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LP
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NB 009LP
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LP version. Includes download. Kacey Johansing releases her album No Better Time on Night Bloom Records. The album is an exploration of love and how one accepts it into his/her/their life. It asks how can someone allow love when the past is full of trauma. Can we become someone new and leave behind our former selves? Can place allow us that freedom? How does one find the strength to try again? Across 11 songs, Johansing wrestles to find the answers, her unmistakable vocals always leading the way. Anchored by powerful performances pulled from three days of live tracking with her band all in the same room, the album is bounding and energetic at its core. First takes were prioritized and perfection was rarely the goal. Rather, capturing an emotion and honesty from herself and the players was the rule of the day. The album pulls from Johansing's love of classic pop -- it's her LA record -- the place where she now resides and initially struggled to understand. Joan Didion said, "The future always looks good in the golden land, because no one remembers the past." Kacey saw that and chose to tap into the creative buzz happening all around her -- at small clubs and while dipping in and out of playing in friends' bands, including in between tours as a member of Hand Habits. The resulting No Better Time is the sound of letting go and faithfully falling into step with a new way. There are vibraphones and swooping strings, grand pianos, and doubled acoustic guitars, washes of tape delay and woodwinds -- but it is the songs that continue to set Johansing apart. Here she unveils her strongest set yet. Produced by Johansing and multi-instrumentalist Tim Ramsey (Vetiver, Fruit Bats), engineered by Tyler Karmen (DIIV, Alvvays), and mixed by Rob Schnapf (Beck, Elliott Smith, Cat Power). Includes contributions from Todd Dahlhoff (Feist, Devendra Banhart), Trevor Beld Jimenez (Parting Lines), and Amir Yaghmai (Julian Casablancas + The Voidz).
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CD
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NB 008CD
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After a hard spell, heartbroken and drifting, Suzanne Vallie aimed to make a driving record rich with sympathy, high romance, and dedicated to the magic of good-timing. Other themes on the album include dogs, surfers, and the supernatural. Vallie, a sorta-recluse living in rural Big Sur, California, is known for her improvisational performances where she freestyles lyrics and tells stories, both mythical and rowdy. She wrote the bulk of Love Lives Where Rules Die during the bummer summer after a breakup. It was a time when she drove up and down Highway 1 trying to blow out the speakers of her '94 Honda. The 11 songs of Love Lives Where Rules Die were largely live-tracked over five days. Suzanne Vallie and a core band of California collaborators flew out to upstate New York during the last warm days of September 2019. Vallie and her producer, Rob Shelton, chose Dreamland Recording in Hurley, New York, for many reasons. The analog signal flow sounded embracing. The studio, a hundred-some-year-old church, had room for the whole crew to live-track. Some said a ghost might come around. What's more, much of the band was already on tour out East, playing a run of shows with both Luke Temple and Meerna, double duty every night. They were plenty warmed-up. Opening with "Ocean Cliff Drive", Vallie sings of driving on the winding cliff side of Highway 1, blinded by fog and rain. The title track, "Love Lives Where Rules Die", begins with baritone guitar calling in a story of a broken heart among good company. With no way out in a three-day storm, Vallie asks friends to sing her love songs. The party anthems, "Morro Bay" and "High With You", celebrate friendship and the delicious urge for fun with Springsteen length lyric sheets. The album features production and keys by Rob Shelton (Meernaa, Sis, Luke Temple, Kacey Johansing), guitar by Blake Kennedy (The Range of Light Wilderness), guitar and vocals by Carly Bond (Meerna, Sis), guitar and bass by Doug Stuart (Meerna, Brijean), percussion and drums by Andrew Maguire (Mirah, Vetiver, Meerna) with contributions from violin virtuoso, Edwin Huizinga (Acronym, Dark Watchers), percussion by Mark Clifford and Bob Ladue, and backing vocals by Paul Spring, Emily Ritz (Yesway, Honeycomb), and Molly Sarle (Mountain Man).For fans of: Sharon Van Etten, Jesse Sykes & the Sweet Hereafter, Karen O's Where The Wild Things Are soundtrack.
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LP
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NB 008LP
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After a hard spell, heartbroken and drifting, Suzanne Vallie aimed to make a driving record rich with sympathy, high romance, and dedicated to the magic of good-timing. Other themes on the album include dogs, surfers, and the supernatural. Vallie, a sorta-recluse living in rural Big Sur, California, is known for her improvisational performances where she freestyles lyrics and tells stories, both mythical and rowdy. She wrote the bulk of Love Lives Where Rules Die during the bummer summer after a breakup. It was a time when she drove up and down Highway 1 trying to blow out the speakers of her '94 Honda. The 11 songs of Love Lives Where Rules Die were largely live-tracked over five days. Suzanne Vallie and a core band of California collaborators flew out to upstate New York during the last warm days of September 2019. Vallie and her producer, Rob Shelton, chose Dreamland Recording in Hurley, New York, for many reasons. The analog signal flow sounded embracing. The studio, a hundred-some-year-old church, had room for the whole crew to live-track. Some said a ghost might come around. What's more, much of the band was already on tour out East, playing a run of shows with both Luke Temple and Meerna, double duty every night. They were plenty warmed-up. Opening with "Ocean Cliff Drive", Vallie sings of driving on the winding cliff side of Highway 1, blinded by fog and rain. The title track, "Love Lives Where Rules Die", begins with baritone guitar calling in a story of a broken heart among good company. With no way out in a three-day storm, Vallie asks friends to sing her love songs. The party anthems, "Morro Bay" and "High With You", celebrate friendship and the delicious urge for fun with Springsteen length lyric sheets. The album features production and keys by Rob Shelton (Meernaa, Sis, Luke Temple, Kacey Johansing), guitar by Blake Kennedy (The Range of Light Wilderness), guitar and vocals by Carly Bond (Meerna, Sis), guitar and bass by Doug Stuart (Meerna, Brijean), percussion and drums by Andrew Maguire (Mirah, Vetiver, Meerna) with contributions from violin virtuoso, Edwin Huizinga (Acronym, Dark Watchers), percussion by Mark Clifford and Bob Ladue, and backing vocals by Paul Spring, Emily Ritz (Yesway, Honeycomb), and Molly Sarle (Mountain Man).For fans of: Sharon Van Etten, Jesse Sykes & the Sweet Hereafter, Karen O's Where The Wild Things Are soundtrack.
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LP
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NB 005LP
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LP version. Includes printed posted with art and lyrics. Mariee Sioux is an artist transmitting medicinal qualities of music for the current times we are in. Her finger-picking guitar has been compared to the greats of Nick Drake and Bert Jansch and her music has also been described as hallucinatory with a trance like performance. Her first album Faces in the Rocks (2007) is considered a cult classic and garnered attention from such artists as Mazzy Star and Bonnie "Prince" Billy. Poetic mysticism and ancestral remembrance have always been deeply embedded in Mariee Sioux's music. Coming from mixed races of Polish, Hungarian, and Native American heritage she has always been fascinated by her ancestry and has recently become involved in local and national indigenous activism. Mariee was raised in the small gold mining town of Nevada City that resides on occupied Nisenan territory in Northern California. In her early years Mariee's father, a mandolin and guitar player, took the family to bluegrass and music festivals where his band often played. Music started to find a more personal place in her life when she taught herself to play guitar at 18 years old. Soon after she took her Dad's guitar on an isolating and influential trip to Argentina where she traveled alone and volunteered with indigenous Mapuche children. This was where the convergence of words, melody, and channeling began and is when Mariee wrote her first songs. During her 20s, seeking relief for from alcoholism and depression, she started to explore the worlds of plant medicine and ceremonial ways to find healing. These medicine ways were life changing and continue to be an important part of her path. There is a maturity and deepening sense of self in the nature of Mariee Sioux's recent songwriting. Her third album Grief in Exile feels like a culmination of these profound experiences and strike the listener as much more refined, less stream of consciousness and abstract. This new collection of songs shares stories of deeply intimate and relatable feelings on heartbreak, loss, indigenous prophecy, and the need to welcome grief back into our lives for the health of society.
"Fans of acoustic guitar-playing female singer-songwriters are so flooded with options these days that they are in the position to be pretty discriminating. Artists such as Alela Diane, Marissa Nadler, Jana Hunter, and Mariee Sioux have issued a steady stream of quality music, and have collectively set a fairly high standard for newcomers to match." --Pitchfork
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CD
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NB 005CD
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Mariee Sioux is an artist transmitting medicinal qualities of music for the current times we are in. Her finger-picking guitar has been compared to the greats of Nick Drake and Bert Jansch and her music has also been described as hallucinatory with a trance like performance. Her first album Faces in the Rocks (2007) is considered a cult classic and garnered attention from such artists as Mazzy Star and Bonnie "Prince" Billy. Poetic mysticism and ancestral remembrance have always been deeply embedded in Mariee Sioux's music. Coming from mixed races of Polish, Hungarian, and Native American heritage she has always been fascinated by her ancestry and has recently become involved in local and national indigenous activism. Mariee was raised in the small gold mining town of Nevada City that resides on occupied Nisenan territory in Northern California. In her early years Mariee's father, a mandolin and guitar player, took the family to bluegrass and music festivals where his band often played. Music started to find a more personal place in her life when she taught herself to play guitar at 18 years old. Soon after she took her Dad's guitar on an isolating and influential trip to Argentina where she traveled alone and volunteered with indigenous Mapuche children. This was where the convergence of words, melody, and channeling began and is when Mariee wrote her first songs. During her 20s, seeking relief for from alcoholism and depression, she started to explore the worlds of plant medicine and ceremonial ways to find healing. These medicine ways were life changing and continue to be an important part of her path. There is a maturity and deepening sense of self in the nature of Mariee Sioux's recent songwriting. Her third album Grief in Exile feels like a culmination of these profound experiences and strike the listener as much more refined, less stream of consciousness and abstract. This new collection of songs shares stories of deeply intimate and relatable feelings on heartbreak, loss, indigenous prophecy, and the need to welcome grief back into our lives for the health of society.
"Fans of acoustic guitar-playing female singer-songwriters are so flooded with options these days that they are in the position to be pretty discriminating. Artists such as Alela Diane, Marissa Nadler, Jana Hunter, and Mariee Sioux have issued a steady stream of quality music, and have collectively set a fairly high standard for newcomers to match." --Pitchfork
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