Arriving off the back of a tour supporting Bess Atwell, festival appearances, and BBC radio support, the ‘Happier, Sometimes’ EP is Phoebe Warden’s 4th release under new alt-indie-folk project ALMAHATA. Traveling between parallel dimensions of dreamy indie pop and spiritual folk, the new release is their strongest yet. It’s true to intention, a testament to their acquired name and inspired journey. “Alma” meaning the soul, and “Ahata,” meaning natural sound.
Happier, Sometimes embraces the metaphysical. The title track is a sonic trip, with cosmic samples evolving like infinite jest. It’s that realization, that perplexing void that walks us around a moment of vulnerability before colliding into Thank You For Love. Thoughtful layers of samples, harmonies, and sliding guitars all dress the melodic atmosphere. Warden is convincing, resolute in their tempered admiration as they offer “there are things I’ll never be for you.” A personal awareness haunts her inspired poetry. It adapts in abstract function, a protective armor to shield the onslaught of personal awareness. “… it feels like an internal tug… I wish I could thank you for love.” If only it wouldn’t make us more confusing.
We get to injest Warden’s conflicted history with beauty and melody, it’s a privilege really. Phoebe gracefully indulges it, makes it a trademark of their art. But there’s little time for healing, too dedicated to this expose’ of emotion, too dedicated to their artist journey. It’s that truth that launched similar breakout Bon Iver. ALMAHATA also connects with works by Big Thief and Feist. An indie folk gem, ALMAHATA casts a wide stylistic net with breakout potential.
The whole EP is fantastic, get started with Thank You For Love now on our Emerging Folk Playlist.
E.W. Harris returns with The Damage. The second in a series of single releases from the forthcoming album “Homunculus IV.” A concept record chronicling a story of an alien executioner in the post-apocalyptic future, The Damage offers the perspective of the protagonist. The narrative offers the songwriter a metaphorical cloak to exercise his own delicate history. “Oh the Damage we have done.” Harris sings with passion and intention, drawing from a surplus of experience and appropriately buried emotion. Processing these moments through his acquired stylistic framework, a combination of classic influence and recent inclinations known to indie. There’s evidence of Peter Gabriel dressed within an updated electronic sonic presence known to Bon Iver and James Blake. The compositional movement bears evidence of Pink Floyd’s iconic era, semblances of moments throughout Wish You Were Here to The Wall.
E.W. Harris had our attention with Hammerhands, and the favorable curiosity continues with The Damage. Staying on brand without being derivative, he’s carving out his own sound. At the root of it is his rare unique vocal talent. Beautiful and exotic, it’s instinctual to him, and helps him stand out from the crowd.
Enjoy The Damage now on our Emerging Folk Playlist.
Buzzworthy folk singer OXLIP dropped a new eight song collection I Said You Must Be Leaving. Bare dark classic folk with an eye to tradition, it only hints at an indie folk influence. This the genuine charm known to villagers and commoners, drawing curious attention from the royal court. Oh how delightful this peasant music is. OXLIP sings with the scorn and grief of a war torn widow. Inspired by international tragedy, specifically those linked to the climate crisis, she laments the loss of innocent victims ritually swept by catastrophe. Her inherent draw is natural and organic, leaning into big waves of vibrato in the spirit of traditional folk. In that way her collective works could draw similarities to Allison Krauss, as she is equally eclectic and an amazing asset to producers and purveyors of the genre.
Produced by indie icon Damien Jurado, the new record is crisp and clean to match new sonic demands and industry standards. It also commits fully to the artists main draw, her rare vocal talent. Whereas past releases indulged her metaphorical presence with church hall echo and spiritual intention, the new records looks to bare her emotions in the nude, accentuating every private detail of her matrimonial affect. As if she’s caressing you to rest, or laying her babe to sleep, the revealing presentation is exhilarating. It only builds on her enigma, and embraces her talents advantageous seductive underlayers.
The whole album is beautiful. Get started with Wayward Woman now on our Emerging Folk Playlist.
A carefully crafted collective release, the 5 pieces known to Sugar & Smoke embrace the songs at their essence. The new Ep from Vancouver songwriter Chris Sol is a minimalistic indie folk delight. Dreamy guitars and fluttering piano runs swirl around the centerpiece that is Chris and his guitar. The tasteful production illuminates the atmosphere with true intention, knowing the artists vulnerabilities are the trademark of this sound. Sugar & Smoke is akin to the work of Gregory Alan Isakov and Courteny Barnett, with a hint of the contemporary crossover appeal of Damien Rice.
Chris Sol doesn’t demand to be relegated to the indie folk space. The foot stomping’ Austin, TX might pump live. But a preference for heartfelt melancholy will draw you into the cinematic folk of Rumours, Comin’ Home, and Sometimes. Capping it with the dreamy immersive Astronomers, the collective intention of Sugar & Smoke reveals itself. If you find yourself in reflections like “I don’t need to try anymore, let go and just enjoy her eyes,” then this ones for you. An existential romantic fully present in the modern world, soaking in all it’s perplexing social evolutions, wondering how we got here at the dusk of this civilizations technological superiority. The whole record is a beautiful retrospective on our current state.
Get started with Rumours now on our Emerging Folk Playlist.
Denitia is groovy on her recent My Weakness. The worlds of indie pop and Americana elegantly blend on this infectious single. Recalling the legacy of Sheryl Crow with more recent indie sensibilities known to Feist, My Weakness bumps with enough pop to bring a rusty rural bar to the dance floor.
There’s evidence of Nashville in the form of an atmospheric lap steel, but Denitia is most definitely not a country pop prototype. In the vein of Shawn Colvin, it prescribes to a sonic intellect with Nashville appeal, delivering it like an Empress wearing new clothe. My Weakness is fresh and exciting. With mainstream appeal, My Weakness could attract contemporary and indie fans alike. Denitia is undeniable, see for yourself.
Enjoy My Weakness now on our Emerging Folk Playlist.
Jacob Bennett is elegant on the inspirational Passing. Calculated picking accentuates the percussive textures of his acoustic, expressing every harmonious chord known to the composition. Engulfing the melodic atmosphere with its cascading presence, the guitar is all that’s needed. It sets a melodic blanket for Bennett’s poetic musings. The DC based songwriter recalls folks breakout movement, the early 60s bars and cafes known to the lower east side, second homes to troubadours in search of their perfect song. “Their,” to put it specifically. As every singer hopes for their signature number, the one that defines their musical aura. We found that moment in the lyric “The lights down on Broadway could get a little bit dark when you know that your shoulders and jaw line could never fit in a playbill part.”
Passive has its roots in classic folk. Bennett’s style is equal parts untrained passion and thoughtful intention. His music speaks to the passed over, the yearning existential traveler, the hopeless hopefull. He begs you to put the phone away, and be in the moment. It’s what will draw fans to him, and keep their attention through his ascension in a folk festival circuit that needs an emotional kick.
Enjoy Passing now on our Emerging Folk Playlist.
The Wild Is Calling 