They’ve added shows on Wednesday night (the festival always started on Thursday night in the past), and I wouldn’t miss Here Lies Man if I were you. Speaking of Thursday, I already have my tickets to see Fuzzand The Well. No Joy, The Vacant Lots, and Public Practicewill also put on a good show.
Friday? Well, you shouldn’t go to Levitation without seeing The Black Angels. I mean, they help curate the thing and pretty much started it. The fact that they’re playing with Tinariwen is an added bonus. Black Midi‘s show will probably be nuts, as will A Place to Bury Strangers‘ set.
Thundercat‘s live set is always a groovy show, and I hope to catch Frankie and the Witch Fingers and maybe Ganser – since they’re coming all the way from Chicago. As for Sunday, I’m excited to see The Hives again. They’re one of the best live bands on the planet.
More bands and sets are to be announced, so the weekend is sure to be packed with good stuff. Don’t miss it.
Producer and musician Kelly Lee Owens is “reclaiming space for women in dance music in really powerful and important ways” (NPR Music). Last year, she released Inner Song, one of 2020’s best albums, via Smalltown Supersound. Today, she announces a UStour in support of the album — tickets are on sale. Kicking off at Brooklyn’s Music Hall of Williamsburg, Owens will play across the states, including appearances at Chicago’s Pitchfork Music Festival and Miami’s III Points Festival. Additionally, she will release the Inner Song Remix Series EP this Friday. It features remixes by Loraine James, Coby Sey, Roza Terenzi, Elkka, Breaka,Yazzus, and Haider.
Kelly Lee Owens Tour Dates Wed. Sept. 8 – Brooklyn, NY @ Music Hall of Williamsburg Fri. Sept. 10 – Chicago, IL @ Pitchfork Music Festival Sat. Sept. 11 – Philadelphia, PA @ Making Time Mon. Sept. 13 – Cambridge, MA @ The Sinclair Tue. Sept. 14 – Washington, DC @ Union Stage Thu. Sept. 16 – Minneapolis, MN @ Fine Line Fri. Sept. 17 – Denver, CO @ Globe Hall Sat. Sept. 18 – Seattle, WA @ Nuemos Sun. Sept. 19 – Portland, OR @ Holocene Wed. Sept. 22 – Oakland, CA @ Starline Sat. Sept. 25 – Los Angeles, CA @ Lodge Room Fri. Oct. 22 – Sat. Oct. 23 – Miami, FL @ III Points Festival
“History of a Feeling” cover art – photo by Lili Pepper
Nashville-based songwriter Madi Diaz announces her new album, History Of A Feeling, out August 27th on ANTI-, and today presents a new single/video, “Woman In My Heart.” History Of A Feeling undeniably marks Diaz’s status as a first-rate songwriter, a craft she’s spent years refining. Across the album, Diaz cycles through the full spectrum of emotions as she comes to terms with the dissolution of a meaningful relationship. She plays the line between the personal and the general with dexterity: in Diaz’s hands, quiet moments of self-pity are transformed into grand meditations on heartbreak, and unwieldy knots of big existential feelings are smoothed out with a sense of clear-eyed precision.
Diaz started working on History Of A Feeling three years ago, before beginning collaborations with co-producer Andrew Sarlo (Big Thief, Bon Iver) with whom she worked closely to flesh out the album’s instrumentation. It’s a homecoming record of sorts that points to her Nashville songwriting roots. Pulling from a range of folk, country and pop leanings, as much influenced by Patty Griffin and Lori McKenna as PJ Harvey and Kathleen Hanna, History Of A Feeling is comprised of the most direct and introspective songs Diaz has ever written. Throughout, she seamlessly weaves a profound sense of intimacy and camaraderie as her lyrics are relatable to anyone who has experienced heartbreak and great change in some manner. These universals are shaded by the fact that the relationship breakdown Diaz is chronicling coincided with her former partner transitioning, a complex reckoning Diaz approaches with empathy, candor, and care. “The bulk of this music came from dealing with a kind of tsunami clash of compassion, both for my former partner while she was discovering a deeper part of her gender identity long hidden, and my own raw heartache over having lost the partner I knew,” Diaz says. “I felt so torn through the middle because half of me wanted to hold this person through such a major life event, one that is so beautiful and hard, and the other half felt lost—like I had lost myself in someone else’s story.” It was a sea change that reverberated and ricocheted in her reflections on their relationship and her own sense of self moving forward and her process of healing.
Following the previously released singles “Nervous,” “New Person, Old Place,”and “Man In Me,” which all appear on History Of A Feeling, “Woman In My Heart” came out in one long stream-of-consciousness sweep. Throughout the track, Diaz’s resounding voice pierces through building guitar and percussion. “This song came out in a sort of waking dream while I was actively learning how to part with someone,” says Diaz. “It was hard enough not to miss/hurt/hate/fight/fuck/feel/get over them, and, what was even harder, was the love we had felt more and more like a mystery and the pain was the only thing coming in clear.” The accompanying video, directed by Diaz and Jordan Bellamy and filmed in Colorado, visualizes Diaz’s feelings of unfamiliarity. It was made with no treatment and no plan, just impulse and excitement, letting the music be the guide. Diaz elaborates: “Stumbling in the dark in old abandoned gold mines, whispering to horses at 9500 feet and digging relentlessly, all of these physical motions called out to us as a signal in a desperate attempt to unearth the truth.”
History Of A Feeling Tracklist 1. Rage 2. Man In Me 3. Crying In Public 4. Resentment 5. Think Of Me 6. Woman In My Heart 7. Nervous 8. Forever 9. History Of A Feeling 10. New Person Old Place 11. Do It Now
Chicago’s Jyroscope – consisting of MCs I.B. Fokuz, Collasoul Structure and DJ Seanile – and producer Montana Macks announce a collaborative EP, Happy Medium, out July 23rd. Today, they present the EP’s first single, “Frozen In Time,” alongside an accompanying video. Over the last decade, Jyroscope has recognized how difficult it can be to strike a balance between focusing on one’s craft, career, and the life responsibilities that come with putting down roots and starting a family. Happy Medium is a potent manifestation of that endless journey for balance. Over sleepy jazz samples, layered in well seasoned breakbeats, these tracks are born anew by Montana Macks. Collasoul and I.B. trade pointed verses about fatherhood, bills, the hypnotic self-erasing loop that is heading to-and-from the gig and blowing off steam with a beer or three before tomorrow means doing it all over again.
Preceding Happy Medium, Jyroscope released several projects including the Hip House mixtape, On The House, in 2016 and the bouncy boom bap-filled, MUTE EP. Happy Medium is the result of over a year’s worth of work that began with a wildly fruitful session in late 2019. They felt the title best reflected where they currently are as artists and people. With other obligations taking up more and more of their time, how much does making space for music matter in the big picture? At what point do the records start to count and people begin to truly take notice? How do you find the sweet spot, especially when little about life is sweet or easy? As I.B. Fokuz says, “As husbands and fathers, artists… asiatic men. The balance is defined by spinning plates. Managing the day-to-day with our families on our backs. A leap of faith is the dice we roll on our kitchen tables. Still hungry, still crafting our magnum opus. Still men of principle… keeping our worlds intact.”
In the percussive lead single, “Frozen In Time,” Collasoul raps “On the long road to peace baby we gettin’ all the best of it/ it’s scenic wit delicate petals/pedals and we don’t wanna step on it.” He elaborates: “The first 4 songs we created were seeds we planted prior to the pandemic. Those initial songs were actually going to be the full project according to I.B. and I, but Macks called me and said hey, I think something’s missing….He sent over ‘Frozen In Time’ and the moment I heard the horns on that beat I knew we had something special with that one. To me it sounds like we actually start working towards finding peace with the help of those calming horns.” Montana Macks adds: “I had a beat I was stashing for my next instrumental project, but thought it could round out this EP. I hit up Collasoul and pitched doing another song and he wasn’t terribly receptive to the idea. He agreed to listen to it and passed it along to I.B. Fokuz, I got a call probably 30 minutes later like, ‘say no more’ and it became the single.” The accompanying video, directed by Kory Stewart, was shot across the city of Chicago and is donned in a hazy, black and white filter.
“Frozen In Time” is a first offering of the poetic rhymes and heart-felt imagery across Happy Medium. It makes for a captivating listen, one that is sure to have fans new and old itching to run it back well before the final note has faded away.
Summers in Anniston, the new album by Splash ’96 (AKA Jason LaRay Keener), is a time machine turned into a record. It takes us back to a time when you could still hang out at the pool, mall, record store, or a friend’s back yard patio and not have to worry about as many killer viruses, angry political conversations, or everyone talking on their damn phone all the damn time.
The bright synths of opening track “CD Baby” are like a blast of cool air that hits you while walking into the mall vestibule from the hot July day. “Our Camcorder” has some classic-sounding processed beats that would fit in fine on a Janet Jackson jam. “The Video Store” is a loving tribute to something that no longer exists (apart from a lone Blockbuster out west and specialty stores here and there), and captures the background music of such a place and the constant looping of advertising videos played there.
“Pool Water,” complete with sampled splashing sounds, is a fun bubbly track perfect for the opening of an early 1990s summer coming-of-age comedy. “Waterbed Nap” is as relaxing as its namesake. “Local Radar” is the sound of the local TV station’s 24-hour weather channel that you watch like a hawk all summer to see if your ballgame, pool party, or trip to the beach is going to be rained out.
“Splurgin’ at the Mall” sounds like a lost Pet Shop Boys cut and has a fun, fat bass lick throughout it to accompany your spending spree at the hot pretzel stand, Spencer’s Gifts, Sam Goody Records and Tapes, and the arcade. “Quintard Cruising” is a straight-up mid-1990s house track (referring to a shopping mall in Oxford, Alabama), and so good that Splash ’96 should consider putting out a house record (if he isn’t already creating one).
“Late Night Drive-Thru” is a perfect song for late night drives with the windows open and three pals in the car with nowhere to go and nothing to do but enjoy the warm night air and listen to the cool new CD one of them just bought with the money they earned at the video store. The album ends with the mellow, slightly warped “Please Adjust Your Tracking,” a phrase familiar to anyone who has ever owned a VCR. I’m surprised the phrase hasn’t transformed into a version of “Step off!” by now.
It’s a fun record, and one that brings back a lot of memories if you were at least a teenager in the 1990s.
Keep your mind open.
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Combining jazz, hip hop, funk, and “atmospheric melodies,” El Jazzy Chavo‘s Aspects of Dystopia is a cool, mood-altering record that can be experienced in different moods, on different days, and through different listening systems all to various effects.
The overriding theme of the album is the day-to-day struggle of the lower class living in places with people (and buildings) who overlook them. “Futurama” is like the opening track to a film about a renegade graffiti artist in a totalitarian regime and a place where “the deep snow buries any sound.”
The groove of “Slap of Realism” is rooted in electro-bass and and processed beats that sound almost like they’re coming from the back of a bodega down the street. “Below the City” is surprisingly bright, as if you went into the sewers to hide from killer robots and discovered a vibrant colony of other survivors there. “Delusion” would fit well into a horror film with its simple synth stabs and ethereal chords.
“Where the Stars Don’t Shine” is the track that introduced me to El Jazzy Chavo. The wicked beats, sampled horns, and lounge vibraphone sounds hooked me right away. “The voice you hear is not my speaking voice,” a woman says at the beginning of “La Sirena de la Salva,” and then siren-like calls emerge from your speakers alongside smooth guitars and snappy beats. “Threshold of Sensation” has a neat warped sound to it that almost makes you feel drunk.
“Swallowed by Normality” has a neat switch near the end that shakes you out of your relaxation, but not in a harsh way. The sampled brass on “Hemispheres” is a great accompaniment to the vaporwave synths. “Return to Forever” is waiting for a rapper of mad skills to come along and use it in his next track. “Andromeda” has some of the best use of sampled raps on the record.
“Barefoot in the Storm” has a groove as relaxing at the title implies, and “Stealing in the Moonlight” is just as slick. The album ends with, appropriately, “Oblivion.” The track isn’t gloomy, however. It’s more of a blissful peace one finds as you fall into a well-deserved rest. The album ends with the sampled lyrics of, “I look out the attic window and watch the world go by. I feel like an outsider. I’m on a different wavelength than everybody else.”
He is, and Aspects of Dystopia will put you onto El Jazzy Chavo’s wavelength.
Recorded with a different backing band (J.J. Burnell – bass and vocals, Sonny Fortune – saxophone and flute, Tony “Thunder” Smith – drums) than the rest of The Smithereens, Pat Dinizio‘s 1997 solo album, Songs and Sounds, is a fine display of his deep voice, suitable for crooning or rock and rolling, guitar work, and musical influences.
The short opening track, “Where I Am Going,” is just Dinizio and his haunting voice. “Nobody but Me” hits hard with heavy bass and crisp drumming while Dinizio sings about taking all the chances in a relationship. “124 MPH” is a great example of Dinizio’s love of “Mersybeat” / early 1960s Liverpool rock with a catchy chorus and backing vocals and fun lyrics about a gal too fast for Dinizio’s endurance.
“Running, Jumping, Standing Still” starts with sounds of a rowdy party (or a live gig) and builds to a Who-like crash of thudding bass, driving guitar, lyrics about being able to do anything Dinizio damn well pleases, and precision drumming. “Everyday World” has Dinizio proclaiming that he doesn’t want his life to be the same old grind with a gal who doesn’t want excitement. The added horn section on the track is a great touch.
“There’s no stopping us,” Dinizio sings on “No Love Lost” – a song that mixes good and sad memories about a relationship. Fortune’s saxophone solo on it showcases his jazz chops. It sounds effortless. “Today it’s you, tomorrow it’s someone else,” Dinizio sings on “Today It’s You,” which features a solid acoustic guitar rhythm layered with heavier electric sounds.
“Liza” is an acoustic ballad, the kind that Dinizio sings well – often channeling his love of Buddy Holly when he does it (as he does here). It floats into “Somewhere Down the Line” – another fine example of Dinizio’s songwriting as he chronicles a relationship that’s clinging to the hope of a vague, better future that probably won’t ever arrive. “You Should Know” is a good rocker, and the closer, “I’d Rather Have the Blues,” is a jazzy blues track suitable for a film noir or a shot of bourbon at two in the morning.
It’s a nice record. Dinizio was a fine songwriter, singer, guitarist, and performer until his untimely death in 2017 at only the age of 62. He left behind a lot of great music, however, and we could all hope to leave even half as much art and joy as he did.
Durand Jones & The Indications release a new single/video, “Love Will Work It Out,” from their forthcoming album, Private Space, out July30th on DeadOceans in association with ColemineRecords. Anchored by the high-low harmonies of AaronFrazer (drums/vocals) and DurandJones (vocals), and rounded out by BlakeRhein (guitar), SteveOkonski (keys), and MikeMontgomery (bass), Private Space leans into hope, coalescing around the idea that joy can set us free. “I want listeners to know that through really rough times something beautiful can be birthed,” says Jones, who proclaims on “Love Will Work It Out” that “All the people lost made me fall right onto my knees/all I could do was cry and shout/I knew I had to trust the faith that love would work it out.” The track – inspired by both the pandemic and social justice movements of the past year – is a mellow groove, as Jones’ voice is carried by drifting keys, relaxed percussion, and elegant strings.
“For months into the pandemic and the racial/political chaos that ensued, we found it hard to write,” says the band. “The biggest creative dry spell we’d experienced in a decade. The constant barrage of horrible news felt overwhelming, and songs just seemed inadequate in response to police murdering people in broad daylight. Songs felt inadequate in the face of a virus that decimated communities and kept us apart from our loved ones. We marched, protested, cried, wiped down our groceries, stopped wiping down our groceries, unplugged, breathed, replugged, reengaged. And when music finally flowed, the first song we wrote together was ‘Love Will Work It Out.’ Because conflict and confrontation require bravery, AND so does keeping the faith in the goodness of one another. It’s a big part of what so many people are fighting for- the benefit of the doubt, the ability to be seen as whole, the space to love and trust. It’s been a tough year, but we’ve come out the other side steady and hopeful.”
The accompanying video, directed by WeirdLife, presents the band’s retro aesthetic as they perform.
Following The Indications’ 2019 album, American Love Call, PrivateSpace unlocks the door to a wider range of sounds, boldly launching the band into a world of synthy modern soul and disco beats dotted with strings. The Indications are true masters at melding revival sounds with a modern attitude. The ten tracks across Private Space provide for both an escapist fantasy and a much-needed recentering after a tumultuous 2020.
Developed after being apart for much of the year, Private Space is creatively explosive and delights in upending expectations. Throughout, The Indications highlight a collective resiliency – as well as the power of a good song to be a light in the darkness. From ideation to the final album cut, Private Space is a meditation on what gets us through isolation and loss: community, love and friendship. As the world slowly resets from the chaos of the past year, Private Space comes at just the right time. “I feel we’ll be arriving into people’s lives as they’re exiting a really tough period,” Frazer theorizes. “We’re not out of the woods, but hopefully this allows people to get together again, to share and experience catharsis.”
Durand Jones & The Indications Tour Dates (new dates in bold): Sat. Sep. 4 – Hershey, PA @ Harrisburg University At The Englewood Tue. Sept. 7 – Boston, MA @ Paradise Rock Club w/ 79.5 Wed. Sep. 8 – Philadelphia, PA @ Union Transfer w/ 79.5 Fri. Sept. 10 – Brooklyn, NY @ Brooklyn Steel w/ 79.5 Sat. Sept. 11 – Washington DC @ 9:30 Club w/ 79.5 Mon. Sept. 13 – Chicago, IL @ Vic Theatre w/ 79.5 Tue. Sept. 14 – Minneapolis, MN @ Fine Line w/ 79.5 Thu. Sept. 16 – Denver, CO @ Gothic Theater w/ 79.5 Fri. Sept. 17 – Salt Lake City, UT @ The Commonwealth Room w/ 79.5 Mon. Sept. 20 – San Diego, CA @ Soma w/ 79.5 Mon. Sep. 21 – Los Angeles, CA @ Hollywood Palladium w/ 79.5 Wed. Sept. 22 – Los Angeles, CA @ Hollywood Palladium w/ 79.5 Thu. Sep. 23 – Santa Barbara, CA @ Santa Barbara Bowl w/ My Morning Jacket Fri. Sept. 24 – Dana Point, CA @ Ohana Fest Sat. Sep. 25 – Berkeley, CA @ Greek Theatre at UC Berkeley w/ My Morning Jacket Tue. Sep. 28 – Troutdale, OR @ Edgefield w/ My Morning Jacket Wed. Sep. 29 – Spokane, WA @ Spokane Pavilion at Riverfront w/ My Morning Jacket Fri. Oct. 1 – Seattle, WA @ Paramount Theater w/ My Morning Jacket Sat. Oct. 2 – Seattle, WA @ Paramount Theater w/ My Morning Jacket Sun. Oct. 3 – Bend, OR @ Les Schwab Ampitheater w/ My Morning Jacket Fri. Oct. 8 – Austin, TX @ Austin City Limits Music Festival Thu. Oct. 28 – Sun. Oct. 31 – Live Oak, FL @ Suwanee Hulaween Sun. May 22, 2022 – Monterey, CA @ California Roots Festival
Kansas City-based, Chicago-raised musician, songwriter and chef Liam Kazar announces his debut album, Due North, out August 6th on Woodsist / Mare Records (Kevin Morby’s Woodsist imprint), and today presents a new single/video, “Frank Bacon.” Throughout the last decade, Kazar has been recognized for his adaptability and deftness in the studio and on stage, leading to tours and collaborations with Jeff Tweedy, Chance the Rapper, Steve Gunn, Daniel Johnston, amongst others. While Kazar has consistently been a dream bandmate over the past several years, making his own songs presented a chance to finally find his own voice. Due North is a personal revelation, where the more Kazar wrote, the more his songs showed what kind of artist he’s always wanted to be – one whose own joyous rock songs are so irresistible, full of charm, wit and heart, they feel timeless.
Like most musicians, the pandemic threw Kazar for a loop, knocking out both his touring revenue and his part-time gigs as a bartender. With so much spare time in his Kansas City home, he decided to pursue his longtime love of cooking by creating the restaurant Isfahan, which honors his Armenian heritage and his family’s journey to the United States from Iran, Syria, and Lebanon. “In COVID, my mantra was to not have my heart broken about the future and be present,” says Kazar, explaining that ethos is one of the reasons why he named the LP Due North.
Much like carving out his own space in the food world, learning how to find his own musical style was a rewarding challenge. “This record kind of all stemmed from a conversation I had with Jeff [Tweedy],” says Kazar. “I showed him some of my earliest songs I was working on and he told me, ‘It sounds like you’re writing for the people in your bands, you’re not writing for yourself.’ He was completely right.” With that needed insight, Kazar decided to start from scratch and write songs that felt like himself. Along with Spencer Tweedy and Lane Beckstrom, Kazar enlisted keyboardist Dave Curtin (Woongi), co-producer James Elkington on pedal steel, as well as Ohmme and Andrew Sa on backing vocals. Due North was mixed by Sam Evian at his Flying Cloud Recordings Studio in upstate New York.
During the making of the record, Kazar kept coming back to two words: “joyful” and “vulnerable.” Kazar elaborates: “I was trying to talk about things that I’m scared about but acknowledging that I’m not that powerful and you can still be joyful in the face of your own insecurities.” Take album highlight “Frank Bacon,” where Kazar sings, “When you’re running uphill and swimming upstream / Nothing’s ever gonna be the way it seems.” Despite any lyrical uncertainty the track is bursting with life, especially in the monster groove from the rhythm section of Tweedy and Beckstrom. “With time I’ve grown wary of lying to myself,” says Liam. “I don’t know if it’s a defense mechanism we do, or just something we grow out of, hopefully. But ‘Frank Bacon’ has become a personal mantra in recent years to be honest with myself and stick with it, because I’m worth it. We all are.” The accompanying video was directed by Austin Vesely and shot in Kansas City, MO. Watch Liam Kazar’s Video for “Frank Bacon” Previously released single “Shoes Too Tight,” an undeniable jam with a swaggering exuberance, was a clarifying moment for Kazar in this journey. Kazar slowly tinkered with a synth sound and happened upon the song’s bouncy chord progression, which was “probably the closest to an aha moment that I had of ‘Oh, this is me and this is what I’m into,’” says Kazar. Soon after, Kazar switched gears for the yearning and delicate “On a Spanish Dune” which showcased his emotional resonance as a writer. Though completely different songs, Kazar used these two earliest offerings as guides for what would come next.
Kazar will play his record release showAugust 7th at Chicago’s Sleeping Village. Tickets are available here. In the meantime, Isfahan pop-up events have been announced in Chicago, North Adams, MA, Kansas City, MO, and New York State. A full list of dates can be found below. Watch the “Shoes Too Tight” Video
Due North Tracklist 1. So Long Tomorrow 2. Old Enough For You 3. Shoes Too Tight 4. Nothing To You 5. On a Spanish Dune 6. Frank Bacon 7. I’ve Been Where You Are 8. No Time For Eternity (Ft. Andrew Sa) 9. Give My World 10. Something Tender
Liam Kazar Tour Dates Sat. Aug. 7 – Chicago, IL @ Sleeping Village – RECORD RELEASE SHOW
Isfahan Pop-Up Kitchen Events Thu. June 10 – Chicago, IL @ Sleeping Village Fri. June 11 – Chicago, IL @ Sleeping Village Sat. June 12 – Chicago, IL @ Sleeping Village Thu. June 17 – Kansas City, MO @ Kanbe’s Markets Mon. June 28 – North Adams, MA @ Tourists Tue. June 29 – North Adams, MA @ Tourists Wed. July 7 – Mt. Tremper, NY @ The Pines Fri. July 9 – Livingston Manor, NY @ Sunshine Colony Sat. July 10 – Livingston Manor, NY @ Sunshine Colony Sun. July 11 – Livingston Manor, NY @ Sunshine Colony
Central Heat Exchange (C.H.E.) is a collaborative project by musicians spread throughout the US & Canada, primarily in the central time zone. Split across Austin, Chicago, & Winnipeg, its core members are Adam Soloway of Living Hour, Santiago RD of Daphne Tunes and Jacob and Paul Stoltz of Varsity and Pool Holograph, though their forthcoming recorded output involves a broad network of collaborators. Today they are announcing their signing to Birthday Cake, Citrus City and Sunroom Records, and sharing their debut single “Tulips At My Bedside,” which features vocals from Living Hour’s Sam Sarty and contributions from members of Lala Lala and The Hecks.
WATCH: Central Heat Exchange’s “Tulips At My Bedside” Video on YouTube
“‘Tulips at my Bedside’ tells of a brief summer fling and the exploration that happens during and afterward, with themes of self-reflection, health and growth,” explains Sam Sarty. “I see the song as almost a collective joy/celebration of silly everyday things that make up living, especially at the end with the group vocals. Everyone chiming in and almost giddy that we get to experience the simple hellos when we meet each other. That warm humid freedom of a summer night bike ride, with huge birch trees swaying way up above, rooted in the ground that has seen more than you ever will, a deep smile within yourself of knowing rolling around and your legs are alive and the person behind you on a bike is too.“
“Tulips At My Bedside” is available to purchase on Bandcamp and on all streaming services. It will appear on the forthcoming debut LP from Central Heat Exchange, which is expected in the fall of 2021.
