Annie Bacon explores grief in all its forms on Storm. Photo – Cybelle Codish
Editor’s Note: This article originally appeared on the Ann Arbor District Library’s Pulp blog.
When it comes to grief, Annie Bacon doesn’t want people to feel alone.
The Ann Arbor singer-songwriter and guitarist views it as a shared emotion that fosters connection and growth with others.
“Something that I’ve done with my art and that I feel like is important is to take on this role and say, ‘I don’t know if anybody understands me, but I’m going to explain what I’m going through in a way that hopefully other people can feel seen and understood,’” said Bacon, who performs under the moniker Annie Bacon & Her Oshen.
“I try to find the places where my experience might be universal and create these little bridges into my experience. That’s one of my philosophical approaches to songwriting: I want to as accurately as possible describe the experience I’m going through in the hopes that it creates a witness for somebody else.”
Bacon masters that honest songwriting approach and explores grief in all its forms on her new folk-rock album,Storm. The record’s 14 poignant tracks take listeners on an emotional odyssey through death, divorce, job changes, the pandemic, and a loss of identity.
Ursa Day’s Matt Drew, Cormac Egan, Ryan Haley, and Ryan Drew. Photo courtesy of Ursa Day
When it comes to music, Ursa Day has an insatiable appetite.
The Hazel Park, Michigan indie-rock quartet is eager to write, record, and release a growing catalog of new material, including their latest EP, Hyperphagia.
“The big thing that we had as a direction concept-wise for the record was Hyperphagiabeing a state of hunger. What we learned in the name selection process, and we picked this name quite a while ago, is that it happens to bears right before they go into hibernation,” said Ryan Haley, Ursa Day’s vocalist-guitarist.
“After we came out of Habitat, we were excited by that process … and we were hungry to share more projects with everybody else. That direction, whether it was musically or artistically, was a strong driving force behind a lot of the lyrics and what we can do to pepper the feeling of those lyrics throughout a tune.”
Haley and his bandmates Matt Drew (guitar, engineering, production), Ryan Drew (bass), and Cormac Egan (drums) effortlessly achieve that goal on Hyperphagia. The EP’s profound lyrics, fantasy-versus-reality themes, and mighty blues rock-inspired instrumentation entice listeners with six savory tracks and leave them wanting more.
“We’re all different people, and our musical influences are varied. Ryan has a strong allegiance to the pop bass player; he likes James Jamerson and has a feel similar to those happy, melodic solo-ish basslines. Matt is eclectic and has a wealth of knowledge about the indie scene,” said Haley, who’s influenced by Peter Green, Jeff Beck, and Larry Carlton.
“He mixes well with the influence that I have with the British guitar players and Ryan’s pop influence to put us on more of a unique, alternative-based sound. Cormac is one of the most interesting musicians I have ever met as far as tastes go. When I walk into a rehearsal and ask Cormac what he’s been listening to, he’ll talk to you about movie scores and large, elaborate instrumentation … and then he’ll be playing Metallica double-kick-style drums really well.”
Carolyn Striho performs at Scuderie Aldobrandini in Frascati, Italy. Photo courtesy of Carolyn Striho
For Carolyn Striho, a clear, wintry night sky evokes feelings of enchantment.
The Detroit singer-songwriter captures that spellbinding sensation on her latest instrumental single, “Piano Moon.”
“There’s something about playing in A minor on the piano; it’s just one of my favorite ways to write songs. It’s what I was doing with a 3/4 time signature, and I was starting to write that as I heard the melody line,” said Striho, who penned her single in Detroit and Fiuggi, Italy.
“I liked it so much as an instrumental. I had it written out, and it needed something, so this winter I came up with that dramatic middle part. It was also during the holiday season, and I was thinking of Trans-Siberian Orchestra and that dramatic, dark classical feel.”
On “Piano Moon,” she brings that symphonic piano to life alongside wistful cello, haunting electric guitar, and glistening percussion. Part of the song’s inspiration also comes from “Bear Dance” by Béla Bartók.
“I used to play it, and it’s amazing and super avant-garde. It’s a difficult piece, and my mom loved it, too,” Striho said. “She would hear me play it, and I worked hard on that.”
Striho wanted to recapture that magical feeling while recording “Piano Moon” at Inner Door Music with Jason Charboneau (cello), husband Scott Dailey (electric guitar), and Ron Wolf (percussion).
“We had talked about putting violin on it, but when Jason came over and was doing the cello, it was just this moment of inspiration,” she said.
“‘Piano Moon’ is a fierce, yet soft song with a melody line that is memorable, and it unfolds with desire and raw strength,” said Striho, who’s shared a new video for the single. “It will be released later in a second version with vocals.”
Striho is also performing her new music at several live shows with Dailey, including June 8 at the Nor-East’r Music & Art Festival in Mio, Michigan, June 23 with The Orbitsuns at Cadieux Café in Detroit, and July 21 with the Don Was Detroit All Star Revue for the Concert of Colors at the Detroit Institute of Arts.
“We have some great summer shows bringing our eclectic blend of new music,” she said. “We’re excited for Nor-East’r this weekend; for our full-band matinee show with Jason, John Barron, and Todd Glass and The Orbitsuns; and at the amazing Concert of Colors with the wonderful Don Was Detroit All Star Revue.”
Cece June chronicles loss, acceptance, and growth on “How Did This Get So Heavy?” Photo – Gabby Mack
Editor’s Note: This article originally appeared on the Ann Arbor District Library’s Pulp blog.
For Cece June, life is filled with near-misses and unresolved emotions.
The New York City singer-songwriter processes a gamut of feelings—from heartbreak to frustration to hope—about unclosed chapters on her latest indie-folk EP,How Did This Get So Heavy?
“It’s a feeling that emulates the void when something is no longer in your life. It’s that feeling of trying to grapple with not having people around anymore or accepting that you’re going to have to move on,” said June, a University of Michigan alumna from Barcelona, Spain.
“It’s also feeling displaced or feeling frustrated. For instance, on ‘Things Unsaid,’ you’re [ruminating] on why something could have gone wrong and thinking, ‘I could potentially have an idea of what went wrong, but if I wanted to talk to the person for them to tell me and for me to get closure I can’t because they’re no longer in my life.’ There’s no way to answer those questions to let you move forward and move on easier.”
Despite those challenges, June faces her emotions head-on and looks to the future on her sophomore release. She chronicles loss, acceptance, and growth across eight tracks, which feature cathartic lyrics and wistful stripped-down instrumentation.
“I found solace in seeing the songs evolve as I evolved as a person myself. This EP was written and recorded over two-and-a-half to three years,” June said.
“There were songs that would ebb and flow, and there were times when I was recording them in the thick of the pain or times when I was reminiscing … and no longer being in the depths of that feeling or the grief or the heartbreak.”
To learn more, I spoke with June about her EP and the inspiration behind it.
The Stratton Setlist 