Ebb and Flow – Chris DuPont Surges through Personal Upheaval on ‘Floodplains’

Chris DuPont intricately weaves a series of reflective, tender vignettes into a cathartic, cohesive whole on his exploratory new album. Artwork – Emilee Petersmark

Chris DuPont doesn’t envision Floodplains as a stand-alone musical chapter.

The Ypsilanti indie folk singer-songwriter intricately weaves a series of reflective, tender vignettes into a cathartic, cohesive whole on his exploratory new album. Filled with ethereal soundscapes, hypnotic guitars and mesmerizing vocals, Floodplains surges through the vast peaks and valleys of the soul to unify past and present experiences into a hopeful future.

“As a project that’s loaded with very difficult emotional content, I just had to sit by myself and grind. It was a very frustrating, solitary experience, and I had to really develop my work ethic and show up. It’s really tough to show up literally in your bedroom when you have a whole list of things that you have to get knocked out,” DuPont said.

“I learned the value of solitude and just sitting with your feelings and allowing them to move through you without making a knee-jerk reaction about what they mean. That’s been a big growth point for me. Working on this record really forced me to sit with difficult feelings and hear them tossed back in my ears over and over again. But as valuable as solitude is, I also learned the importance of asking for help.”

For Floodplains, DuPont sought help from a talented team of collaborators, including Frances Luke Accord’s Nick Gunty (piano vocals), Billy Harrington (drums, orchestral percussion), Johannes Stauffer (piano), Luke Jackson (bass), Christina Furtado (cello), Lea Kirstein (violin, viola), Rin Tarsy (vocals) and Olivia Dear (vocals).

Together, they created and navigated the majestic Floodplains throughout apartments, houses and recording studios in Ypsilanti, Ann Arbor and Grand Rapids. The album slowly ebbed and flowed over two years alongside a period of personal upheaval and change for DuPont.

“Working with producer Nick Gunty was a fabulous experience. It was a big deal working with a producer, letting them in on your process and giving them creative push and pull as you’re letting go. That was a very important part of the process,” DuPont said.

“And toward the end wrapping it all up and getting the mastering done, I pulled in my dear friend Chris Norman, who’s an electronica producer out of Texas. I was running out of time and needed someone to master the record, and I knew he would love to do it.”

As an exquisite finished product, Floodplains rises and swells with intense emotion across 12 thoughtful, vivid tracks that steer listeners along a highly personal, poignant odyssey. It’s the ideal sonic outlet for releasing deeply buried troubles while seeking solace and starting anew in an uncertain world.

Continue reading “Ebb and Flow – Chris DuPont Surges through Personal Upheaval on ‘Floodplains’”

Year-to-Date – Mark Jewett Celebrates Father’s Memory on ‘Warren Zevon’s Birthday’

Mark Jewett celebrates his father’s memory on “Warren Zevon’s Birthday.” Photo – Misty Lyn Bergeron

For Mark Jewett, Jan. 24 elicits feelings of sadness and appreciation.

The landmark date carries personal significance for Jewett – the 18th anniversary of his father’s passing and the 74th birthday of the late Warren Zevon. The coincidental intersection of those two events inspired Jewett to reflect on both and the lingering impact they’ve had on his life.

“They had a lot of similarities – the dry, dark sense of humor was probably the biggest one. They were both pretty hardcore drinkers, and they were both fascinated with unconventional things they could do with words. They would put them together in different ways that made people stop and think about them. And to a degree, I think they were both a little misunderstood. It became the impetus for a song,” said Jewett, a Plymouth Americana singer-songwriter.

That impetus ultimately produced “Warren Zevon’s Birthday,” a nostalgic, introspective folk rock ode to influential, supportive fathers past and present. Spirited organ, reflective electric guitars, pounding drums, soft cymbals, calm bass and glistening piano accompany Jewett as he shares fond memories, warm feelings and irreplaceable moments.

Jewett sentimentally sings, “Dad served his country in the second World War/When he was only 20 years of age/He kept it all inside/A place where he could hide/Secrets he carried to his grave/Warren had an appetite for living/Living large, a thing he did so well/Like a feral buckaroo/Some alcoholic Xanadu/He rode the Double E straight through hell.”

“I started thinking about the two of them, and there were some similarities and radical contrasts. I thought, ‘Well maybe that’s worth structuring a song around.’ And the song has kind of an odd structure,”  said Jewett, who shared the track with Gurf Morlix and sought inspiration from Crystal Zevon’s I’ll Sleep When I’m Dead: The Dirty Life and Times of Warren Zevon.

“It’s an intro, a chorus, three verses in a row, no bridge, a solo, another verse, another chorus and an outro. It was necessary to build it that way for continuity of the story. Sometimes rules are just meant for breaking.”

Throughout “Warren Zevon’s Birthday,” Jewett eloquently breaks the rules with producer-drummer Billy Harrington, Michael Harrington (guitar, bass), Dale Grisa (piano, organ) and Amy Petty (vocals). The quintet intricately constructed a solid cinematic foundation to support, build and evolve Jewett’s thoughtful paternal tribute ballad.

“It was a challenge to decide if this song was supposed to be huge sounding. It’s a very sensitive subject; does it need to be more subdued or heartfelt in that way? Or is it more heartfelt when there’s a blazing guitar solo? What do we do with it exactly? We had talked about doing two versions of it, a stripped-down one and one that’s more rocking with a full band,” said Billy Harrington.

“I didn’t want this song to fall in the middle. If we wanted to go big, then we really had to go all the way there and then some. I didn’t want it to be 50 percent on both sides. If this was gonna be a big, epic Pink Floyd stately sort of ballad thing, then we did it. I really think we got that on this one.”

Continue reading “Year-to-Date – Mark Jewett Celebrates Father’s Memory on ‘Warren Zevon’s Birthday’”

Higher Ground – Chris DuPont Finds Strong Sense of Renewal on ‘Retrieve’

Chris DuPont ascends to heavenly heights on his latest single, “Retrieve.” Artwork – Emilee Petersmark

For Chris DuPont, a fresh start begins with finding higher ground.

The Ypsilanti indie folk singer-songwriter ascends to heavenly heights on his latest hopeful, breathtaking single, “Retrieve,” now available on all streaming platforms.

“It’s a song about trying to make someone feel seen and believed when they’ve shared a really difficult story with you. It’s really meant to be sort of a power anthem, and on a personal level, I’m just so grateful that it’s as exciting to listeners as it is to me,” DuPont said.

“And on a professional level with this being an unprecedented time putting out an album in the middle of a pandemic with no real hope of touring on it, I decided this just needed to be the first thing people hear. Listeners who have been with me for a while will have heard it already, and I wanted this to be the first impression of anyone coming into my music cold.”

To the contrary, listeners will receive a warm welcome while absorbing the emotional authenticity flowing through “Retrieve,” which blends glistening, frenzied acoustic strums and spirited cello into a soaring symphony of sparkling piano, uplifting bass and cozy drums.

DuPont intimately reflects, “There’s a fullness beyond fatigue/No, nothing is clean if you choose to live/I didn’t anticipate the ways I’d be undone/But on the other side of a breakdown/Is a silver lining for you darlin’/When everything that died in you is fertile in your garden.”

“I can’t get away from the theme of death and rebirth and uprooting and re-rooting in my music, and I think one reason I wanted to go with a garden image is because life and recovery are really dirty and messy. And to be a thriving human being doesn’t mean to do everything cleanly, everything perfectly,” said DuPont, who’s included haunting single artwork by The Crane Wives’ Emilee Petersmark.

“This is a very hard concept for me as someone who grew up in a very black and white thinking religious paradigm where there’s this idea of striving to be pure or perfect. I wanted to embrace the dirt with this whole body of work and especially that song.”

Continue reading “Higher Ground – Chris DuPont Finds Strong Sense of Renewal on ‘Retrieve’”

In Time – Rochelle Clark Releases Debut EP, Opens for Bones Maki and the Blue Water Boys Feb. 21 in Farmington

Rochelle Clark will open for Bones Maki and the Blue Water Boys Feb. 21 in Farmington. Photo by Jason Dennie

A tantalizing blend of acoustic Americana roots will waft throughout the Farmington Civic Theater on Feb. 21.

That blend will include singer-songwriter Rochelle Clark sharing a delectable opening set for Bones Maki and the Blue Water Boys as part of the theater’s “LIVE!” 2020 winter concert series. Special guest Caleb Peters also will open the show.

“Well, it’s not very often that you get to sing in a movie theater, and that in of itself, makes it unique. I wasn’t sure what to expect the first time that I went there, but I love the whole setup that they have,” said Clark, who last performed at the theater in November 2018. “You feel like you’re walking into a performance space, and the audience is really in tune with what’s going on.”

During her opening set, Clark will share raw, poignant tracks from her debut EP, “In Time,” which dropped in January. The EP beautifully chronicles Clark’s creative journey from half of the Americana roots duo The Potter’s Field to a flourishing solo artist.

“I wanted to have a progression of songs that are covers, songs that I helped co-write, and songs that I wrote by myself, and pay homage to where I’ve been coming from and where I’m hoping to go. It started as a creative challenge for myself because I was feeling like I was in a rut creatively,” Clark said.

“Music is really important to me, and I was disappointed in myself that I wasn’t pushing myself more. I started playing out solo shows more, which was scary at first. That was about two years ago, and that steamrolled this whole thing.”

Continue reading “In Time – Rochelle Clark Releases Debut EP, Opens for Bones Maki and the Blue Water Boys Feb. 21 in Farmington”

Double Up – Mark Jewett Releases ‘Saint Clair’s Promise/The Lucky One’ from Forthcoming Third Album

Mark Jewett is working on a follow-up album to 2016’s “Tending the Fire.” Photo by Tom Sorensen

One late August night Mark Jewett stumbled upon an enigmatic vision while heading home from a show in Port Huron.

That vision illuminated the night sky while its reflection danced on the water and beckoned Jewett to stop and observe.

“As I drove south out of Port Huron on Military Street, which runs close and parallel to the St. Clair River, I looked out my side window, and I could see the Canadian shoreline, south of Sarnia,” Jewett said. “I saw a spectacle that lit up like something from a sci-fi movie. All I could think was, ‘What was that?’ I was stunned.”

Jewett turned his car around, drove up to the river’s shoreline and saw the “industrial monstrosity” known as “Chemical Valley,” which is home to more than 60 refineries and chemical plants in Sarnia, Ontario.

“The vibe I got standing alone on a dark river bank in very peaceful quiet was very calming,” said Jewett, a Plymouth-based Americana singer-songwriter. “I thought to myself, ‘Wow, in spite of this hideous pollution-spewing industrial megaplex in very close proximity to a population of people, everything will be all right.’”

Jewett captured that peaceful, nocturnal moment in his latest single, “Saint Clair’s Promise,” a twangy, torchy ode to beauty, mystery, faith and hope that’s available  via Bandcamp. Billy Harrington (drums, percussion), Michael Harrington (pedal steel, electric guitar), Ken Pesick (bass) and Dale Grisa (piano) accompany Jewett on the track.

The track features a driving bassline and a mellow slide guitar beautifully intertwined with Jewett’s Johnny Cash-inspired vocals while Amy Petty provides soothing harmonies – “It might have been the water/It might have been the light/It might have been a silent voice calling out to me that night.”

Saint Clair’s Promise” is one of two new tracks that will be featured on Jewett’s untitled third album, which will drop in spring 2020 and serve as the follow-up to 2016’s “Tending the Fire.” Produced by Billy Harrington, Jewett’s new album will sonically immerse listeners in personal tales about different moods, feelings and experiences.

“When Billy heard my demos, he said he could imagine taking these tunes down a sonic road similar to Robert Plant and Alison Krauss’ ‘Raising Sand,’” Jewett said. “Ironically, I see my sound growing by getting simpler. With exceptions, I feel like music that I write for a conscious purpose needs room to breathe.”

Continue reading “Double Up – Mark Jewett Releases ‘Saint Clair’s Promise/The Lucky One’ from Forthcoming Third Album”