Salt Lake City Songwriter Daniel Young caught our attention with his new single Water Table Line. Featuring the vintage treble of singer Corrine Gentry, adding her harmonies bring an indie sensibility to this classic country feel. Paired with the pro fiddle of session star Lillie Mae and the pedal steel of Muskrat Jones, Water Table Line brings an indie country vibe fit for a smoky city dive.
The duets insatiable charm could similarities to Shovels and Rope and Edward Sharpe’s Magnetic Zeros. The roaming pedal steel paints the musical atmosphere like a cowboy sunset. Young’s raw slightly weathered vocal echoes with the perils of the road, “sometimes you need to find the bottom to know that it’s quitting time.” The stark statement is a prelude to the songs true meaning, an ode to slowing life down and getting back on track.
A song to pause and reflect on the trap this is our new American hustle. Set in this country feel, it recalls dustier histories, when we got our fingers dirty and defined ourselves as the world’s industrial standard. Lyrically, the melancholy vibes connects with classics by Townes Van Zandt and recent works by Gregory Alan Isakov. A sad song for a full heart, it helps to remind you to take pride in what you’ve got, and stop worrying so much about what’s not.
Get it back with Water Table Line now on our Emerging Folk Playlist
Like Mint catalogs her musical journey over the last 3 years on the new album I Wish I Was Awake. The prolific songwriter has been on our radar since we first fell for her a year ago. Kicking off the collection with her dreamy single Ghost Of What We Know, you’re immediately drawn to her sweet vocal delivery and the call of softly played horns. Evolving out of English into her native German, Like Mint shines on the intoxicating Die Angst. The dark vibe is like musical poetry, even if you don’t know the language, you’re drawn to its exotic curiosity and foreign appeal. Boosted by an unfamiliar, exciting melody, it has an ethereal haunting vibe that draws similarities to acoustic works by Bon Iver.
Like Mint returns to a minimalistic approach on Odd State. The lively performance has a concert feel, as the guitars flows elegantly within the vocals. The soft delivery could draw comparisons to artists like Damien Rice.
There’ s a traditional, cinematic vibe on the pensive What He Was Up Against. Adopting the role of storyteller, the songwriter chronicles a difficult experience, and could possibly be channelling German’s difficult legacy, as she rifles with her roots. A tale of oppression and false accusations, it connects with our shared controversial histories.
The two songs that close out the collection, Constantly Growing and When I’m Home, most directly address the artists personal growth. She admits that she is going through a period of self discovery, understanding her own beliefs and attitudes in tandem with writing these works. Boosted by beautiful arrangements and dark dreamy production, you just might find yourself in the aura that is I Wish I Was Awake.
Get lost in the immersive vibe of Die Angst now on our Emerging Folk playlist
Billy Bronsted recently released his new album Rhythm, Racket, and Romance. The extensive 11 song collection has the spirit of vintage country with a touch of outlaw attitude. It’s got a bit of the bite and grit known to alternative country. There’s mainstream potential on the two opening tracks in the vein of Tyler Childress and Chris Stapleton. Like them, Bronsted creates by his own rules. He’s got he southern swagger, but with intelligent arrangements that have indie sensibility. On tracks like Honey Where You Gone he connects with artists like Sturgill Simpson who bring an eclecticism to their album works that they can just as easily shelve LIVE in exchange for a couple telecasters and a classic rhythm section.
Bronsted also brings some classic Mellencamp style feel good vibes like on Life An’t Pretty. He could also draw similarities to Old Crow Medicine Show on the troubadour busking jam Ease The Pain. Bronsted even teams up with Rachel Hansom on the indie folk bop Let’s Fall In Love, showing some Nashville Pop in contrast to his rougher leanings.
Altogether a dynamic release that should instantly please fans of folk, country, and acoustic music. Bronsted’s impressive songwriting is lifted by proficient execution by a merry band of players. There’s a sense of joy behind each performance, that genuine affect and sense of community that brings the best players together. Collectively they rally around Bronsted’s lead, as the song craftsmen lays diverse musical groundwork for these players to roam.
Enjoy Old Fool now on our Emerging Folk Playlist
Andy Vought delivers classic vibes on the new album Standing with Trees. At the foundation of the instrumental design is Vought’s expressive acoustic guitar. Alternative between percussive strums and more calculated picking, it drives the 10 song release. On the opening tracks, paired with gritty electrics and vibrant drums, Vought could draw similarities to Neil Young and America. Like America, the production palette includes droning organs, subtle strings, and Native style flute features.
Vought writes dark, introspective works colored with melodic beauty. Inspired by meditative trips in the woods, Vought was quite literally Standing With Trees when these musical ideas came to him. There’s a sense of healing in the lyrical design. On Mixed Karma he explains “your mind state is permanent, or is heaven or hell, you can always change, pick ourselves up from where we fell.”
There’s also evidence of wisdom put to song like on the single Socrates. Vought also displays a fun groovy side in the vein of Paul Simon and James Taylor, like on the vibey Obstacles Become The Path. There’s also a hint of the indie sensibility known to Kings of Convenience and Lord Huron, like on the dreamy Rogue Planet. Altogether Vought casts a wide net in folk rock, connecting mostly with the classic writers in the era of Laurel Canyon, artists who splintered out of folk into the Rock world.
Enjoy Rogue Planet now on our Emerging Folk Playllist.