The Flint indie folk rock singer-songwriter will perform his first headlining set in nearly 18 months at the Hamtramck venue.
“I can’t even express how good it feels to be playing shows again. I really hadn’t considered how vital that type of experience was in my life until it went away. I really had to push it away for a while when we didn’t know a timetable for the return of live music,” said Dylan Grantham, aka Young Ritual.
“Once the show was announced, all of those feelings came flooding back. I just want to make this night a loud and beautiful entry back into the music scene out here for Young Ritual.”
Hosted in partnership with Audiotree Presents, the show will allow Young Ritual to debut several new tracks since releasing his introspective, two-track A/B EP in March. He’ll be joined by Fenton indie pop singer-songwriter Au Gres, aka Josh Kemp, and Detroit indie folk singer-songwriter Emma Guzman.
“They are all pretty driving rock songs because that’s where my intent in writing has been, and the one I’m most excited about is called ‘Julianna.’ The song is kind of Springsteen and The Killers, but absolutely Young Ritual top to bottom,” said Grantham, who will include Au Gres as part of his live band.
“Josh from Au Gres is one of my closest friends, and I adore his band. He writes the sleekest indie pop imaginable and is just a pleasure to have around. I haven’t met Emma yet, but I’m a huge fan of what she’s been doing, so I’m really excited to have her on board.”
Fernando Silverio Solis speaks volumes about the Black Lives Matter movement’s fight against an oppressive state on “Keep Your Head High.”
Fernando Silverio Solis eloquently raises his voice, holds his head high and advocates for solidarity amidst a sea of recurring racial, social and political struggles.
The Flint indie folk singer-songwriter and guitarist speaks volumes about the lingering injustices against people of color and the Black Lives Matter movement’s ongoing fight against an oppressive state on his latest gripping single, “Keep Your Head High.”
“I was just reflecting an expression of what I felt or thought during so many of the Black Lives Matter demonstrations and watching the news of people being murdered by police and then watching the police violence unfold. It was also in reaction to the past four years and what the previous administration brought out of people,” Solis said.
Throughout “Keep Your Head High,” Solis thoughtfully shares those reflections as contemplative acoustic guitar, somber pedal steel and placid cello echo his raw, honest sentiments. He quietly sings,” When did we justify to look each other in the eyes/And decide we are strangers/When all is said and done/And we’re sent to kingdom come/Will we see we weren’t so different.”
“I didn’t want to overstep any boundaries with making it about myself or attempting to speak on behalf of anyone. I really did my best to try to present it from a perspective of ‘I’m here, I’m watching, I do have my own reactions, and these are my thoughts regarding my own reactions as to what I’m seeing happen,’” Solis said.
Solis teamed up with several talented collaborators to bring a wistful Americana flavor to “Keep Your Head High” while recording it at Chesaning’s Oneder Studios with Nick Diener. Australian pedal steel player Jy-Perry Banks lends his virtuoso guitar skills while cellist Ian Legge brings a delicate string sensibility to the track.
“After I did the Wake Up Slow EP, there was a window of time before everything got really crazy. I was able to record more music with Nick, and I have another seven songs that haven’t been released yet. At that time, I came across (Banks) on Instagram, and I saw that he was open for sessions,” Solis said.
“I said, ‘Nick, I’ll record these songs with guitar and vocals, and then let’s flesh out the rest.’ That’s when we got to talking and said, ‘Let’s get this real country feel to it.’ Those songs were finished, and then they sat. We had to mix and master them, and as that was happening, the world shut down.”
Kat Steih creates a captivating electro acoustic dreamscape on her latest EP. Artwork – Kat Steih
Kat Steih thoughtfully assembles a majestic, restorative alternate universe for near and far like-minded souls.
Inside that mystical world, the Ann Arbor alt-folk singer-songwriter invites listeners into a captivating electro acoustic dreamscape on her new EP, Songs from a Faraway Galaxy … And West Park Volume 1, which dropped Aug. 28.
“My music has a strong element of escapism. I’ll be in the middle of an experience that I don’t want to be having, feeling that inner roar of resistance, and then suddenly a melody with words and a vibe will pop right into my head,” Steih said.
“A big part of musical journey is increasing my skills so that I can capture those ideas to convey them to others. It’s really important to me to share (the ideas) because they arrive like gifts from the universe.”
Throughout her latest release, Steih packs an expansive, cerebral and folky sound across four hypnotic, ethereal tracks while venturing through past experiences, changing relationships, personal growth and long-awaited renewal. It’s a mesmerizing, introspective follow-up to her breathtaking, spiritual 2019 Americana album, Hymns of the Huron.
“I’ve always loved theatrical music production like Pink Floyd, Queen and Kate Bush. The sound of this album is influenced by my collaboration with Samn Johnson while the sound of Hymns of the Huron was very influenced by the band that Ben Lorenz put together,” she said.
“I bring the melodies and chord progressions, but the final product is colored by who’s there and the vibe of the environment we’re in.”
Bill Edwards’ “Whole Cloth” serves as a poignant, reflective novel of Americana songs.
For Bill Edwards, the basement provides the ideal music lab and creation space.
The Ann Arbor country singer-songwriter and multi-instrumentalist retreated to his subterranean studio during the pandemic and experimented with his recording gear.
“When we went into lockdown and realized we weren’t going to be playing live for several months, I thought it would be a great opportunity to learn the ins and outs of my recording software. I wanted to get better acquainted with MIDI instruments, or musical instrument digital interfaces,” Edwards said.
“MIDI instruments have come a long way since their invention, and the sampled instruments that are available now are just incredible. It gave me the opportunity to do things like drums, bass and pedal steel, and a whole world opened up.”
Eighteen months later, Edwards’ MIDI software explorations have resulted in an ambitious, yet prolific 30-track double album, Whole Cloth, out Friday via Regaltone Records.
“It feels like birthing a very large baby, and I’m really proud of it for a lot of reasons. I think the songs are good, and the fact that I was able to do it all by myself feels like a pretty big accomplishment,” said Edwards, who spent 15 months writing and recording his new album.
“Over that period, I probably had 70 songs, and I would finish one and then move on to the next and start building it together. I didn’t plan to do a double CD, but then I had all this stuff, and I thought, ‘Well, why not just put it all out?”
Audra Kubat and Jessica Care Moore challenge the nation’s antiquated, divisive legacy on “Gray Glory Parade.”
Audra Kubat boldly brings the gray undertones of the red, white and blue to the surface.
The Detroit indie folk singer-songwriter brilliantly unravels the antiquated, divisive Confederate legacy, traditions and mindset that still permeate our racial, social and political fabric on her latest single, “Gray Glory Parade.”
“Originally, the song was called ‘The Next American Revolution,’ and it was so bold in a way. I was exploring other titles, and then it hit me this line, ‘Gray Glory Parade,’ and it had this really strong ring to it,” Kubat said.
“‘Gray glory’ is sort of the southern pride around the uniforms of the Civil War. The first lines of the song, ‘Sculpted and praised/A gray glory parade/Hollow men disgracing pedestals,’ show this pride and glory around a misunderstood history, like sort of a parading around. I thought it was a stronger title than the other one.”
Throughout “Gray Glory Parade,” Kubat thoughtfully unstitches each worn, destructive gray thread as luminous acoustic strums, reflective synth and tranquil bass provide newfound strength and hope. She reveals, “Our silence now is damaging/Time for a reckoning/A great awakening/The next American revolution.”
“The revolution is that we have to deal with a falling apart first. I’m ready for the fall-apart part to happen in a bigger way, and the scary thing is so many comforts and things that we’re used to will have to change to make the real change that is needed,” said Kubat, who started writing the track during a July 4, 2020 trip to Washington, D.C.
“There’s so much to address, and it’s going to be so painful for everyone. That’s why it’s taking so long, and it takes so much self-steadiness to be able to stand up and say, ‘My lifestyle is not only destroying other people’s lives, but the environment and social structure beyond that is so flawed, that it really must be taken out thread by thread.’”
Kubat continues removing each thread as she reflects, “Yet I’m quiet and listless/Do no more than bear witness/But it’s not enough as warm blood runs from broken bodies.”
“Prior to that trip, I had been trying to write a song in response to the things that were going on, and everything I wrote just seemed so flimsy. I couldn’t find the right words, and I also felt like it was a big undertaking to try to share what I was feeling and without it sounding uninformed and as an observer,” said Kubat, who also included lyrics from the national anthem throughout her track.
“I really didn’t know how to do that at the time, and it wasn’t coming. When my partner and I went to D.C., we were walking among the protests that were going on and sharing space with folks there. Going to the monuments and being a part of everything else that was going on along with the tourists and seeing the capital was an interesting juxtaposition.”
That juxtaposition inspired Kubat to think about the American flag unraveling and how that served as a timely metaphor for the nation’s growing racial, social and political tensions. She quickly wrote “Gray Glory Parade’s” first three verses, but struggled to find the last line.
“It took me a couple of weeks to come up with the line, ‘The silence is victory beckoning.’ If we don’t have to shout anymore about it, that’s us being victorious,” Kubat said.
Magenta Moody, right, and James Miller bring a rock feel to the alternate version of “Coffee and Reefer.” Photo – Dominic Smalls
For Magenta Moody, each day starts with a chill morning routine.
The Roseville EDM-dream pop artist combines java and Mary Jane to soothe the senses and calm the mind on her latest carefree, reggae-inspired single, “Coffee and Reefer.”
“I love to make a nice cup of hazelnut coffee, pack a raw cone and head to my balcony to start my day. I have a beautiful balcony, and the trees are so dense that you can’t see the surrounding neighbors or anything for that matter,” said Mercedes Jefferson, aka Magenta Moody.
“It’s just trees, sunlight and a couple of very vocal birdies. Coffee picks me up and warms my soul while smoking soothes my nerves and clears my mind, so the combination is magical.”
Moody quickly creates a magical three-minute “Coffee and Reefer” escape for listeners as stormy beats, jingling tambourine, placid synths, light hand claps and breezy bass seep into the body and mind.
She shares, “I know I’ve been really sketchy/Bad decisions seem so tempting/I’m just you, and you’re my best me/You’re my best me/I’d like to meet ya/Coffee and reefer/Hot like a fever/I’d like to meet ya.”
“The song is meant to be a light, feel-good song, and I want people to start their day on a bright and chill note. I wrote ‘Coffee and Reefer’ on the aforementioned balcony, of course. Besides my car, it’s my favorite place to write,” Jefferson said.
Moody also released an alternate version of “Coffee and Reefer,” which features guitarist James Miller playing thoughtful, deep-tone electric strums alongside her echoey vocals.
“I was looking for a guitarist to a do a show with me, and James responded to an inquiry I posted. We’ve been jamming ever since. As we practiced in my living room, I showed him my version of the song,” Jefferson said.
“His interpretation of the song that he played in response to hearing it was so beautiful. He asked if I had recorded yet and insisted on being part of it. I think he adds a groovy, yet alternative vibe, and his instrumentation fits perfectly with the lyrics.”
Moody recorded both versions of the track at Parallel Sounds Studio in Sterling Heights with engineer Tony Boguth. The original version features production by SYBLYNG and mixing by Mark Ringold Jr., aka Krypto Divine, while the alternate version is mixed and mastered by Boguth.
With both versions of “Coffee and Reefer” out, Moody wants to record a video with a “That ‘70s Show” concept and feel.
“It could be some friends and me sitting in a circle getting a smoke session in like they do in every episode. I’d love to work with Joe Hendo again or Tiffadelic Media to make the vision come to life. They both are great with creative direction and execution,” she said.
George Montrelle shares his gratifying journey of true love and commitment on “Paradise.” Photo – Steve Selvaggio (c) 2020
George Montrelle elegantly celebrates a life filled with love, beauty and tranquility.
The Ferndale rock-soul singer-songwriter and guitarist shares that personal mindset on his latest electrifying single, “Paradise,” as a romantic, grateful ode to his longtime partner.
“I’ve had that song more since the beginning of my relationship with my partner, and I wanted to validate how much I appreciate his love for me. This was one of the songs I felt strongest about early on, and I’ve been showing it to people for a while now,” said George Wilson, aka George Montrelle.
Montrelle beautifully chronicles his gratifying “Paradise” journey of true love and commitment as propulsive drums, crashing cymbals, fiery electric guitars and galvanic bass surround him.
He reveals, “Here for you till the end/Amaranthine love my friend/The very heart on which you can depend/Here for you for the rest our lives without a stress/Baby, forever, we will love no less.”
“I’ve tried to record this song a handful of times, and I finally just said, ‘I just need to get this done.’ I decided not to overanalyze it, but I also gave it my best,” said Wilson, who recorded and produced the track in his home studio.
For Montrelle, “Paradise” not only acknowledges the growth of his relationship, but also the evolution of the track from the stage to the studio. In 2018, he started performing a live version of “Paradise” with a full band before audiences at the Detroit Institute of Music Education (DIME).
“I didn’t have a steady band all the time, so when I wanted to put this song out, I was either gonna hire a drummer and record all the guitars myself, which I did. Or I was gonna track the drums using the sequencer in Ableton, and that’s what’s on the release,” Wilson said.
“I tried to embody what might feel good on stage, and I tried different arrangements. I also developed the verses so it felt progressively fluent throughout the whole song and understood how the drums and guitars needed to work while the vocals sat through everything.”
The Fraser folk rock singer-songwriter and guitarist will return to his family’s old stomping grounds to perform Friday night at the Polish Village Café.
“It feels pretty nostalgic to be playing in Hamtramck since my mother was raised there. She graduated from St. Florian High School. My grandparents lived in Hamtramck until they reached their 80s, and I have memories of visiting there when I was a child,” Alter said.
“Some of those memories are captured in my song, ‘Hamtramck.’ I grew up in suburban East Detroit, which was a very different environment. When visiting Hamtramck, my siblings and I were exposed to a very different culture, even with my grandparents speaking another language through much of our visit.”
Alter quickly revisits his childhood on 2018’s “Hamtramck” as sentimental acoustic strums, sunny electric guitars and ruminative bass repaint loving scenes from the past. He reflects, “Visit from suburbia/Dropped into this urban dream/It’s a new diversity/In the streets with rising steam/I feel this city claiming me.”
“I think that experience gave me an appreciation for the many cultures that make up our nation. I released the song, ‘Hamtramck,’ on Bandcamp a few years ago. Since then, I have played it as an acoustic piece, and I plan to release a new version similar to my live performance on a new album I’m working on now,” said Alter, who also performs as part of the soul-jazz-rock duo After Blue with Katie Williamson.
“It’s been just about a year since John Lewis passed. I think the impact of the equal justice protests of 2020 still resonate today, but unfortunately at a somewhat lower volume. I want to continue to put a light on John Lewis’ life and that cause in my own way,” he said.
The Soods’ “A Ray Rewired Vol. 1” EP serves as the quintessential companion for a short summer sonic getaway. Artwork – Tansy Harris
As a Grand Rapids musical connector, Jason Roy seamlessly wires together hopeful vignettes for the unknown days ahead.
The Soods frontman and multi-instrumentalist solders brief mesmerizing, impactful tales of renewal and release on the collective’s latest electrifying indie rock EP, A Ray Rewired Vol. 1, via GTG Records.
“I think the overall feel of these songs has an upbeat rhythm of life to it. At the root of it, there’s an emotion of love, and music is meant to uplift,” said Roy, who co-produced the project and named it after a lyric in The Soods’ single, “Symbiotic Mono Band.”
“Even with the saddest stuff there should be some connective tissue of ‘Hey, it’s not always gonna be this bad, or shit’s gonna get better.’”
Along with a talented cast of Soods collaborators, Roy elaborately threads seven thoughtful tracks into an emotive, cohesive 15-minute listen. A Ray Rewired Vol. 1 serves as the quintessential companion for a short summer sonic getaway during a hectic, stressful day.
“I approach it like an art project in a sense. Let me start it, and I’m gonna use my palette to paint as good of a picture as I can to set you up to put on the finishing touches,” Roy said.
“Sometimes, I’ll get a vocal back, or I’ll be recording one with Steven (Meltzer), and be like, ‘Oh OK, we need to change direction.’ Not that it’s a bad thing, but it’s more of a ‘Ooh, I never thought to approach it that way.’”
The Detroit rock trio of Jeremy Porter (guitar, vocals), Gabriel Doman (drums, vocals) and Bob Moulton (bass, vocals) seamlessly fuse energetic live performance footage with colorful animation to illustrate “Put You on Hold’s” storyline about a girl becoming captivated with city life.
“I wanted to go for a bit of a throwback to the Aerosmith videos with Alicia Silverstone – sort of a very loose plot about a party girl that maybe worked with the song, but didn’t necessarily follow the song’s lyrics to a tee,” said Porter, who worked with director-photographer David Kellogg on the video.
“There are nods to the lyrics here and there, and in general, like the song, it’s about a crazy night out for a not-so-crazy girl, but the concept and its tie-in to the lyrics aren’t overthought. We glammed the look of the band up a bit for shits ‘n giggles to do something different, get out of our comfort zone and have some fun.”
Porter and The Tucos demonstrate that glamorous fun while dressing head-to-toe in white or black and adorning sunglasses and scarves, thanks to stylist Alessandra Lipman. They proudly sport those hip stage fashions in a darkened gym located at the Plymouth Arts & Recreation Complex (PARC).
“PARC is an old high school here in Plymouth that’s been converted into an art space with studios that local artists can rent and stuff like that. I wanted something big like a high school gym, and it just seemed perfect,” said Porter, who’s partnering with Ghettoblaster Magazine to premiere the video today.
“I also like to keep my money in my community when possible and support the arts when I can. David and I met the manager there, and she showed us around, and we agreed it was our spot. The gym has the feel of the ‘Smells Like Teen Spirit’ video a bit, which I liked.”
In tandem with the band’s live performance footage, the “Put You on Hold” video includes compelling animated characters and background scenery by Jones William. It explores the main character’s social outings with friends as well as her dating life and city adventures.
“(Jones) answered a Craigslist ad and was honestly one of the very few worth following up with. We never talked, just through email, a language barrier was an issue, and I wasn’t sure what I was gonna get. In the end, he delivered, and I was pleased with the work he did,” Porter said.
The band’s “Put You on Hold” video ultimately came together with Kellogg, who brought a “youthful, enthusiastic energy” to the camera.
“I met David through Instagram when we were recording. His work caught my eye, and he ended up doing all of the photography, including the cover, for the record. And even though he’s younger, he still gets the ‘70s/‘80s references we were throwing out – he’s well-traveled, so to speak,” Porter said.
“He didn’t have much to do with the concept or animation part, but he was very involved in scouting and choosing the location and everything that went into the performance part – lighting, setup, direction and all that. He and I also edited it together.”
The Stratton Setlist 