Category: Albums

Nothing Personal – Bill Edwards Explores Songs From Different Perspectives on “Enough About Me” Album

Bill Edwards. Photo – Jeff Fasano

Editor’s Note: For a related article, see the One Track Mind feature from Pulp.

Bill Edwards is satisfied with having one less personal collection of music in the world.

The Ann Arbor, Michigan, singer-songwriter adopts that mindset and overarching premise for his new album, Enough About Me, and its title track.

“I read American Songwriter magazine, and there’s an article on the cover that says, ‘So-and-so has put out their most personal album yet,’” said Edwards, who’s also multi-instrumentalist.

“I don’t think a statement is intrinsically more important because it’s your personal history. It can be, if it’s something you’ve gone through and it’s really important and something that people will recognize and feel themselves, but there are other ways to do it too.”

On the title track, Edwards sings, “Must we keep dronin’ on / About ourselves? / It’s a big ol’ world out there / Can’t we talk about somethin’ else?”

“I don’t mean anything against anybody,” he said. “People do what they need to do or what they want to do, but just for me at my stage of life and stage of music production, I was ready to say, ‘You know, I want to write about something else; I want to write about other people.’”

Featuring 14 tracks, the country-bluegrass album explores songs from the perspectives of several characters, including women, men, teens, veterans, sanitation workers, and drifters.

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Escape Room — OMO x Le Dawg Create Alternate Sonic Worlds on Their Electronic Music Album

OMO, aka Javan Cain, and Le Dawg, aka Evan Haywood, in Ann Arbor. Photo – DJ Cataclysmic, aka Jacoby Simmons.

Editor’s Note: For a related article, see the One Track Mind feature from Pulp.

OMO x Le Dawg’s self-titled album provides a brief respite from the outside world.

On their debut release, the Ann Arbor, Michigan, electronic duo creates different vibes and sonic spaces for people needing an escape.

“I want to get into that place where I’m no longer in my consciousness, but I am depersonalized completely into the music,” said Evan Haywood, aka Le Dawg.

“When you’re in that music, it frees you from all of the other things going on: all of the bills you have to pay, all the things you have to worry about, all the craziness in the world. It’s like a place of peace, and it can sound like anything.”

Featuring six tracks, the album is a collection of minimalist, ambient techno that explores a spectrum of sounds, ranging from meditative and percussive to dreamlike and intergalactic.

The music emerged over a series of jam sessions the duo had at Haywood’s home studio.

“We met once a week for a good couple of months,” said Javan Cain, aka OMO. “It turned into a lot of different jams, and there’s going to be a lot of different projects with different sounds. We were jamming together and growing within that, seeing what we could build because it’s endless if you really think about it.”

Those jam sessions quickly reflected the different roles the duo had while making the album: OMO as the creative force and Le Dawg as the editor and observer.

“It’s great because we both have so much going on musically, especially me with my studio work and Javan with all of his live performances that he’s been doing,” Haywood said. “It’s like we’re both bringing those skills and bringing those sensibilities into the process.”

To learn more, I spoke to OMO x Le Dawg about the creative process for the album.

Continue reading “Escape Room — OMO x Le Dawg Create Alternate Sonic Worlds on Their Electronic Music Album” →

Reality Check — Ann Arbor’s Toadally Explores the Ups and Downs of Everyday Life on “Crash” EP

From left: Kim Truong, Spencer Mullins, Jake McCarthy, Fangbo Yuan, and Victoria Horne of Toadally. Photo by Yiyun Huang.

Editor’s Note: For a related article, see the One Track Mind feature from Pulp.

For Toadally, the struggle is real on Crash.

The Ann Arbor, Michigan band explores the ups and downs of personal and professional challenges on its debut EP.

“We had a general vibe of what we were writing, and it just seemed to impact the songs in that kind of way,” said Spencer Mullins, Toadally’s vocalist and guitarist.

“And then later on, once we started organizing and revising the songs, that’s when it started to take shape as one project—one EP. We chose Crash at the very end because we didn’t know what to call it.”

On Crash, the band addresses themes of impulsivity, courage, and disappointment across five multigenre tracks that primarily reside in the indie-rock world.

Bandmates Victoria Horne (vocals, piano, synth, flute), Fangbo Yuan (vocals, guitar), Jake McCarthy (drums), Kim Truong (bass), and Mullins weave a compelling tapestry of tongue-in-cheek stories and energetic sounds that resonate with all kinds of listeners.

“I’m sure you’ll pick up on those themes of being dissatisfied with the way the world is or being dissatisfied with yourself,” said Kim Truong, who’s also Toadally’s loremaster.

“Even though a lot of our music tends to be a mishmash and in the moment and reactive, I think those themes of how we navigate ourselves, the world, and other people are pretty common.”

I recently spoke with the band about the inspiration behind its latest EP.

Continue reading “Reality Check — Ann Arbor’s Toadally Explores the Ups and Downs of Everyday Life on “Crash” EP” →

Head Over Heels — Kelsey. Chronicles the Cycle of a Passionate Relationship on “LOVE HARD” Album

Kelsey. Courtesy photo.

Kelsey. follows her passion on LOVE HARD.

The Ann Arbor, Michigan, singer-songwriter and multi-instrumentalist embraces that intense emotional state on her full-length debut album.

“It was written about one relationship, and it’s very dynamic,” said Kelsey. (pronounced Kelsey period), aka Kelsey Detering.

“There are a lot of layers to it, and every relationship is kind of like mini relationships all in one. It was one epic encounter, and that’s why I felt the need to write this whole album about it.”

On LOVE HARD, Kelsey. explores the intimate cycles of a volatile relationship—love, heartbreak, and longing—and its trajectory across 16 tracks.

“It was more like my own therapy when this happened to me,” she said. “I had to communicate my feelings about all of this … and whatever was going on with it, a song would just come out.”

Featuring a detailed storyline, LOVE HARD is an immersive, multigenre release that lands somewhere in between a concept record and a double album.

“I wanted it to be a cohesive piece of art that you sit down and listen to, and you immerse yourself in,” Kelsey. said.

“It has those segues, instrumentals, and things to really keep you in there. It’s very much for the music lover, especially if you’re the kind of person who wants to put your headphones on and really immerse yourself in something.”

Kelsey. also plans to recreate that immersive experience live on August 21 during her album release show at The Arboretum in Saline.

“It’s going to be a cool format, and I want to play [the album] by side,” she said. “We’ll play a side, and then we’ll talk to the audience for a minute. Then, we’ll play the other side, and it’ll literally be like you’re listening to the record.”

I recently spoke with Kelsey. about her new album ahead of the show.

Continue reading “Head Over Heels — Kelsey. Chronicles the Cycle of a Passionate Relationship on “LOVE HARD” Album” →

Ongoing Evolution — Annie and Rod Capps Embrace Self-Improvement and Lessons Learned on “Never Done” Album

Rod Capps, Annie Capps, Ozzie Andrews, and Jason Dennie. Photo – Jen Prouty.

For Annie and Rod Capps, self-improvement is a lifelong process and commitment.

The Chelsea, Michigan, couple explores that concept and the lessons they’ve learned on their latest folk album, Never Done.

“I’m always trying to do better, be better,” said Annie Capps. “I don’t always succeed, but the best kind of growth is that which creeps up on you after a long time of doing a lot of inner work.”

As part of that inner work, the duo examines the impact personal growth and wisdom have on them over time. They also reveal epiphanies about past behaviors, decisions, and actions that surfaced while writing the 10 tracks for Never Done.

“It’s almost as if a light bulb goes off and those self-improvements start to show themselves in real ways,” said Annie Capps. “I write what I’m feeling, and my lyrics often reflect a combination of reality—the kind of person I am—and the kind of person I want to be.”

Annie Capps (songwriting, vocals, guitar) shares those self-reflections through lyrics that range from personal and anecdotal to conversational and humorous.

“Part of the healthier version of self-reflection is not to take myself so seriously, especially when lamenting the mistakes of my youth,” she said. “I guess I’m in the season of life where reflecting on the past is natural, but I’m also looking at it through a more compassionate lens.”

Through another lens, Annie and Rod Capps (guitar, viola, vocals) view Never Done as a milestone of sorts—it’s their 10th studio album.

They recorded the album in their Chelsea home studio and at Ann Arbor’s Big Sky Recording with bandmates Jason Dennie (mandolin, vocals), Dan “Ozzie” Andrews (bass), and Michael Shimmin (drums, percussion).

“Fast forward, I think we have gotten very comfortable with certain musicians and certain ways of recording,” Rod Capps said “I think we’ve learned what we can do and what works and what doesn’t.”

To learn more, I spoke with Annie and Rod Capps about their album ahead of an August 27 show at The Ark in Ann Arbor.

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Ultimate Demise — Lost at Ease Deconstructs the End of a Relationship on “Stupid Human Games” Single

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Lost at Ease deconstructs the end of a relationship on “Stupid Human Games.”

The Grand Rapids, Michigan, collective captures the blunt verbal interplay of two people confronting each other on its latest indie-pop single.

“I think it kind of reflects lots of relationships, and I think it could be about friends or family,” said Burton Kroes, a songwriter, producer, vocalist, and multi-instrumentalist who formed Lost at Ease in 2024.

“I wouldn’t say it’s autobiographical, but those lyrics are very personal to me. It’s a little bit of how I see the world sometimes … like through a domination-submission [lens].”

Filled with shimmering synth and pounding drums, “Stupid Human Games” features a stellar collaboration with Grand Rapids singer-guitarist Wren Burns, who provides soulful vocals on the track.

Burns sings, “I know you say that you love me so / Reflections of your ego / They’re all you want, and they’re all you need / It’ll cost, you will see.”

“It’s definitely a good venting song,” they said. “I like how it applies to a lot of different relationships … especially when you’re noticing patterns of behavior instead of just continuing to deny those giant red flags because you don’t want to see them.”

Along with Burns, Kroes also collaborated with drummer Adam Hubbell, engineer and percussionist Logan Thierjung, and arranger Kiersten Quilliams on “Stupid Human Games.”

“The whole thing was a puzzle to piece together, and while I wrote and produced it all myself, I was lucky to have some great ears around me for feedback on specific elements, like the guitar solo, the strings, and the drum mix,” Kroes said.

To learn more, I spoke with Kroes and Burns about their backgrounds and the inspiration behind the song.

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Rite of Passage — Mark Jewett and Jackamo Make Their Ark Debut With July 9 Show

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Mark Jewett and Jackamo are eager to make their Ark debut on July 9.

For both acts, playing the Ann Arbor acoustic and folk music venue is a rite of passage, especially as seasoned live performers in Southeast Michigan.

“I hope about 400 people find that The Ark holds a special place in their heart—that would be nice,” said Jewett, an Americana singer-songwriter based in Plymouth. “I’m really glad that Jackamo was able to take on the show.”

Jewett and his band, The Strategic Advisors, are headlining the show while Jackamo is opening.

“We’ve been to The Ark many times to see many different acts, but we’re really excited about it,” said Alison Wiercioch, who performs in the Detroit indie-folk band with vocalist and sister Tessa Wiercioch and guitarist Jimmy Showers. “It holds a special place in our hearts.”

As a special show, both bands promise engaging, intimate performances with a variety of songs from their growing catalogs.

“You want to show it has some flow and dynamics,” Jewett said. “Typically, you open with something that wakes everybody up, then there’s a steady-state portion, and then things quiet down, and you ramp it up. Hopefully, you close with a bang.”

To learn more, I spoke with Jewett and Jackamo ahead of the show.

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One Track Mind — Jonathan Edwards, “A Fiction for Today”

Jonathan Edwards. Photo taken from the University of Michigan’s website.

Editor’s Note: This article originally appeared on the Ann Arbor District Library’s Pulp blog.

One Track Mind features a Washtenaw County-associated artist discussing a single song.

Standout Track: No. 5, “A Fiction for Today,” from Jonathan Edwards, an indie-folk singer-songwriter and guitarist from Ypsilanti. His latest release, The Sparrow EP, examines the emotional struggles people experience internally—vulnerability, desperation, fragility, and helplessness—as they live in a rapidly changing society.

On “A Fiction for Today,” Edwards sings about seeking refuge from society’s growing political and social tensions and finding the strength to persevere. While the track explores living in an oppressive world, it also functions as a contemplative and hopeful sendoff for the EP.

“Lyrically, this is one of my favorites from the EP,” Edwards wrote. “The song is dedicated to those who are up against the wall and struggling in a world that is so heavily positioned against them. … The cards are stacked against so many, and disturbing decisions are being made every day to push people further and further down. I hope this song is taken as a letter of optimism and compassion for those who have little say in the circumstances they may find themselves in.”

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Seize the Moment — “Lost in the Woods” Album Features Boisen | Öhman | Rogers Embarking on an Experimental Music Journey

“Lost in the Woods” album artwork courtesy of the artist.

Last summer, three friends got lost in a musical moment.

That moment featured musicians Myles Boisen, Martin Öhman, and Jill Rogers gathering together for a single studio session in Yrde, Sweden, to collaborate and see where their imagination would take them.

“The three of us had agreed to meet at Martin’s recording studio, [Skogen Studios], … but there was no plan, no agenda,” said Boisen, a guitarist, composer, improvisor, and recording engineer based in Oakland, California.

“We didn’t even know we were about to make a record. In a sense, we agreed to wander together, but that was really the extent of our preparation. Along the way, we challenged and revealed ourselves to each other in surprising ways, a real ‘getting-to-know-you’ thing.”

What resulted from that session is an experimental music album by the new U.S.-Sweden trio, Boisen | Öhman | Rogers.

Released on Mellanrum Records, Lost in the Woods, or Vilse i Skogen in Swedish, features three long-form improvisational tracks and one short vocal track.

“There was no discussion at all about what to play,” said Rogers, a musician, educator, and record label founder based in San Francisco.

“I was noodling around with … a song [that] my band, Ex-Juncos, had abandoned, and we were off! When that improvisation reached its end, we relaxed for a moment and started in again—no discussion or planning, just listening, playing, conversing.”

Sonically, Lost in the Woods provides a contemplative soundtrack for embarking on a journey of self-discovery and processing the emotions, changes, and challenges that accompany it.

“The woods and nature are a big part of our lives as Swedes,” said Öhman, a drummer, an electronics and multidisciplinary artist, and studio owner based in Yrde, Sweden.

“Roaming in the woods is something most Swedish kids do as a part of everyday life, especially in the more rural parts. Perhaps that’s what makes us a bit introverted, or in other, more positive words, thoughtful, or ‘eftertänksamma’ in Swedish. I think nature does that to you.”

To learn more, I did an email interview with the trio about their latest album.

Continue reading “Seize the Moment — “Lost in the Woods” Album Features Boisen | Öhman | Rogers Embarking on an Experimental Music Journey” →

One Track Mind — Annie and Rod Capps, “Pardon My Dust”

Rod and Annie Capps. Photo – Jen Prouty.

Editor’s Note: This article originally appeared on the Ann Arbor District Library’s Pulp blog.

One Track Mind features a Washtenaw County-associated artist or band discussing a single song.

Standout Track: No. 2, “Pardon My Dust,” from Annie and Rod Capps. The Chelsea couple’s latest folk album, Never Done, is about self-improvement and the lessons they’ve learned on their journey of personal growth.

On “Pardon My Dust,” Annie Capps sings about self-reinvention and uses construction-based metaphors to show that her work is never done. Those references come from driving back and forth to Chicago over the years. “I think this song in particular is more about how we need to be kinder to ourselves and others who are struggling with life and all the challenges and curve balls it throws us along the way,” Annie Capps wrote in an email interview. “Also, those who have done any kind of therapy will understand that you have to tear down stuff to rebuild something better. Thus, the self-destruction reference. Not all self-destruction is necessarily bad if it reveals what needs fixing.”

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