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June 5, 2019 Daughter of Swords shares video ‘Shining Woman’ from upcoming album, Dawnbreaker.

Daughter of Swords shares video ‘Shining Woman’ from upcoming album, Dawnbreaker.

Daughter of Swords, aka Mountain Man’s Alexandra Sauser-Monnig, has shared a video for “Shining Woman,” the latest from her upcoming album, Dawnbreaker.

In 2017, Alexandra Sauser-Monnig began recording a set of songs about a breakup that had yet to happen. Her partnership had drifted into a comfortable state of indecision, stalling when it came time to make big life moves or chase new horizons. She had the sense that she needed to slip the relationship in order to pursue everything else life might have in store -more music, more adventures, a general sense of the unknown. Those feelings drifted steadily into a set of songs that lamented the inevitable loss but, more important, outlined the promise of the future. Recording the ten tracks that became her stunning solo debut, Dawnbreaker, under the new name Daughter of Swords gave Sauser-Monnig permission to go.

Dawnbreaker began as the first phase of Sauser-Monnig’s return to music after stepping to the sidelines for the better part of a decade. Her college trio, Mountain Man, rose to quick acclaim for their peerless harmonies around 2010, but the friends slowly drifted apart, following their own interests to different coasts and concerns. While working on a flower farm as a farmhand, though, Sauser-Monnig realized that she missed the emotional articulation she found in writing songs and singing them and resolved to start again. She pieced together an album just as Mountain Man-now newly gathered in the fertile Piedmont of North Carolina-began to regroup for its second LP, 2018’s aptly named Magic Ship. Working with Sylvan Esso’s Nick Sanborn, Sauser-Monnig shaped what began as quiet reflections into confident compositions, crackling with country swagger and a sparkling pop warmth. They were, after all, preemptive odes to the next phase of life.

Calling the ten tunes of Dawnbreaker breakup songs is to hamstring them with elegiac expectations, to paint them as sad-eyed surrenders to loss and grief. Sure, there is the gentle opener “Fellows,” a hushed number that explores the turmoil of being unable to reciprocate the feelings of a wild and shy, tall and fine man. And there’s the blossoming country shuffle of “Easy Is Hard,” where Sauser-Monnig stands in the yard and sees her lover leave, his taillights fading into the night sky; she can’t sleep, so she gets up to turn the lights and stereo on, to “feel my soul coming down.”

Even there, amid the throes of a life convulsion, there is a wisp of hope and possibility, framed by the way “the dim light change[s] into dawn, rosy blue, pink fawn.” The very heart of Dawnbreaker is not the impending breakup that inspired many of its songs but the sense of liberation and breaking out that the breakup inspired. Buoyed by the insistent patter of a drum machine and rich acoustic guitars, Sauser-Monnig finds herself in search of new thrills during “Gem,” whether pondering the fleeting nature of existence at a waterfall’s edge or watching the shapes of mountains seemingly dance beneath her headlights. The muted, harmonica-lined boogie of “Sun” begins with a vulnerable confession, a revelation of loneliness; it is, however, a low-key anthem for the open road, about giving oneself over to the infinity of solitude and an endless strip of asphalt. Sauser-Monnig captures these scenes with a painter’s eye and delivers them with a novelist’s heart.

There’s no better testament than “Shining Woman,” where Sauser-Monnig portrays a ropy woman navigating her “steel steed” up and down the bends and passes of California’s fabled Highway 1. She openly marvels at that spirit and strength, wishing that for her own life. With Dawnbreaker, she has found it in some measure-the joy of something new, the excitement of risk. Though Sauser-Monnig nearly recorded these songs as barebones folk ballads, she reimagined them with Sanborn and a top-tier crew of North Carolina friends, like fellow Mountain Man singers Amelia Meath and Molly Sarlé, bandleader Phil Cook, and guitarist Ryan Gustafson. These vivid settings highlight the emotional contours of these songs, revealing the complexity that comes with knowing that, in order to live, you sometimes have to let something as strong as love go.

At the start of “Human,” the undeniable climax of Dawnbreaker, Sauser-Monnig wakes up early and finds her lover in bed. She slips out of the room, watches the sun rise alone, and has herself a long think amid nature’s frozen splendor. What does it mean to leave? What does it mean to stay? Is she wrong, and is he right? As the piano rises and her voice multiplies, coming in now from all sides, she admits something crucial to herself: “You can’t will a love to life/But you can do the loving thing: Make like a bird and fly.” It is a moment of reckoning with one’s own liberation, of realizing that sometimes a profound loss is the only way to gain something else. That is the lesson of Dawnbreaker, an intimate document of what it means to set oneself free.

June 2, 2019 Ben McKelvey releases indie-rock video for ‘Wild Child’ + shares dates for live shows

Ben McKelvey releases indie-rock video for ‘Wild Child’ + shares dates for live shows

Brighton-based multi-instrumentalist Ben McKelvey has shared his video for ‘Wild Child’, a refreshing indie-rock offering, on which he plays all instruments.

Mckelvey is an experienced performer in his own right, having toured extensively with the likes of Wet Wet Wet, Genesis supergroup, Mike & The Mechanics, Marti Pellow and Scouting For Girls. It’s no surprise then that the video is centred around the trials and tribulations facing the travelling musician. “‘Wild Child’ was the last song I recorded for the album. It instantly became my favourite on the record and probably is my favourite I’ve ever written. There’s a lot of emotion in this song and it’s the most personal I’ve ever written. A song based on true events about how being a musician is something you can’t choose to let go when it’s in your blood and how it can destroy personal relationships. A tough song to write but very therapeutic. It was written at a low point in my life but when we get to play it live, it’s just incredible. I guess it’s dedicated to the musicians out there giving it their all.” he says.

All of that said, even the ups, downs and sacrifices that need to be made don’t seem to be able to put McKelvey off the touring life. Catch him on the road – dates below.

Live Performances:

22/06/19   MAGAZIN4, BAD REICHENHALL, GERMANY

19/07/19   PENNFEST (main stage)

22/10/19   KING TUTS, GLASGOW w/ Jake Clemons

23/10/19   O2 ACADEMY2, SHEFFIELD w/ Jake Clemons

24/10/19   O2 ACADEMY2, LIVERPOOL w/ Jake Clemons

25/10/19   O2 ACADEMY2, OXFORD w/ Jake Clemons

26/10/19   O2 ACADEMY ISLINGTON, LONDON w/ Jake Clemons

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May 6, 2019 Rich Aucoin Releases ‘The Other’ Video

Rich Aucoin Releases ‘The Other’ Video

Rich Aucoin has released the second single off of his anticipated third full-length album entitled Release due, via Haven Sounds. ‘The Other’, the video for which went live on 8 May, is a showcase of Aucoin’s production skills, a pleasing amalgam of warm organic instrumentation and cool electronic stylings. Live drums and other percussive elements push and pull between funky guitar riffs and warm piano keys. 

Rich Aucoin took to Twitter recently to tease the release of a video for ‘The Other’, adding to the excitement of Release as we draw closer to it

Check out the video ‘The Other’ here.

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May 3, 2019 Lomea Releases Haunting video for ‘You Are Your Memories’

Lomea Releases Haunting video for ‘You Are Your Memories’

After the announcement of his second album Echoes in Bloom (31 May) and the release of the first single off that album, ‘You Are Your Memories’ via Hera & Now Recordings… the multi-instrumentalist and fine artist, Lomea offers up a video to go with the single on 30 April. 

The music video is an eery montage of old family photos, edited to flow with the beat of the song. While family memories are meant to be happy, the way the visuals morph in and out as the images burn, boil and move is haunting.  About the song,

Lomea explains ‘You are Your Memories’ is “… a techno track, more or less. This album’s Votive (from my debut Narratives), albeit with a much broader, cinematic scope.”

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