KATIE SACHS

Katie Sachs is a songwriter, powerhouse vocalist, and multi-instrumentalist who sings from the guts and delivers a raw, urgently emotional musical experience to listeners. Through eccentric lyrics and catchy melodies, Katie reveals an inner world that is brutally honest, deeply vulnerable, and highly relatable. Her appreciation of wide-ranging musical styles comes through in her work, and makes it hard to put a label on her. If influences were ingredients, they would include: a sauce of Billie Holiday, dash of David Byrne, pinch of Pixies, and a hint of Feist. An Asheville, NC-based artist who has lived all over the country, Katie released her 4th studio album ‘The Factory of Almosts’ on September 10th.

‘The Factory of Almosts’ is an adventurous, multi-genre masterpiece that explores the complexities of romantic relationships and simultaneous discovery of self. The new album features performances by top musicians from her old stomping grounds of Austin,TX and Boston, MA, as well as members of Asheville’s premier Indie Rock trio The Get Right Band.

With a degree in creative writing, extensive national touring, and over 20 years of songwriting behind her, Katie is a seasoned performer who knows how to connect with her audience and make them cry, laugh, ponder, or fall silent. She has performed at iconic venues such as: Club Passim in Boston, MA, Hole in the Wall, Strangebrew and the Driskill Hotel in Austin, TX and the Threadgill stage at Kerrville Folk Festival. Co-bills include the likes of Heather Maloney, Ley Line, Peter Tork (Of the Monkees) and trading songs around campfires with a then-unknown Adrianne Lenker (Big Thief.) This will be the last studio album Katie will be releasing for the foreseeable future, as well as her most evolved work to date, so be sure to check it out on bandcamp, Spotify and all other online streaming platforms and stores.

“The combination of styles, rhythms, and her wide vocal range set no limits on what she will release next.“

Music Mecca

“… her most evolved work to date.”

Beyond The Stage

“…wonderfully done lyrical gems that touch on a myriad of things.”

ZO Magazine

The Retinas Chase Cathartic Release on New Single “Baggage Kid”

Inspired by iconic artists such as The Pixies, The Strokes, and The Replacements, the Philly power duo of Thomas McHugh (vocals/guitar), Anthony Fulginitti (drums) who are best known as The Retinas, effortlessly couple nostalgia with the thrills and pains of being alive. Each of their songs is a relatable anthem in its own rite, composed of incendiary riffs, blown-out, carefree reverb, and melodic hooks that beg for entire group sing-alongs. Similar to garage revival icons like King Tuff, and Oh Sees, The Retinas give listeners solace with each earworm they serve up, leaving audiences with a sense of audible freedom and cathartic release. Their recordings offer an alternative to the humdrum fiction and contradictions of the American dream. After years of rocking out and cutting their teeth in windowless rooms of DIY spaces, The Retinas have become more than just local darlings; they’re an antidote to the status quo. Like their namesake, the band’s music unabashedly reveals something so often overlooked. In your face and heartfelt (in the best of ways), The Retinas are pure rock ‘n’ roll. They’re the real deal. Without an ounce of pretentious bullshit, the best buds always know how to have a good time.

The sweeping synth leads and McHugh’s restless vocals add an emotional intensity to the steadiness of Fulginitti’s groove. Every note here sounds intentional, as if the duo spent long hours agonizing at the mixing desk. McHugh and Fulginitti are masters of their riffy songwriting craft, and it shows on “Baggage Kid.”

Big Takeover

Annie Neeley Brings a Taste of Appalachia to Your Stereo on “Big Old Moon”

Geography has so much to do with the feel of a record. It’s why artists often make pilgrimages to studios halfway around the world in search of a particular sound. Location, it seems, plays a huge role in capturing performances. And for songwriter Annie Neeley, a home studio in West Virginia near the site of Mothman’s first appearance provided the perfect spot to craft her fantastic new record Big Old Moon. 

For over a decade, Neeley has been writing songs on the folkier side of country. Her 2010 debut, Cold Heart Blues, features the type of songwriting that can coax tears from stone. With stylistic references to Hank Williams and Emmylou Harris, Neeley writes with the confidence of someone firmly connected to their roots. In 2016, she released a collaborative album with fellow writer Andrew Adkins called Appalachia. The two managed to mix traditional bluegrass instruments with an outlaw sound, particularly on songs like “When I Was Young” or “Bound for Somewhere.” Neeley has been all around the Eastern US, playing her songs with a rotating cast of friends and characters. From West Virginia to DC to Nashville and back to the holler again, Neeley has found a way to channel those deep roots into a more rockous version of her original bluegrass with Big Old Moon. 

The story of Big Old Moon began with the birth of Neeley’s son. She recalls, “On clear nights, when my son was a baby, we would stand in the front yard of our house in East Nashville and look up at the night sky. He always loved the moon.” Originally written as a lullaby, the title track of this album was molded and reshaped into a twangy, mid-tempo rock song. Neeley grew up singing Beatles songs, and the strength of the melody in this song is testament to her time learning from Lennon & McCartney. Neeley has described herself as a blues singer, and that influence is apparent on the groovy “We Rise.” The gospel-tinged “Hero” brings to mind artists like The Staples Singers. While Neeley blends genres and styles in these songs, they always sound like her. Never a mere imitation or mockingbird-esque recall. And that’s the sign of a true artist – taking the traditions of the past and making something new with them. 

While the title track has a warm and familial back story, Big Old Moon has its fair share of dark moments too. “Old Scratch” begins with the line, “Old timers say / we’ve been damned since the day.” It’s a line that recalls the haunting lyrics of Jason Molina or Lucinda Williams. Album closer “Sweet Love” brings the good feelings back, with its honky-tonk piano and gorgeous chorus melody. From start to finish, the songs on Big Old Moon offer a modern interpretation of a genre with a long tradition. 

And this record was made with the help of Neeley’s husband and long-time collaborator, Dave Kirkpatrick. Playing bass on this record, Kirkpatrick provides a steady, thumping heartbeat to the songs. Together, the two of them have plumbed the depths of the genre and are keyed into writing damn good songs. Likewise, drummer Ammed Solomon, known as the drummer of the Mountain Stage band, joins Kirkpatrick in adding a solid base on top of which Neeley is able to layer the song. Solomon’s playing is keyed into what each track needs, never showboating but keeping time and adding some swing. Rounding out the ensemble, celebrated WV keyboardist Randy Gilkey fleshes out the songs with swirling organs. While Neeley’s writing is of course spectacular, the band provided some stellar performances during the sessions. 

Neeley & Co. journeyed to her friend Bud Carroll’s home studio in July of 2019. She remembers, “It was… the hottest weekend of the entire year. We had to turn the AC unit off when we were recording so the heat was real.” You can hear the sweat in this record. It breathes like a hot summer night in Appalachia. You can almost make out the cicadas clicking in the background. There’s no shortage of powerful moments on this record. While Neeley’s work has always been both honest and earnest, she’s tapped into something big and true and real on Big Old Moon. 

With generations of greats before her and generations still to come, Annie Neeley writes about life in the Appalachian mountains with a sincerity that only comes from experience. These songs are perfect for those hot, swampy summer nights, where there’s just a hint of magic in the air. Neeley has seen it. And through her words and tunes, so can you. 

“There’s really stellar performances all over this record, and everything feels so natural.“

Glide Magazine

“Big Old Moon is a satisfying breath of fresh, mountain air in which each note rings of folks who not only understand the nuances of the form, but who have undergone their own processes of self-discovery within the culture that informs it artistically.“

Loot Press

LAURA FISHER

Laura Fisher is a New Orleans-based alternative pop artist. Her stylistic range is wide: from electronic to shoegaze, to dream pop and art rock; she also has a strong neoclassical root from a childhood studying under world-renowned Turkish pianist Meral Guneyman.

‘Fiction/La Belle Indifference’ is Fisher’s first release on a wider scale — it was released by Strange Daisy Records, both digitally and on 7” vinyl. The tracks were produced by Adam Keil and draw from a number of influences including Warpaint, Radiohead, PJ Harvey, and Broadcast.

“I wrote ‘La Belle Indifference’ after time reflecting on a lover and a friend going into psychiatric hospitals with exact overlap one month during my teenage years. The experience was intense and harrowing. Made me question so much of what constitutes and follows experiences of deep depression, suicidal ideation, and extreme action…. where exactly is the line? What makes humans cross it, turn feelings into actions?“

“I believe the two songs connect through these introspections; how within our own minds we are both healthy and unwell, devastated and emotionally fulfilled. Feeling cared for and supported or not. Feeling wanted and needed or not. The struggle to figure out where we stand and how it shifts never ends.“

Fisher previously released an album of short piano songs (APOPHENIA, Feb. 2021) and a retrospective of largely instrumental ambient electronica (Tracing Our Veins in Spherical Time, Mar 2020). Her live band includes members of People Museum and Julie Odell, artists who she can also be found sharing stages with in New Orleans.

Fisher has performed independently all over the world: from an underground bunker for the Sacred and Profane festival off the coast of Portland, ME to an enchanting ski lodge in famed Niseko, Japan; from the Birmingham Museum of Art in Alabama to Lincoln Center in New York City. She is also the frontwoman for art/math rock band Matron, who has previously opened for the likes of Tera Melos and Speedy Ortiz.

A follow up EP is currently in the works and will serve as the first studio release with her band.

“..a beguiling mix of sensuality and sadness, like all the best trip-hop songs of the mid-90s, from Massive Attack to Portishead to Radiohead’s more electronic-leaning cuts.”

Audiofemme

“Fisher’s remarkable pedigree seems to only be expanding further.“

Beats Per Minute

OREFICE ROTH

In an abandoned medical building in rural Ohio, Skylar Keffer (he/him) and the rest of Orefice Roth meet up to bring some songs to life. The drums are set up in an old X-ray room. The rest of the players use exam and patient rooms to set up their equipment. Together, the band explores the outer reaches of the high lonesome sound; melodies darting out from behind every shadowy corner in the building. Keffer & co are embracing a new Americana — one that encompasses the best things about the rural places across these fruited plains.

It was once said of Miles Davis that he knew how to find collaborators, often calling people last minute to meet him at a studio to help with arrangements. Keffer is carrying on that American tradition begun by Davis, organizing a group of players into something bigger than the sum of its parts. Since this project started during the pandemic, convenience and safety drove Keffer to explore collaboration via . Eventually, the collaboration settled into an almost stable lineup with Mike Abaddini (he/him), Dizzy Simmons (she/they), and Lip Jaworski (he/him). Mike Brenner of Wild Pink and Magnolia Electric Co. also plays pedal steel on a number of the group’s tracks. For their most recent single, the group was joined by drummer Austin Latare and slide guitar and harmony-man Ray Flannagan.

Keffer’s mother toured with Americana groups when Keffer was a kid. For a long time after, Keffer associated folk and music with traditional instruments as something from an older generation. In the past six years, he’s realized the power of that music to serve as a auditory reflection of the landscape. It can be a soundtrack to those long drives on Midwestern highways, en route to this country’s often-forgotten center. The band’s first single, “LET ME IN, LET ME IN, LET ME IN,” is a reflection on a dark, haunted place in Keffer’s childhood. Keffer told Ghettoblaster Magazine in April of 2021:

“It’s about where I used to live with my family. When we left it, and when it was scrubbed of any trace of us, not a dish, not a receipt, not a hair and not a skin cell, we stepped back and witnessed darkness reclaim the empty space like vines on ruins. I would ritualistically drive past it and get this feeling in my stomach. I expected it to see it with its windows smashed and its door kicked in, or maybe it just wouldn’t be there anymore. I felt protective and scared. This is the context this song exists in and where it came from.”

Keffer’s writing is informed by geography; an intimate connection with lonely, long-forgotten places and the memories made there. The band’s newest single, “No Dust!” is a reflection on a nomadic lifestyle, exposing the sometimes tenuous connection to life that roamers and ramblers often have. Keffer sings, “I wanna be dust, if I must / be anything at all / but I don’t wanna put doubt, in the hearts of the ones I love.” He recalls that the song was written for a friend who had moved out West, and hadn’t found the same musical connections and collaborations. The song is written about a curse, and explores the idea that the curse might actually be a gift. There’s a simple honesty in Keffer’s work, an honesty that reveals an active, curious, wandering mind. And Orefice Roth offers the perfect opportunity for Keffer to explore what it means to be an American living through the 21st century.

The band excels at crafting a perfect platter for Keffer to serve up his memory-fueled musings. Soft, yet driving rhythms propel slide guitar and pedal steel leads. Bits of keyboard and acoustic guitar surround Keffer’s plaintive voice, bringing the lyrics to the forefront of the listener’s attention. This feels like a formula that could last forever. The band has been firing on all cylinders since that first single earlier this year, and shows no signs of stopping. As Keffer and his crew of rascals prepare for another collection of songs, there’s no doubt they will be powerful reflections on American life and the dilapidated buildings that cast strange shadows on the horizon.

“..it’s just a thrill to find country and folk seemingly being pushed out of a comfort zone so successfully. The road doesn’t go on forever, but the sky certainly does.”

Beats Per Minute

“The blooming acoustic guitar strumming start of the track delicately unites the dreamy synths and pedal steel. The combination of folk and experimental rock also demonstrates the pained vocals courtesy of vocalist/guitarist Skylar Keffer.“

Ghettoblaster Magazine

“With vocalist Skylar Keffer’s delicate voice backed by soulful and intentional instrumentations, Orefice Roth creates a sound that is celebratory of the often forgotten Midwest.“

Music Mecca

“Keffer’s observations about the human condition are reinforced by the band’s channeling of Country & Western motifs through a dreamy indie rock soundscape.“

Stereo Embers

SUPERIOR SIREN

Superior Siren is an eerie folk project created on the shores of Duluth, Minnesota. The music is inspired by Lake Superior and Siren mythology, with an ominous and alluring sound. Superior Siren is led by vocalist and guitarist Laura Sellner. In 2014, Sellner debuted her captivating songwriting with the solo EP “Lotus in the Muck”. In 2016, she joined forces with cellist Rachel Gobin, bassist Nyssa Krause, and drummer Emma Deaner to create a mesmerizing blend of vocals, strings, and percussion. The all-female quartet released the self-titled LP in 2018, followed by a tour of the Midwestern United States. 

On May 7th, 2021 Superior Siren released the next solo EP “Kill Your Darlings”. This solo collection spotlights Laura Sellner’s haunting voice and poignant lyricism. The album is a means of establishing creative space and staying connected with listeners while the band prepares for the next full-length album. Sellner will be performing free outdoor solo shows this summer throughout Minnesota in promotion of the new EP.

Superior Siren has supported internationally recognized acts such as Low, Trampled By Turtles, Charlie Parr, HALEY, as well as a special performance with DeVotchKa on the main stage of First Avenue. The group has played at GNDWIRE Records Ski Party, Sioux River Folk Festival, Art-A-Whirl, Mid West Music Fest, Longfellow Roots Rock & Deep Blues Festival, MNspin Virtual Fest, Super Big Block Party, FEMN Fest, and Duluth Homegrown Music Festival. Superior Siren continues to provide exceptional solo and full band performances throughout the Midwest.

“Sellner’s incredible dynamic capacity moves from a bedroom whisper to full-throated expression, giving the songs on “Kill Your Darlings” a daunting emotional range.“

Live Eye TV

Andrew Bailie is Making Good Sounds in Omaha and Beyond

Andrew Bailie is an American songwriter, singer and guitarist. His intricate songs are crafted with raw emotion, fierce guitar work, and an unmistakable, soaring voice. Drawing elements from a variety of musical styles and traditions, Bailie’s songs are woven from his own hopes, fears and enchantment, tapping into the common human experiences that give us pause, inspire longing, or set us ablaze.

If you listen to Bailie’s work, you’ll get the sense that he’s a traveller. Not just geographically, but sonically as well. Though he has played on sessions with the likes of Ms. Lauryn Hill and Aloe Blacc, toured Europe with Cory Henry & The Funk Apostles, and played countless bars, clubs, and dives in NYC, he’s never lost that humble Midwestern charm.

Cutting his teeth at the Goofyfoot in Omaha, Bailie led a band called The Jazzwholes in experimentation. They developed a grassroots following, which Bailie recalls was like its own little scene. But, Bailie’s dream had always been to live in New York and soak up the musical talent the city had to offer. Bailie recalls sessions and tours where he was “the worst musician in the room,” though it’s difficult to imagine this was true. Bailie gleaned all he could from his time in the city that never sleeps, and returned back to Omaha to focus on his own material. He brought back with him the tricks of the trade he picked up along the way, and still collaborates with a number of the musicians he met on the twisting highways of his life.

Recent singles “A Slow Demise” and “Mr. Sunshine” show the humanity and heart behind Bailie’s genre-bending brand of songwriting. For Bailie, the present is the driving force behind his songs. And this undoubtedly hearkens back to his days in residency at the Goofyfoot. “A Slow Demise” shows Bailie commenting on the twilight of American democracy. With conviction, he sings, “How many times must we hear / New testament lies / When all victory cries / Are paid for with lives / It’s the old price of fear / The cold price of fear / Baby don’t you live in fear.” As the funky shuffle of the music swells around the lyrics, Bailie peers into the darkness of the age of influence. This duality is common in his work – upbeat music with serious lyrics.

“Mr. Sunshine” was written as a tribute to Bailie’s cousin, who passed away at a young age in 2015. Recorded at Grand Street Recording in Brooklyn with bandmates from his Jazzwholes days, the song moves between gospel vibes and prog jams with ease. Bailie sings, “And all he want was for you to want for nothing  / Let me count the ways he care/ Say hello to your brand new friend, baby / And now he everything, he exist everywhere.” It’s a hopeful spin on grief, pain, and loss, with Bailie’s phase shifting guitar providing an onslaught of catchy hooks and melodies. With a Telecaster in hand, it seems as though there’s nothing Bailie can’t do.

At the end of the day, Andrew Bailie just wants to make good sounds. For an artist that has shared the stage with the likes of George Clinton, Talib Kweli, and Marcus Miller, there’s no air of pretention in Bailie’s work. Bailie’s approach is meticulous without losing its humanity. Carefree without being careless. Skilled while still reaching for new horizons. Bailie is one of the new American greats; a human being attempting to live life ever in the present. And his insistence on the moment reminds us that truly, that is all we have. In the coming years as the world begins to returns to normal, Bailie hopes to record a slew of new songs and bring those songs to cities all over the world. 

“Drawing elements from a variety of musical styles and traditions, Bailie’s songs are woven from his own hopes, fears and enchantments, tapping into the common human experiences that give us pause, inspire longing, or sets us ablaze.” 

Ghettoblaster Magazine

“Contrasting hopeful sounds with lyrics that deal with heavier reflection, Bailie demonstrates his dynamic and intriguing approach to music with this tune.“

Glide Magazine

Wise Blood Delivers Southern Groove Metal in Their Own Unique Way

Hailing from Johnson City, TN, hard rock outfit Wise Blood delivers southern groove metal in their own unique, intense way. Founded by Vocalist Mike Shipley and Guitarist Tom Lawson, with members Jay Strouth on drums, Buck Bamman on guitar and Travis Bare on bass joining the band in December 2017, Wise Blood puts a fresh spin on hard hitting music they love and grew up with. Wise Blood pays homage to 80s metal acts such as Megadeth and Metallica, displaying vocal prowess similar to a Mustaine or Hetfield in their prime, will pushing their sound forward with a modern bent.  Instrumentally, the band is riff-oriented, invoking 70s hard rock acts such as Black Sabbath, with elements of more contemporary doom acts in the vein of Sleep.

Their debut album, We Are One We Are Legion (due out early 2022), features riff-heavy jams with catchy choruses. Shipley delivers a Hetfield-like rasp, where the rhythm section throws down proto-stoner rock instrumentals invoking Black Sabbath in their heyday. The record is diverse, consisting of groove-inspired tracks such as “Green River” and “I Don’t Live Here Anymore” and thrash-bangers “We Are Legion” and “Swingin’ The Axe”.

“When you listen to We Are One We Are Legion you will be propelled on a rollercoaster ride, and just when you think you can take a breath you get hit right between the ears with what can only be described as sensory overload (in a good way).”

Having been scheduled to play alongside Saliva and Green Jelly at a few festivals that were cancelled due to the pandemic, Wise Blood hopes to hit 2021 hard – playing various festivals in support of their new record, and preaching the gospel of hard rock to as many followers as they can.

Justin Payne Chronicles The Beauty And Decay At The Heart of American Culture On “Season Of Loss”

A talented guitarist and impressive vocalist, with a  powerful voice, Justin Payne is a difficult act to ignore. Justin is a songwriter and multi-instrumentalist who has been entertaining crowds across the United States since 2014. In that time, he has brought his music to audiences in NYC, Chicago, Atlanta, Austin, SLC, as well as numerous other markets nationwide. Whether performing with Justin Payne & Co., or by himself, Justin is able to take command of a room and maintain it all night long.

Justin’s brand of indie/alternative finds its inspiration in acts such as Neil Young & Crazy Horse, Guided by Voices, and Harry Nilsson. His sound invokes infectious melodies merged with penetrating vocals and woven to a modern pop sensibility, captivating the listener with its stark sense of lyrical honesty and attention to songcraft.

Since July 2019, Justin has directed his efforts towards his most recent record, Season of Loss, with Justin Payne & Company. Season of Loss captures the fearlessness and passion of Justin’s performances with a collection of rich and thoughtful songs able to move a person, both with their mercurial musicality and their emotional content. Undoubtedly his most mature work yet, Season of Loss offers a sound forged by the tumultuous experiences of difficult times channeled through Payne’s unique lens and performed by his band of talented sidemen. Occasionally cynical, and often hopelessly optimistic, the album is at all times refreshingly insightful. Justin has cited this record as his proudest professional achievement, and is eager to share it with the world.

“This is my humble offering of my perspective as an artist, trying to weather these trying times. It’s hard to find a place to fit, when the gigs dry up, and all that’s left is the songs, some instruments, and a lot of time to stare at your faults and weaknesses, your deepest hopes and dreams. Quarantine brought this to bear, and together, me and the band found a way to tunnel through toward better times.”

“Embracing more of a Neil Young, Bottle Rockets-type sound—as opposed to Zappa’s signature quasi-psych-doo-wop—Payne’s observations on his new tune, “Sorry to Say,” are just as biting and resonant as Zappa’s were all those years ago.”

American Songwriter

“Listen to it all the way through and feel the cathartic release of your own struggles along with his.“

Americana Highways

Chase Potter Carves His Own Path On Expressive New LP

Chase Potter started his music career just shy of five years old on the violin. It had a profound effect on him at an early age, facilitating his inherent musicality into something tangible. Just after a year of study, he began performing publicly, and it wasn’t long after when he began absorbing other instruments. The drums came first, then guitar; the saxophone family followed. He took on the bass in his teenage years, followed by the mandolin. While violin remained his sharpest tool, he showed an exceptional ability to assimilate any instrument he could get his hands on. As a high school student in West Jefferson, Ohio, Potter’s musical prowess would allow him to travel the world through the prestigious Columbus Youth Jazz Orchestra, touring across Peru with Wynton Marsalis sideman Wessell “Warmdaddy” Anderson. Subsequently, the culmination of his prodigal talent and professionalism beyond his years would lead to a distinction unlike any other: a full ride to the Berklee College of Music. 

Potter migrated to Boston in 2011 and began a major in Violin Performance. It was during these collegiate years where he would earn some of his first major career accomplishments, including select performances with Grammy award-winning singer/songwriter Lalah Hathaway and critically acclaimed Scottish indie rock band Belle & Sebastian. Potter’s contributions were not restricted to any one genre and encompassed high calibur artists from all walks of the sonic spectrum, such as guitar phenom Julian Lage and mandolin virtuoso Mike Marshall. Needless to say, he completed his degree with distinction. 

Upon relocating to New York City in 2016, Potter dove head first into the city’s vibrant music scene as a multi-instrumentalist. His musical opportunities were ample and distinguished—perhaps most notably as a featured violin soloist with Wynton Marsalis at the Lincoln Center—but New York proved prosperous in other ways. He found himself in front of the camera on several major occasions, performing violin on The Tonight Show with Machine Gun Kelly and Camila Cabello for their joint hit “Bad Things,” as well as a fictional guitar player on the season finale of HBO’s The Deuce. In 2020, he also performed with actress and singer-songwriter Sofia Carson of Disney Channel fame.  

In tandem with his sterling resume as a sideman, Potter has created original music for the majority of his music career. Performing as a solo act or with a full band on occasion, his original music encompasses a progressive musicality within accessible songs that resonate with fans of power pop, indie rock and experimental music. His latest album, the apocalyptic “Hitchhike To Oblivion“, examines the turpitude of our society, employing a nostalgic songwriting palette found in the rich Americana of artists like Harry Nilsson, John Lennon and Randy Newman. Additionally, he contributed in the writing and production of Chameleon Culture’s debut album The Universe Is A New Year’s Day Parade on violin, guitar and vocals, as well as contributing to projects from Cale Hawkins, Louis Futon, Duckwrth, Granny 4 Barrel, Sammy Rae & The Friends, Aubrey Haddard, Miss Grit, Russell Jamie Johnson, Caleb Hawley and Brasstracks.  

Chase Potter’s mission has always remained simple and steadfast: be true and vigilant through the power of music. 

Chase endorses and plays NS electric violins.

“Nothing gets in the way, and everything blends together so well. It’s just good writing.”

Big Takeover

“Judging by Potter’s track record, it seems that talent and authenticity go a long way towards success in an often unforgiving industry.”

V13

“Giving all you have to life can be weary and tiring when sometimes there is nothing giving back to you – and for Potter, he draws out vulnerability in “How” with a message that so many of us can relate to.”

VENTS Magazine

“The sweet country-tinged sound welcomes listeners in with a relaxing tone. Couple that with the easy going vocal delivery of Chase Potter and we are all taken to a warm cozy place to sit back and enjoy.”

IndieBandGuru

“These timeless tracks balance earthy earnestness and musical nostalgia against stylish craftsmanship and understated beauty.”

Tinnitist

“Where Chase excels is taking that sound and making it his own in such a way that you know its him from that initial listen.”

Jammerzine

“With excellent songwriting at its core, a beautiful vocal performance from Potter and – not to mention – epic instrumentation, this is one to play on repeat.”

Curious For Music

Genevva Sound Fresh on Timeless New Record “Slip Away”

For nearly a decade, Jenni Cochran and Aaron Craker have been writing songs together. Through various genres and influences, their working relationship has resulted in a collection of great music. The twisting and turning sands of time have seen them change monikers, from Frederick the Younger to Genevva (named after Cochran’s grandmother). And now, they are on the cusp of releasing their magnum opus, Slip Away, into a changed world.

The duo met when Cochran moved to Louisville, KY and joined up with Craker’s then solo project Dr. Vitamin. Ever since, the two have been inseparable. Fever, the final EP from the duo’s past moniker Frederick the Younger, channeled the spirit of 60s rock and roll. Fuzzy guitar tones and big horns punctuate easygoing melodies. Craker & Cochran had perfected their lilting brand of R&B meets soft rock songwriting on Fever. But, they’ve turned over a new page with Genevva. They’ve shaken off the confines of rock and roll, and turned to a more folk-influenced style. Less Rolling Stones, more Mamas & Papas.

Written during the throes of the COVID pandemic, Slip Away was sparked by the writers’ desire to create a record at home. The two recall, “It’s been an adventure recording these songs ourselves. It’s like having a more direct line of communication from what’s in our heads to what the world hears, simultaneously scary and exciting.” The fine line between joy and terror is audible on the record, as lush arrangements rise and fall around the golden voices of these two star-crossed lovers. The songs are imbued with the joy of creation, as the two musicians are able to follow every whim and fancy at their own pace. However, there’s a dark, lonesome undertone that lends weight and urgency to the songs on this record. Cochran says, “More than anything we wanted to create a beautiful record that would carry the listener along and give a sense of peace and freedom – escapism we were personally craving.” This is apparent on the masterpiece “Outside of Cleveland”. Even without the memory of the past year, the repeated refrain of “I feel it all now” is enough to provoke a tear from even the casual listener. This is a record not just about loneliness, but the duo undertake the Sisyphean task of trying to describe the feeling of being alone. Both lyrically and musically, Genevva manage to create a truly unforgettable atmosphere for the listener.

Cochran and Craker’s strength as lyricists lies in crafting uncanny turns of phrase. The chorus of the second song, “Dream On” features the line, “I wanna fly away to where no one ever knows me.” It’s the odd, almost out-of-place “ever” that perfectly encapsulates the solipsistic year we’ve all experienced. Listeners can imagine themselves as Dorothy from the Wizard of Oz, clicking her heels together to escape a puzzling, and at times horrifying, world. Indeed, songs like “True North” have the sound of Hollywood’s Golden Age. As Cochran sings about “intersecting waves,”  “neon swirls,” and “a garden in those weeds,” it’s almost as if a fever dream has crystalized into some sort of cohesive narrative. Cochran and Craker are not just songwriters; they’re also the directors of the imaginary films that could be hewn from these songs. Artists painting scenes on the canvas of a broken world. Prophets turned poets as their empire collapses around them.

Whether it’s the music of a drama set in the early 20th century or the soundtrack to a rainy evening in Queens, Slip Away will transport you somewhere. As a truly heartbreaking year has given way to an exhausted new world, there’s an undeniably sombre but hopeful tone to Cochran and Craker’s writing. The two remember, “A common thread throughout the album is the throwback sound – nods to the 60s and 70s.” As the two look back musically, the lyrics accurately reflect on the mood of our current times. With Slip Away now tucked under their belts, it’s clear these artists can journey wherever their muse takes them. For now, enjoy both the journey and destination that is their latest melancholic offering, the accurately titled Slip Away.

“..they are showing how enduring these sounds are and how fresh they can remain when unified through themes of perseverance and togetherness, with Cochran’s vocals upfront and Craker’s arrangements being backdrops that give her words all the more room to travel. It’s not retro; it’s timeless.”

Beats Per Minute

Still Bones Are Distinct and Cathartic On New LP “Dopeful”

Still Bones is an emerging band based in Baltimore, MD. Their guitar-driven indie rock blends in elements of emo, shoegaze, and alt rock to arrive at a sound that’s both familiar and distinct. Diving head first into the studio, John Gamble performed vocals, guitars, bass, and keys on the record and enlisted John Burkhardt (Thunder Club) to play drums.

Still Bones’s debut LP, Dopeful, is an ode to apathy, self-doubt, and blind optimism. Alternating from spacious and delicate to thick and boisterous, even raucous at times, the instrumentation captures a dynamic range of musical expression. Engineered and mixed by Sean Mercer (Teen Suicide/American Pleasure Club, Us And Us Only) at Magpie Cage in Baltimore, Dopeful weaves expert production with an indie ethos and serves as a cathartic introduction to Still Bones. 

“I’ve always been a lead guitarist, but Dopeful is my first real attempt at full-fledged songwriting. I had been kicking around song ideas for years and even had a handful of demos when, like many people, COVID-19 forced me into pseudo hibernation for most of 2020. I used that time to refine ideas, solidify demos, and then hit the studio. I was familiar with making records within a band context but not so much on my own, so it was really great to be able to bounce ideas off Sean throughout the process. I’ve always wanted to start a band where I was the primary songwriter so being able to release this LP is very exciting for me. It also serves as a proof of concept when it comes to filling out the Still Bones lineup.“

Although this is his first foray as a frontman and primary songwriter, John has been a lead guitarist in several bands over the years. Most notably, as a member of Philadelphia-based indie punk band Sister City, he shared the stage with several established underground acts (Modern Baseball, Sorority Noise, The Hotelier, Tiny Moving Parts, Slaughter Beach, Dog, among others). What began as a solo project is growing into a full band with plans of booking shows to promote Dopeful, now that COVID restrictions are gradually lifting.

“Because these songs were written, and in some cases re-written, over the course of several years, there are some interesting contrasts between the tracks. There are certainly common themes throughout, both lyrically and musically, but I think it’s cool to have a record compiled of material written by both my younger self and my current self. Part of me feels like working on some of these songs over a long period of time caused me to overthink things but, on the flip side, the fact that I could work on them on and off for years without hating them is a good sign, right?“

“Gamble is able to transform his sad moments into something triumphant.”

VENTS Magazine

“Dopeful has the nostalgic feel of early 2000’s indie rock while also bringing new sounds to the table Still Bones sets the tone that they are ready and willing to stake their claim in the alternative scene.”

Alt Revue