Category: indie folk

Currently comprised of founding member Jonathan Russell (vocals, guitar, percussion), Matt Geravis, Charity Rose Thielen (violin, guitar, vocals), Chris Zasche (bass), Kenny Hensley (keys) and Tyler Williams (drums), the Seattle, WA-based indie folk/indie rock act The Head and the Heart can trace their origins to a series of open mic nights at Ballard, WA-based Conor Byrne Pub back in 2009. At the time Russell, who had relocated from Richmond, VA and the band’s other founding member Josiah Johnson (vocals, guitar, percussion), who had relocated from Southern California were relatively recent transplants. Russell and Johnson met Hensley, who also was a relatively recent transplant, who had relocated the previous year to pursue film score writing. Thielen, was the next member to join, and she had recently returned from a year abroad studying in Paris. Williams had been a member of Richmond, VA-based band Prabir and The Substitutes, but after Russell sent him a demo of “Down In The Valley,” Williams quickly relocated to Seattle to join the new band. The last member of the original line, Zasche was a bartender at the Conor Byrne and was member of Seattle-based bands The Maldives and Grand Hallway. Interestingly enough, as Johnson explained the band’s name came from an relatable situation in which “Your head is telling you to be stable and find a good job, you know in your heart that this [the band] is what you’re supposed to do, even if it’s crazy.”

Since their formation the band has released three full-length albums — 2010’s self-titled and initially self-released debut (which later caught the attention of Sub Pop Records, who re-issued it), 2013’s Let’s Be Still and 2016’s major label debut, Signs of Light with each record seeing greater attention and the band building a growing profile; they’ve opened for Vampire Weekend, The Walkmen, Dr. Dog, Dave Matthews, The Decemberists, Iron & Wine, My Morning Jacket, Death Cab for Cutie and Tom Petty and The Heartbreakers among a lengthening list of acclaimed acts. Along with that, the band has seen quite a bit of critical and commercial success — their self-tiled debut reached #110 on the Billboard 200 and stayed on the chart for 10 weeks with  Let’s Be Still landed at #10 on the Billboard 200 and each album has been well received, to boot.

Now, if you’ve been frequenting this site over the course of the summer, you may recall that I mentioned that this year may arguably be one of the bigger years in the band’s history, as they’ve played the historic Newport Folk Festival and Coachella, and are in the middle of an extensive tour that includes stops at the Red Rocks Amphitheater, Lollapalooza and Central Park SummerStage last night.

Tonight the band is taking part in an Audience Network Concert Special, which will air at 9:00 ET/PT on DIRECTV (Channel 239) and U-verse (Channel 1114) and DIRECTV Now, and  to build up buzz for the special, as well as to celebrate what has been a successful tour so far, the band has just released a gorgeous and fairly straightforward cover of Crowded House’s “Don’t Dream It’s Over,” one of my favorite Crowded House songs, and arguably one of the best songs of the 1980s; of course, there are subtle differences — The Head and the Heart rendition has a slightly folky twang, Charity Rose Thielen sings the song’s second verse, which adds a slightly different perspective; and the organ solo at the song’s bridge is truncated by a number of measures; but considering the band’s history, covering Crowded House’s breakthrough hit here in the States is fitting, as the song focuses on persisting in the face of all odds. More important, their cover should remind everyone that Neil Finn is an exceptionally gifted songwriter, who has written a handful of songs that have held up 30+ years after their initial release.

As I mentioned the band is in the middle of a lengthy tour, check out the tour dates below.

Tour Dates:
9.22.17 – The Fillmore – Philadelphia, PA *
9.23.17 – Thompson’s Point – Portland, ME *
9.24.17 – Green at Shelburne Museum – South Burlington, VT *
9.26.17 – Massey Hall – Toronto, ON *
9.28.17 – Iroquois Amphitheater – Louisville, KY *
9.29.17 – Ascend Amphitheater – Nashville, TN *~
9.30.17 – Thomas Wolfe Auditorium – Asheville, NC *
10.1.17 – The National – Richmond, VA *
10.2.17 – Red Hat Amphitheater – Raleigh, NC *
10.4.17 – Alabama Theatre – Birmingham, AL *
10.5.17 – Coca Cola Roxy Theatre – Atlanta, GA *
10.8.17 – Austin City Limits – Austin, TX
10.10.17 – Cain’s Ballroom – Tulsa, OK *
10.11.17 – Orpheum Theatre – Memphis, TN *
10.12.17 – The Pageant – St. Louis, MO *
10.13.17 – The Blue Note Outdoors – Columbia, MO *
10.15.17 – Austin City Limits – Austin, TX
10.27.17 – The Anthem – Washington, D.C. *+
10.27 – 10.29.17 – Voodoo Music + Arts Experience – New Orleans, LA
1.31 – 2.4.18 – Hard Rock Hotel – Riviera Maya, MX

 

*w/ The Shelters
^w/ The Lone Bellow
~w/ Dr. Dog
+w/Phosphorescent

New Video: The Introspective Folktronica of Michael Malarkey

Michael Malarkey was born in Beirut, Lebanon to an Irish-American father and a British mother, who was of Arab and Italian origin. Growing up in Yellow Springs, OH, Malarkey relocated to London where he he studied at the London Academy of Music and Dramatic Art, and while studying acting he begun to immerse himself in music and songwriting, which he found being a form of poetic journalism and an endless journey of self-discovery; however, he may be best known for his role as Enzo in The CW series The Vampire Diaries. 

Malarkey’s debut effort Mongrels, which is slated for a September 8, 2017 release through Cap on Cat Records, and the album’s material reportedly reveals his eclectic musical taste while being an exploration of the duality of both his nature and of human nature. Interestingly enough, the album was recorded by Malarkey alongside Tom Tapley and Brandon Bush in Atlanta and while Tabley and Bush assist to provide a subtle Nashville/country vibe to the proceedings, they manage to do so in a way that isn’t the prepackaged new Nashville bullshit about trucks and beer; in fact, they do so in a way that further emphasizes the introspective nature of the material. As you’ll hear on album title track “Mongrel,” Malarkey’s sonorous baritone croon is pared with a sparse and moody arrangement consisting of twangy guitar, softly padded drumming and chiming keys and while to my ears nodding at Pearl Jam’s “Elderly Woman Behind the Counter in a Small Town,” Malarkey’s latest single possesses a quiet yearning underneath its deliberate attention to craft. 

Directed by Adam Loveday-Brown, the recently released music video for the album title track, follows a lonely and pensive Malarkey sitting in the woods, with notebook in hand, reminiscing on his life and on a lover, who is no longer around. How and why that relationship has ended is left open-ended and to the viewer, but the video portrays the protagonist’s life with his lover as a period of brilliant light, with his cabin being bright and airy and without her, his life is drab. The cabin feels and looks shabby and claustrophobic and yet everywhere her ghost has left an inescapable presence. 

New Video: An Intimate Portrait of Life on the Road with The Head and the Heart in New Visuals for “City of Angels”

Currently comprised of founding member Jonathan Russell (vocals, guitar, percussion), Matt Geravis, Charity Rose Thielen (violin, guitar, vocals), Chris Zasche (bass), Kenny Hensley (keys) and Tyler Williams (drums), the Seattle, WA-based indie folk/indie rock act The Head and the Heart can trace their origins to a series of open mic nights at Conor Byrne Pub back in 2009. At the time Russell, who had relocated from Richmond, VA and the band’s other founding member Josiah Johnson (vocals, guitar, percussion), who had relocated from Southern California were relatively recent transplants. Russell and Johnson met Hensley, who also was a relatively recent transplant, who had relocated the previous year to pursue film score writing. Thielen, was the next member to join, and she had recently returned from a year abroad studying in Paris. Williams had been a member of Richmond, VA-based band Prabir and The Substitutes, but after Russell sent him a demo of “Down In The Valley,” Williams quickly relocated to Seattle to join the new band. The last member of the original line, Zasche was a bartender at the Conor Byrne and was member of Seattle-based bands The Maldives and Grand Hallway. Interestingly enough, as Johnson explained the band’s name came from an relatable situation in which “Your head is telling you to be stable and find a good job, you know in your heart that this [the band] is what you’re supposed to do, even if it’s crazy.” 

Since their formation the band has released three full-length albums — 2010’s self-titled and initially self-released debut (which later caught the attention of Sub Pop Records, who re-issued it), 2013’s Let’s Be Still and 2016’s major label debut, Signs of Light with each record seeing greater attention and the band building a growing profile; they’ve opened for Vampire Weekend, The Walkmen, Dr. Dog, Dave Matthews, The Decemberists, Iron & Wine, My Morning Jacket, Death Cab for Cutie and Tom Petty and Heartbreakers among a lengthening list of acclaimed acts. Along with that, the band has seen quite a bit of critical and commercial success — their self-tiled debut reached #110 on the Billboard 200 and stayed on the chart for 10 weeks with  Let’s Be Still landed at #10 on the Billboard 200 and each album has been well received to boot. 

2017 may be arguably be one of the bigger years in the band’s history as they’ve played the historic Newport Folk Festival and Coachella, and are in the middle of an extensive tour that includes stops at the Red Rocks Amphitheater, Lollapalooza and a bunch of other stops. (Check out the tour dates below.)  In the meantime, the band’s latest single “City of Angels” will further cement the band’s growing reputation for a sound that  simultaneously nods at 70s era Fleetwood Mac, 60s psych folk and pop, arena rock and contemporary indie rock, but with a swooning earnestness; after all, their latest single like all of the preceding singles is written from a sincere place; in this case, a bittersweet longing for a home you’ve left some time ago — but underneath there’s a growing sense that you may never be able to come home again. 

The recently released video was directed by Claire Marie Vogel, and its an charming and  intimate, fly-on-the-wall like portrait of the band that captures them in a variety of moments both big and small. As the director says in press notes, “When The Head And The Heart asked me to join them on the road to make a video for ‘City of Angels,’ there were many moments, big and small, that made it a trip of a lifetime. Record store shopping in a thunderstorm, backstage birthday parties, a summer ski lift through Catskills mountains, all night bonfires on a California beach, surprise songs in a Charlottesville bar, mini golf beside a river. It was a thrill to be a welcomed fly on the wall and treated as one of the gang. I knew ending the trip at the Monterey Pop Festival would be special, but when we found ourselves in a charmingly odd practice room – the band rehearsing with Michelle Phillips of The Mamas & the Papas, and Lou Adler, a founder of the festival throwing his two cents in on their arrangement — it felt utterly surreal.”

New Video: Introducing the Anthemic and Jangling Pop Guitar Pop of Wesley Fuller

Wesley Fuller is a Perth, Australia-born, Melbourne, Australia-based singer/songwriter multi-instrumentalist and producer, who quickly received national attention with the release of his debut EP, Melvista for an anthemic jangling guitar pop sound that draws from 60s bubblegum pop, 70s glam rock. Fuller’s much anticipated full-length debut Inner City Dream is slated for a September 22, 2017 release through 1965 Records, and the material will reportedly further cement his growing reputation for crafting infectious and anthemic pop that sounds mischievously anachronistic, all while subtly expanding upon his sound and songwriting approach, as his influences expanded; in fact, as a result of his regularly occurring DJ sets in and around Melbourne, Fuller cites late 70s and early 80s Talking Heads as a growing influence on him. As Fuller explains “Melvista was really my first solo expedition and I was learning as I went along. I think by the time I came to record the album I had a better technical knowledge of what I was doing. There’s probably a wider span of influences on the album. I wanted to showcase every aspect of my sound.” 

Along with the sound, Fuller’s material thematically has reportedly progressed as well with the material on Inner City Dream revealing a growing maturity with the material focusing on the worldview of a young man trying to come to terms with his place, both physically and symbolically — but at times with a wry, observational humor; in fact, as you’ll hear on Inner City Dream’s later single “#1 Song,” the song smartly focuses and then mischievously takes fire on the upper echelon of modern pop. As Fuller says in press notes “I think everyone in the scene knows to a certain extent that it’s all bullshit. So why take it seriously? You’ve got some artists with 20 tracks in the Top 30. The gap between the big stars and the indie bands are worlds apart. There’s really no money in music at all unless you’re at the very top. To get there, you have to compromise your dignity and be prepared to release some pretty pedestrian shit.” But instead of calling those who have managed massive success a bunch of soulless sellouts, the song sly says “well, in that situation what would you do? Does anyone dream of criss-crossing the country in an old van with two, three, four or more broke, desperate and sweaty musicians, and possibly getting your whole life stolen while on the road? Who doesn’t dream of having the biggest song in their country — or in the world? And who doesn’t dream of playing in front of massive crowds at Glastonbury, Madison Square Garden, Wembley Stadium, The Rose Bowl, etc.? What would you do in the face of an opportunity of a lifetime? Talk about artistic integrity? Bullshit! You’d probably sign your name on the dotted line, sell your soul and your mother if you have to.  

“#1 Song” ironically enough manages to sound as though it was a #1 song released sometime between 1969 and 1974 — with a subtly modern production sheen; but at its core is some incredibly slick and carefully crafted pop-leaning songwriting, complete with an incredibly infectious, danceable, and anthemic hook reminiscent of T. Rex, Bay City Rollers and a handful of others.

The recently released video features Fuller and his backing band appearing as though they fell out of time warp from 1973 or so, playing “#1 Song” on a Top of the Pops-like TV show — and the way the video is shot, to even how the musicians appear to be playing bear an uncanny resemblance to how shows of that period were shot.   

New Video: The Surreal and Psychedelic Sounds and Visuals of Hollow Everdaze’s “Cartoons”

Founded by Daniel Baulch (vocals, guitar) and Jackson Kay (bass), along with Myles Anderson (violin), James Turner (drums) and Dylan Young (keys), the Ballarat, Australia-based psych rock act have developed a reputation in their homeland for a lush sound that at times clearly draws from Rubber Soul-era Beatles and bubblegum pop; however, with the contributions from Anderson and Young, the band’s sound manages to be both lush and mind-bendingly lysergic as you’ll hear on “Cartoons,” the latest single off the band’s John Lee-produced debut effort Cartoons, which is slated for release through Deaf Ambitions later this month.  But interestingly, the song subtly reveals some ambitious songwriting, thanks in part to an expansive, Summer of Love-like vibe and rousingly anthemic hooks. 

Interestingly, the band’s debut comes about as the band’s profile is steadily growing nationally in their homeland, as they’ve opened for the likes of The War on Drugs, Unknown Mortal Orchestra, Wavves and American Football among others. 

Directed by Alex McLaren, best known for his work with ORB, Pipe-Eye and Hierophants, the recently released video for “Cartoons” employs the use of stop-motion animation, based around surreal imagery taken and assembled from old, second-hand books.

Brad Byrd is a Los Angeles-based indie rock/indie folk singer/songwriter, who after years of suffering through alcohol addiction and depression, started his music career in earnest in 2003. Since then, he’s received attention both locally and nationally for his off-kilter, hook-driven and soulful songwriting over the course of his two full-length efforts, 2005’s The Ever Changing Picture, 2011’s Mental Photograph and a string of singles in which he worked with Warren Huart, who has worked with The Fray and Aerosmith. Adding to a growing profile, Byrd has had his music appear in a number of TV shows including The New Girl, Happy Endings, American Housewife, Ben & Kate, and Keeping Up with the Kardashians — and he’s shared stages with Bobby Long, Mike Doughty, Son Volt‘s Jay Farrar, Jurassic 5 and others.

Byrd’s third full-length album Highest Mountain was co-produced by the Los Angeles, CA based singer/songwriter and Jim Kimbrough, a member of indie rock trio Walt Mink, who has produced Tenacious D, and it’s not only Byrd’s first recorded output in over 6 years, the album may also be among his most personal work to date, as the album thematically focuses on both self-discovery and Byrd reconnecting with his roots. Highest Mountain‘s latest single “1000 Pink Balloons”  is a jangling and achingly soulful and introspective track that focuses on self-discovery and the strength in letting go; but with repeated listens, the single reveals a thoughtful and provocative singer/songwriter, who makes writing a catchy hook seem effortless while nodding at the work of The Church.

Currently comprised of Evan Way, Brette Marie Way, Sam Fowles and Robbie Auspurger along with a rotating cast of collaborators and friends, the Portland, OR-based indie folk/psych rock/indie rock act The Parson Red Heads can trace their origins to when its founding core members met in Eugene OR in 2004, where they all were attending college and studying for degrees that as the band’s frontman Evan Way jokes in the band’s official bio “never used or even completed.” As Way recalls “we would rehearse in the living room of my house for hours and hours until my roommates would be driven crazy — writing songs and playing them over and over again, and generally having as much fun as a group of people can have. We weren’t sure if we were very good, but we were sure that there was a special bond growing between us, a chemistry that you didn’t find often.”
So in 2005, the founding members of the band relocated to Los Angeles, where they hoped that they would take music much more seriously and become a real band, eventually moving into a 1 bedroom apartment in West Los Angeles. “Eventually the population of our 1 bedroom ballooned to 7 — all folks who played in our band at that point, too,” Way explains. But while in Los Angeles, the members of The Parson Red Heads became stalwarts of a growing 60s-inspired folk and psych folk scene based primarily in the Silverlake and Echo Park sections. “We played every show we could lay our collective hands on, which turned out to be a lot of shows. We must have played 300+ shows in our first two years in L.A.  . . . . We practiced non-stop and wrote a ton of songs, and eventually recorded our debut album King Giraffe at a nice little studio in Sunland, with the help of our friends Zack and Jason.
After 3 more years of writing, recording and touring, which resulted in an EP and their sophomore full-length Yearling, which was partially recorded at Red Rockets Glare Studio with Raymond Richards, who had then joined the band to play pedal steel and in North Carolina at Fidelitorium with The dB’s Chris Stamey, the members of the band decided to quit their jobs and their apartments and go on a lengthy tour with their friends in Cotton Jones before relocating to Portland.  But whether they were in Los Angeles or Portland, the band had developed a reputation for an uninhibited live act, with a folk sound that can easily go into rock mode — and in some way, it shouldn’t be surprising that the band’s influences include The Byrds, Teenage Fanclub, Big Star, Crosby, Nash, Stills and Young, Jackson Browne and others. In fact, with the band’s third full-length album Orb Weaver, the band wanted to capture their live, rock-leaning sound on wax. “We’ve always made records that were more thought-out,” says Way. “When we play live, we play more like a rock band. We wanted to show that more aggressive side of us, the more rock-oriented side.”
The psych folk/indie folk/indie rock act’s fourth full-length effort Blurred Harmony derives its name from a Donald Justice poem, and is slated for release next week through Portland-based label Fluff and Gravy Records here in the States, the home of JOVM mainstay Drunken Prayer, acclaimed singer/songwriter Fernando and Richmond Fontaine. And as Way explains, the band intended to do things differently — with the band recording and tracking themselves, setting up drums and amps and furiously recording after everyone had put their kids to sleep and trying to finish before it got too late. He goes on to say that “the record is more a true part of us than any record we have made before — we put ourselves into it, made ourselves fully responsible for it. Even the themes of the songs are more personal than ever — it’s an album dealing with everything that has come before. It’s an album about nostalgia, about time, change, about the hilarious, wonderful, bittersweet, sometimes sad, always incredible experience of living. Sometimes it is about regret or the possibility of regret. These are big topics, and to us, it is a big album, yet somehow still intimate and honest.” And as you’ll hear on Blurred Harmonys latest, jangling and anthemic single “Coming Down,” the wisdom of someone, who’s lived a full, messy life and recognizing that experiencing everything life has to offer is part of the purpose and forms who you are and who you’ll be, but with a sense of awe, joy and gratitude. “I’m alive, I’m okay and those who I cherish and love are alive and okay, and that’s really all that maters,” the song seems to say. But thanks to its jaunty and infectiously upbeat feel, the song also evokes the experiences of being on the road, of seeing things you’d never seen before, of meeting people you’d never met before, of strange languages you can barely pronounce, of an aching loneliness — and it all further cementing yourself and your place in the scheme of things.

 

 

 

 

 

Live Footage: Husky Performs Their Gorgeous New Single “Splinters In The Fire”

Over the past five years or so, I’ve written quite a bit about the Melbourne, Australia-based indie folk/indie rock act Husky. Initially formed as a quartet featuring is founding members and primary songwriters Husky Gwenda and Gideon Preiss (keys, vocals), along with Evan Tweedie (bass, vocals) and Luke Collins (drums) filling out the band’s original lineup, the quartet quickly received national attention and acclaim after they won Triple J’s Unearthed Contest. As the result of a growing national profile, the band played at The Push Over Festival, one of their homeland’s biggest music festivals and they’ve opened for several internationally known touring acts, including Devendra Banhart, Noah and the Whale, The Shins, and Gotye.
The band’s remarkably self-assured and gorgeously lush full-length debut Forever So was released globally through Sub Pop Records — and the album was interestingly enough recorded in a loving DIY fashion with reclaimed recording gear in an abandoned bungalow near Gwenda’s house. The band’s sophomore effort Ruckers Hill further cemented the act’s reputation for incredibly crafted songs possessed effortlessly gorgeous melodies paired with anthemic hooks; however, as you may recall, with the release of “Late Night Store” late last year, the band revealed a massive change in thematic and sonic direction that was influenced by a lineup change that left the band’s founding duo as its sole members, and from the year that Gawenda and Preiss spent living in Berlin. And one of the first things you’d notice if you had been familiar with the renowned Australian band is that while the material off their first two albums was melody-driven, “Late Night Store” was much more hook-driven and featured Gawenda and Preiss employing the of analog synths and electric guitar in what may have been one of their most rock-leaning songs they’ve written and released. Thematically, the song captured the wild array of sensations and emotions most commonly felt when you’re far away from home — in particular, awe, reinvention, danger, of being in the words of Paul Salopek “a traveler, a man from far away” — while evoking the sensation of wandering around all hours of the day and night from jet lag, excitement, boredom and loneliness from hotel room to cafe, from cafe to bar, from bar to nightclub, observing everyone and everything around you; the strange and profound bond you have with others, who are like you, far away from home and are wandering around with the exact same thoughts and feelings reverberating in their heads.

“Ghost,” the band’s first single of 2017 and the second single off the band’s third full-length album Punchbuzz continued in a similar vein as its preceding single as it features shimmering, arpeggio synths, a propulsive bass line, thundering drumming and a rousingly anthemic hook — and while pushing the sound that won them international attention into a contemporary, rock-leaning take, both “Late Night Store” and “Ghost” are among the most personal yet ambitious songwriting of Gawenda’s career.

“Splinters In The Fire,” the soon-to-be released third album’s third and latest single can trace its origins to a guitar line that had been repeating in his head for weeks while the line “Splinters in the fire, summer days in the smoke” kept making its way into the lyrics had been writing. As Gawenda explains in press notes, there was “something about ruthlessness of fire — and time.” And as a result, the song possesses the wistful and sober mood of one coming to grips with the end of relationships, the passing of time and the acceptance of one’s own mortality; after all, all things pass and all things die, and this is is the way of things.

The duo, along with their backing band released a live video of them performing of the song, shot in the gardens of an old, somewhat abandoned mansion near their residence in Melbourne — and from the video, it’s a big rambling place, in which ghosts and spirits haunt and wander about.

If you’ve been frequenting this site over the past five years or so, you’ve likely come across a handful of posts featuring the  Melbourne, Australia-based indie folk/indie rock act Husky. Initially formed as a quartet featuring founding members and primary songwriters Husky Gawenda (vocals, guitar) and Gideon Preiss (keys, vocals) with Tweedie (bass, vocals) and Luke Collins (drums) filling out the band’s original lineup, the band quickly received national acclaim after winning  Triple J’Unearthed Contest and playing at  The Push Over Festival, one of Australia’s biggest music festivals. Adding to a growing profile, the band opened for severally internationally known touring acts including Devendra Banhart, Noah and the WhaleThe Shins, and Gotye.

 

As the story goes, the band’s remarkably self-assured and gorgeously lush full-length debut Forever So was released globally through Sub Pop Records but it was actually recorded in a lovingly DIY fashion with old recording gear in an abandoned bungalow near Husky Gwenda’s house. The band’s sophomore effort Ruckers Hill further cemented the act’s reputation for incredibly crafted songs that possessed elements of folk, pop and indie rock, along with some gorgeous melodies and rather anthemic hooks; however with up until the release of “Late Night Store” late last year, the band revealed a change in thematic and sonic direction that was influenced by a massive lineup change that left the band’s founding duo as its sole members — and from the year that Gawenda and Preiss spent living in Berlin. Whereas the material off their first two albums was melody- driven, “Late Night Store” was much more hook-driven and featured the band employing the use of synths, keys and electric guitar in what may arguably one of the more rousingly anthemic songs they’ve released. Thematically, the song captured the wild array of sensations and emotions most commonly felt when you’re far away from home — in particular, awe, reinvention, danger, of being in the words of Paul Salopek “a traveler, a man from far away” —  while evoking the sensation of wandering around all hours of the day and night from jet lag, excitement, boredom and loneliness from hotel room to cafe, from cafe to bar, from bar to nightclub, observing everyone and everything around you; the strange and profound bond you have with others, who are like you, far away from home and are wandering around with the exact same thoughts and feelings reverberating in their heads.

 

“Ghost,” the second and latest single off the band’s third full-length effort Punchbuzz, slated for a June 2, 2017 continues in a similar vein as its preceding single as it features shimmering arpeggio synths, a propulsive bass line, thundering drumming and a rousingly anthemic hook — and while being an ambitious and contemporary, indie rock-leaning take on the sound that won them international attention, both singles manage to be among the most personal songwriting of Gawenda’s career. Interestingly, as Gwenda explained to the folks at Clash, “‘Ghost’ is about a process of coming to terms with this half-asleep, half-awake, somewhere between the haunted past and the sunlit possibility of tomorrow, mid-air, mid-dream state. Put simply, I was searching for a way to get free. Free of the past. Free of the future. Free of myself. Whatever that means.”  And as a result, the song possesses an urgent yearning for something that’s not quite there in front of you while hinting at the regrets, mistakes and experiences that accumulate to create a messy, lived-in life.