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Mina Tindle

Sister

    The third full-length from Mina Tindle, SISTER is an album populated by mythic creatures of all kinds: lions on parade, lovers turned to cannibals, kings and Sirens and women with wings. Like any great fabulist, she threads her storytelling with a fragile wisdom, revealing essential truths about all the danger and wildness within the human heart. With each moment elevated by her spellbinding vocal work — a gift she’s shown in recording and touring as a singer for The National — SISTER ultimately makes for a transportive listen, at turns impossibly dreamlike and profoundly illuminating.

    Mina Tindle is the project of Parisian singer/songwriter and multiinstrumentalist Pauline De Lassus. Mostly made in New York City with producer Thomas Bartlett (Yoko Ono, Florence + the Machine), the album’s elegant detail balances the odd magic of the songs with a fierce emotional realism. “Give a Little Love,” written and produced by Sufjan Stevens, channels intense longing, its soulful melancholy magnified by Stevens’s warm background vocals. On “Belle Pénitence,” she shares a tender love letter to her husband (The National’s Bryce Dessner), twisting the mood of lovely surrender with some fantastically brutal hunting imagery rendered in her native tongue. And on “Lions,” with its shimmering grooves, De Lassus offers up a bit of soft-hearted encouragement in the face of self-doubt: “If the roads are made for a parade/Go march with the lions.” She adds, “You need to keep going, even if sometimes you feel like you’re just pretending to be brave. It’s all about the march.”

    After the gloriously sprawling “Triptyque”— partly written with Dessner — SISTER closes out with a stark rendition of “Is Anything Wrong” by Lhasa De Sela, the late artist whom De Lassus names among her most enduring influences. Mina Tindle’s version originally featured as part of a tribute to the late singer that she conceived and organized in 2019 with another of her longtime heroes Canadian singer Leslie Feist. They would later perform the tribute at London’s Barbican and the Cork Opera House.

    De Lassus later appeared as a featured soloist on The National’s 2019 album I Am Easy to Find and toured extensively with the band. During the last few years as she was writing and recording SISTER, De Lassus has also been an integral part of the PEOPLE Festivals at the historic Berlin Funkhaus in 2016 and 2018, where she worked with a vast range of musicians and artists in the community.

    SISTER achieves a potent complexity, arriving as her most imaginative selection of songs to date while wholly embracing the sometimespainful truth-telling she’s long treasured in her most beloved artists. “All the people I love the most have this beautiful way of singing their truth, and I hope these songs give that same kind of honesty.”

    Bonny Light Horseman

    Green/Green

      The timeless qualities of traditional tunes can carry us across oceans and eons, linking us not only to the past but to each other as well. It was under the banner of those eternal connections that the trio of Bonny Light Horseman came together. From festival fields and a German art hub to a snowy upstate studio and everywhere in between, the astral folk outfit—comprised of Anaïs Mitchell, Eric D. Johnson (Fruit Bats, The Shins), and Josh Kaufman (The National, Bob Weir)—is mixing the ancient, mystical medium of traditional folk music with a contemporary, collective brush.

      Their s/t debut is an elusive kind of sonic event: a bottled blend of lightning and synergy that will excite fans of multiple genres, eras, and ages. They follow that up with the Green/Green 7-inch, featuring two songs that didn’t quite fit on the album. Says Mitchell, “We recorded ‘Green Rocky Road’ and ‘Greenland Fishery’ for our LP, but ended up cutting them at the last minute to keep the record simpler (and higher quality for vinyl). We see the songs as a bit of a pair, they both feature Eric’s banjo playing and lean a little more ‘Americana.’ We’re glad they have a home on Green/Green and are grateful to be able to share music at a time when the world is hurting.”

      Naeem

      Startisha

        Startisha introduces Naeem as a restlessly creative artist with an impressionistic, genre-bending album. As a complete work, Startisha exemplifies artistic daring and emotional intelligence while exploring new ideas and sounds, and philosophically excavating the artist’s histories. Startisha may be loaded with impressive collaborations and left-field sounds, but don't get it twisted—this music comes straight from Naeem's heart, representing the journey he's taken to get to this point as well as what lies in the future for him.

        Baltimore-hailing Naeem Juwan has spent much of the last decade stretching his creative legs in a variety of ways: he's hit the road with artists ranging from the Avalanches and Bon Iver to Big Red Machine and Mouse on Mars, took part in a 37d03d residency in Berlin, and was selected as the music resident in 2019 for New York's Pioneer Works space. Through it all, he's been building the songs that make up Startisha, a record a half-decade in the making that featured Juwan pulling from creative circles all across the U.S. to craft a truly unique document of sound.

        After studio sessions in Philadelphia and New York, Juwan decamped to Minneapolis and holed up in Justin Vernon's home studio, where Startisha continued to come together with contributions from Vernon, Ryan Olson (Gayngs, Polica), Swamp Dogg, Velvet Negroni, Francis and the Lights, and regular collaborators Amanda Blank and Micah James. The guest spots came together "very organically. I originally didn't want any features at all. Over time, meeting people and sharing the record with them, things just kind of happened."

        For Juwan, the challenge inherent in Startisha was to “write songs from a personal place, and to write love songs – both things I’ve never done before.” The album kicks off with a gorgeous cover of the Silver Apples classic "You and I," reinterpreted for today's fraught times. He describes “Stone Harbor” as “a simple love song to my boyfriend, written in and name after the shore town he and his family spend their summers, Stone Harbor, NJ.” On “Simulation,” the album’s first proper single, Juwan offers a kind of treatise of creative resistance on art and culture. “I had been reading a few books, such as Trickster Makes This World: Mischief, Myth, and Art, and they helped me solidify feelings I’ve had all of my life about surviving a society of institutions that presents fictions as fact, and often use these fictions to diminish my worth, or to convince me to join their gangs. So I wrote this song to remind myself, and hopefully everyone that hears it, that nothing is real, and our greatest defense in this life is our own creativity, and finding great faith in whatever sigils and icons we choose to guide us.”

        FORMAT INFORMATION

        Ltd LP Info: Opaque red vinyl.

        Eve Owen

        Don't Let The Ink Dry

          The debut album from British singer/songwriter Eve Owen, Don’t Let the Ink Dry, is a work of raw sensitivity and uncontained imagination, brought to life over the course of three transformative years. During that time, the 20-year-old artist spent her summer holidays writing and recording in New York with The National’s Aaron Dessner, immersing herself in a creative exploration that provided welcome refuge from her sometimes-troubled school life. As she discovered an entirely new sense of freedom and belonging, Owen devised a sonic language all her own: frenetic yet delicate, mercurial yet nuanced enough to capture the most ephemeral of feelings. Produced by Dessner at Long Pond Studio (a converted old farmhouse deep in the Hudson Valley), Don’t Let the Ink Dry finds Owen embracing her affinity for folk music while pursuing the endless possibilities in electronic experimentation.

          “I’ve often felt a bit uncomfortable in myself, and I love how that came out in the music,” says Owen. “I don’t really care for songs that flow just right or have a perfect cadence—I’d rather there be some sort of unnerving element to them. I think Aaron and I are both attracted to weirdness in music, and we instinctively went after that without really even talking about it.” For his part, Dessner reflects on the first day of their collaboration: “Eve came up to visit the studio for a day a few years ago when she was 16. I thought we would record one song but we ended up working on several in just one day. By the next morning she had written a few more songs based on her experience the previous day. This prolific songwriting continued throughout our work together. Every morning there would be new songs, written sometimes overnight. I’ve been lucky to work with some incredibly talented artists and it was clear to me immediately that Eve was deeply gifted, expressing herself with such force and sincerity on essentially her first proper recording day at Long Pond. I was spellbound.”

          Bonny Light Horseman

          Bonny Light Horseman

            The timeless qualities of traditional tunes can carry us across oceans and eons, linking us not only to the past but to each other as well. It was under the banner of these eternal connections that the trio of Bonny Light Horseman came together. From festival fields and a German art hub to a snowy upstate studio and everywhere in between, the astral folk outfit - comprised of Anaïs Mitchell (fresh from winning eight Tonys for her musical ‘Hadestown’), Eric D. Johnson (Fruit Bats, The Shins) and Josh Kaufman (The National, Bob Weir) - mix the ancient, mystical medium of transatlantic traditional folk music with a contemporary, collective brush. The resulting album, ‘Bonny Light Horseman’, is an elusive kind of sonic event: a bottled blend of lightning and synergy that will excite fans of multiple genres eras and ages.

            The album features fellow 37d03d artists-in-residence Michael Lewis (bass, saxophone) and JT Bates (drums), as well as Justin Vernon (Bon Iver), Aaron Dessner (Aaron Dessner), Kate Stables, Lisa Hannigan, The Staves, Christian Lee Hutson and more.

            Leaving the 2018 37d03d Berlin event with roughly 60-percent of a record, the band reconvened at Dreamland Studios in Woodstock, NY, in January 2019 to finish, bringing Lewis and Bates as well as engineer Bel la Blasko along with them.


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