Tag: folk rock

After spending years leading Boston-based art rock collective The Solars, whose 2017 EP Retitled Remastered landed on DigBoston‘s Best Massachusetts Albums of 2017, Miles Hewitt returned to Harvard College to finish his award-winning collection of poems The Candle is Forever Learning to Sing.

Following his graduation in 2018, Hewitt relocated to Western Massachusetts’ Pioneer Valley, settling in a small hill town, just down the road from a friend’s recording studio — and a few miles from where he spent the first year of his life. It was amidst the cycling greens, browns and blues of the Pioneer Valley, where Hewitt began writing the songs that would become Hewtti’s ambitious and wide-ranging solo debut Heartfall. Drawing from British and American folk music, 70s songwriter rock, psychedelia, krautrock and electronic music, Heartfall‘s is reportedly an album for album-lovers. And while the material is formally spare, few of the album’s arrangements have recognizable verse/chorus structures, instead holding patterns that melt away only when fully exhausted. “As I became interested in a less anthropocentric mentality, I wondered if this could be expressed through formally organic songs, built from looping phrases or motifs and evolving at the level of the line,” Hewitt explains.
The effect of these slow changes — a kind of temporal dilation that can make it easy to forget just how long you’ve been listening to a given song — invites a state of consciousness more familiar in drone and ambient music than most rock ‘n’ roll. 

After relocating to Brooklyn in 2019, Hewitt began recruiting a variety of serious session players including members of the backing bands for Devendra Banhart, Kevin Moby and Aldous Harding, including Jared Samuel (organ), David Christian (drums), Shahzad Ismaily (piano) and Jack McLoughlin (guitar) and a cast of others, who all contributed to the Hewitt-produced recording sessions.

Heartfall‘s latest single, the vibey “The Ark” begins with the sound of rushing water, before quickly morphing into a tempest of jazz fusion drumming, glistening Rhodes, sinuous bass, atmospheric electronics. The song’s second section is a dreamy bit of guitar-driven Pink Floyd meets Radiohead-like psychedelia that slows down to a laconic fade out. The song ends with a folksy piano-driven coda. Although the song doesn’t hew to a familiar or recognizable chorus, verse, bridge structure, it’s all held together by the deft and seemingly effortless rhythm section and Hewitt’s tender vocals. Thematically, the song details the search for the Biblical — and mythical — vessel that can deliver humanity from certain doom.

Heartfall is slated for an August 26, 2022 release.

Hewitt will be embarking on a tour to support his full-length debut. Check out the tour dates below.


    Aug 03 – Khyber Pass Pub – Philadelphia, PA
    Aug 04 – Garden Grove Brewing Company – Richmond, VA
    Aug 05 – Down Yonder Farm – Hillsborough, NC
    Aug 06 – Story Parlor – Asheville, NC
    Aug 09 – 5 Spot – Nashville, TN
    Aug 10 – Northside Tavern – Cincinnati, OH
    Aug 11 – Rear End Gastropub – Pittsburgh, PA
    Aug 12 – The Avalon Lounge – Catskill, NY
    Aug 13 – Lilypad – Cambridge, MA
    Aug 14 – Sun Tiki Studios – Portland, ME

New Video: Berlin’s Mighty Oaks Release a Hazy and Nostalgic-Tinged Visual for Contemplative “Lost Again”

Mighty Oaks is a Berlin-based indie folk/folk rock act comprised of American-born Ian Hooper (vocals, acoustic/electric guitar, mandolin and ukulele), Italian-born Claudio Donzelli (vocals, acoustic/electric guitar), piano, mandolin, banjo) and British-born Craig Saunders (vocals, bass, mandolin).  The act can trace its origins back to early 2010.  As the story goes, after completing college, Ian Hooper relocated to Hamburg,  where he had begun working on material as a solo artist. While in Hamburg, Hooper met and befriended Craig Saunders, who was also working on material as a solo artist. Several months later, Hooper and Saunders met Claudio Donzelli at a small, acoustic music festival and the trio managed to keep in touch, bonding over a mutual interest in indie rock and folk rock. 

The members of Mighty Oaks wrote, recorded, produced and self-released their 2011 self-titled, debut EP. Recorded in Donzelli’s apartment, the EP eventually amassed several hundred thousand hits on SoundCloud.  Building upon a growing profile, the trio self-released their first studio recorded EP, 2012’s Just One Day, which was distributed by Rough Trade Records. The band supported the EP with a busy touring schedule that included — a European tour, opening for Shout Out Louds; opening for Kings of Leon at the Waldbuhne in Berlin; and joining acts like CHVRCHES on Intro Magazine’s “Introducing!” tour of Germany. By the all of 2013, Mighty Oaks played a sold-out, headlining tour of Switzerland, Austria and Germany. 

Early 2014 saw the release of their full-length debut Howl through Universal Records in Europe. The album was a critical and commercial success with the album peaking at #10 on the German and Swiss charts. The album also landed on the charts of several other countries. Additionally, several singles off the album charted. The band also made the rounds across the international festival circuit, playing sets at Melt! Festival, Montreux Jazz Festival, Latitude Festival, Way Out West Festival, Exit Festival and Valkhof Festival. 

The band closed out 2014 with  the release of the Brother EP in the States, as well as a headlining European tour. And by the beginning of 2015, Howl was released in the States. The members of Mighty Oaks went on to play SXSW — and then followed that up with a Stateside tour with Milky Chance. 

After spending almost two years of uninterrupted touring, the members of the band took the bulk of 2016 off, with each individual member temporarily returning to their home countries. They eventually reconvened at Ryan Hadlock’s Washington State-based studio to write and record their sophomore album, 2017’s Dreamers. The band supported Dreamers with a sold-out European tour during that spring, a fall North American tour and a follow-up, sold-out winter European tour. Interestingly, just before their winter European tour, the band self-released the four song Storm EP. 

2018 was rather busy for the band: that summer, they played a number of major European festivals including Hurricane Festival, Southside Festival, Traumzeit Festival, Zermatt Unplugged and Milky Chance and Friends Open Air. They closed out the year by returning to the studio to write and record their third full-length album, All Things Go, which is slated for a February 2, 2020 release through BMG. 

Last year saw the release of two album singles — album title track “All Things Go” and “Forget Tomorrow,” and building up buzz for the album, the band’s third and latest single is the contemplative  “Lost Again.” Centered around gently strummed acoustic guitar, swirling and atmospheric electronics, Hooper’s plaintive vocal delivery and a gorgeous bit of harmonizing that recalls Crosby Stills and Nash, the song focuses on a narrator, desperate to turn back back the clock a bit and iron out the wrinkles, mistakes and bad decisions he made when he was younger. “If I had known then, what I know now,” the song’s narrator seems to say in a moment of reflection. At the same time, the song and its narrator seem to acknowledge that he wouldn’t be the person he is right now, if it wasn’t for those mistakes and missteps. Things happen for a reason. And hopefully you learn from it and move forward with some wisdom. 

The recently released video by Andrew Saunderson and no.odds features the members of Mighty Oaks performing the song, but superimposed over them are images of their past — mainly places they’ve seen and been, along with some beautiful shots of nature, which help create a sense of time flashing by. It’s as contemplative as the song while adding a hazy sense of nostalgia to the proceedings. 

New Audio: JOVM Mainstays Still Corners Returns with Two from Abbey Road Studios Live Sessions

With the release of their 2012’s Creatures of an Hour, 2013’s Strange Pleasures and 2016’s Dead Blue the London-based dream pop act Still Corners — vocalist and keyboardist Tessa Murray and multi-instrumentalist, producer and songwriter Greg Hughes — have developed a shimmering and atmospheric take on dream pop, centered around Murray’s smoky vocals. 

Last year, the London-based JOVM mainstays released their fourth album, the critically applauded Slow Air. Deriving its name from the sultry Texas summer days and nights that they spent writing and recording the album in Austin, TX, the album found the band making a return to early form, with the band leaning heavily towards arrangements centered around electric and acoustic guitar, live drumming and a minimal use of synthesizers. Some of this may have been inspired by the studio Hughes designed and built for the recording sessions — and by a minimalist approach in which they consciously ensured that they didn’t overthink, while using a variety of old and new microphones. 

While in the past there may have been countless takes and overdubs in an attempt to make things absolutely perfect, Murray and Hughes kept the inevitable mistakes to remind the listener of the material’s emotionality — and also to remind the lister that living, breathing, feeling humans made it. 

Additionally, the band recorded and mixed the album in three months, the fastest they’ve ever done, and as a result, the material possesses a previously unheard urgency while retaining the shimmering and moody atmospherics that they’ve long been known for — especially on album single “Black Lagoon.” After completing what may arguably be the biggest world tour, including a memorable stop at Elsewhere, as well as across North America, Europe and Asia, the duo wanted to document their live sound with a live stood recording. As the band’s Tessa Murray says in press notes. “Abbey Road was the first studio we thought of when deciding where to record. It’s a beautiful and iconic place that we’ve always dreamed of. The sound and experimentation that happened there makes up much of the fabric of recording history.””Vintage consoles lined the corridors as we made our way to the Studio 3. We Could feel the weight of walking into the same studio where Pink Floyd recorded Dark Side of the Moon,” Greg Hughes adds. “We used microphones used on many Beatles’ recordings.” 

During their Abbey Road session, the band recorded a live version of one of my favorite tracks off the album, Black Lagoon — and while being a slightly stripped down rendition, the Abbey Road rendition retains the song’s gorgeous melody and shimmering atmospherics, while possessing a road-tested looseness. “We played this for a session at KUTX in Austin and a lot of people mentioned they would like an official audio recording, so we decided to that as well,” Murray says in press notes. 

The other track the JOVM mainstays recorded found the duo tackling Richard and Linda Thompson’s “The Calvary Cross.” As the band’s Greg Hughes explains in press notes, Richard and Linda Thompson’s I Want to See the Bright Lights Tonight is a personal favorite of the duo — and they covered “The Calvary Cross” during their last tour. And while the original was more of a mid-tempo stomper reminiscent of Neil Young, the Still Corners version is a slow-burning and gorgeously atmospheric take, centered around shimmering country-like guitars and Murray’s smoky vocals.