unpredictable instrumentals and the male vocals injecting plenty of raconteur energy into the sporadically symphonic track, even if you listened to House on Fire 100 times, you’d still be picking new fractures of ingenuity from the unforgettably refreshing track.

House on Fire is due for official release on November 19th. You can check it out for yourselves by heading over to SoundCloud.

Review by Amelia Vandergast

Sparks in the Garden have released their swoon-worthy earworm, Let’s Fall in Love Again.

Sparks in the Garden

Sparks in the Garden’s latest pop-rock EP, Trails of Light, comes with an alt-country twang, a sense of soul that makes every single swoon-worthy, and some of the most honed-in talent that we’ve heard this year.

In the standout single, Let’s Fall in Love Again, the folky foot stompin’ rhythms in the verses break into stadium-filling choruses around the indulgently affable lyrics and the 80s rock-style solos that ground the soundscape in gravitas.

The Floridian brother duo has been playing together since 1989, but it wasn’t until 2015 that their sound started to pick up traction. Trails of Light is Sparks in the Garden’s first studio project, we hope there is plenty more in the pipeline.

Let’s Fall in Love Again is now available to stream and purchase via apple music.

Review by Amelia Vandergast