Twin Deer’s Rob Duncan, Megan Marcoux, Bill Kahler, and Tom Skill explore missing a loved one on “Underground.” Photo – Cassie Pietron
When it comes to loss, Twin Deer deeply understands the grief that remains.
The Detroit quartet of Megan Marcoux (vocals, guitar), Tom Skill (guitar), Bill Kahler (bass, synth), and Rob Duncan (drums) explores that overwhelming emotion and the ongoing struggle to move forward on “Underground.”
“It is a pure description of missing someone immensely,” said Marcoux about the group’s new dream-pop single.
“Sometimes the clarity lies in simplicity, like the line, ‘It’s not right you’re not around.’ And in the second verse, we reference how life is fragile. I find that important to mention—not to cause distress—but to remember to value the time we have.”
Backed by cathartic electric guitar, bass, and drums, she sings, “It would be nice to hear the sound / Of your voice saying you were coming around / It would be nice / If I wasn’t exhaling ice / I’m standing on the frozen ground.”
“I hope others will see that there isn’t always some profound thing that needs to be said,” Marcoux said. “Missing someone is already a lot.”
“Underground” also serves as an introspective B-side to Twin Deer’s “Fever Dream,” which was released in June.
To learn more, I spoke with Marcoux about Twin Deer’s latest singles and past releases ahead of a July 13 set at Alley Fest in Flint, Michigan.
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.”
Pia-Allison Roa examines personal growth and self-expectations on Getting Better. Photo – Zach Nahshel
Editor’s Note: This article originally appeared on the Ann Arbor District Library’s Pulp blog.
Pia-Allison Roa makes an honest self-assessment on her Getting BetterEP.
The Detroit singer-songwriter who performs as pia the band recognizes the importance of re-evaluating life plans and priorities and making changes along the way.
“These are the four songs that I felt were most ready to be out,” said Roa about her debut EP. “Once we recorded all four and then put it all together, it popped out to me that these are all about overcoming things.”
As part of that process, pia the band examines past situations and relationships through contemplative lyrics and ethereal indie-rock, dream-pop, and shoegaze-folk instrumentation.
“It felt good to get all those out … but then it was even more special looking back at what the songs meant, what they could mean now, and how they can be interpreted by other people,” said Roa, who’s also a clinical pharmacist specialist at Wayne Health.
To learn more, I spoke with Roa about Getting Betterahead of her May 28 show at Ziggy’s in Ypsilanti.
Dylan Dunbar’s “Free Candy” features eight short stories exploring everything from classic battles of good and evil to zombie outbreaks.
Dylan Dunbar is ready to bring some scary good stories to light.
The Detroit guitarist for Jennifer Westwood and the Handsome Devils has released a new book of strange and terrifying short stories called Free Candy: A Horror Story Collection.
It’s the first published work for Dunbar, who discovered a love for writing in 2020 upon tackling an addiction to alcohol.
“I’m now more than three years sober and couldn’t have imagined when I started writing how much of a positive impact it would make in my life—or that I’d be publishing,” he said.
Inspired by The Twilight Zone, Black Mirror, Creepshow, and Tales from the Crypt, Free Candy includes eight intriguing short stories exploring everything from classic battles of good and evil to zombie outbreaks.
Dunbar is celebrating the release of his book on May 9 with a signing at Belle’s Lounge at Valentine Distilling in Ferndale, Michigan. Copies of Free Candy will be available for sale at the event.
Nick Behnan reconciles his expectations of fantasy with reality on “What You Got.”
As a longtime musician, Nick Behnan searches for the right balance between fantasy and reality.
The Detroit singer-songwriter, multi-instrumentalist, and producer straddles those two worlds on his latest pop-soul single, “What You Got.”
“I think the nature of what I do for a living creates pretty drastic swings of highs and lows,” Behnan said. “I feel fortunate to not have to have a 9-5, but the ups and downs and expectations can sometimes be difficult to navigate. It’s the nature of the beast though.”
Surrounded by hypnotic electric guitar, bass, electric piano, and drums, he sings, “It’s a whole new paradigm / Livin’ what I had in mind / So I keep it movin’ all the time / Until I find / Just what I’m tryin’ to do.”
“The new thing everyone in my business is freaking out about is AI, which could threaten the music business as a whole and especially sync licensing for TV, film, and commercials,” Behnan said.
“Hopefully, the right regulations get put in place before it goes bonkers, but it’s like the Wild West right now. I find it’s the most important to stay creative and productive—it’s also a mindset thing.”
To learn more, I spoke to Behnan about his past releases, latest singles, creative process, summer plans, and sync licensing opportunities.
In those fleeting moments, the Detroit singer-songwriter feels grateful and inspired while spending time with others.
However, that magic often dissipates as people move on or pass away, but the love and appreciation from those interactions remain with Striho.
She beautifully shares that sentiment and a longing to recapture it in her new single, “Blue Ridiculous Love,” which features poetic lyrics and heartfelt rock instrumentation.
“I saw this song more as a painting, and with a painting, you’re interpreting it your way,” said Striho, who co-wrote the track with husband-guitarist Scott Dailey. “I’m talking about the ‘green grass of gold dirt,’ and it reminds me of one of the Beatnik poets, and you get these images.”
Surrounded by eager acoustic guitar, electric guitar, and drums, Striho sings, “I had this magic / It’s right on my side / Then everybody took a ride / The evening shadows / The tiny voice in my head / Starts talking louder / It’s an evil eye.”
“It’s a romantic song with an angst about the future and missing people, but it’s also about how falling in love can feel ridiculous,” she said.
”The lyric, ‘Everybody took a ride,’ could mean different things: They just left your life or they could have died. I had this magic, and I thought, ‘Wait, where did everybody go?’ It prompts you to look back and say, ‘Wait a minute, those people are gone.’”
Detroit folk singer-songwriter Mike Ward. Photo by Danny Ward.
Editor’s Note: This article originally appeared on the Ann Arbor District Library’s Pulp blog.
The state of the world weighs heavily on Mike Ward’s mind.
That concern prompted the Detroit singer-songwriter to pen a new folk song called “Why Not,” which sends an encouraging message to help others.
“When I have played it, people get how the song starts out small, gets broader as it goes on, and ends at a point where it’s up to us on a personal level,” said Ward, who’s also a University of Michigan alumnus.
“One of the things I have to work hard at is trying not to be too preachy, especially when I’m writing about things on a political level. It’s one of the areas where I try to find a balance.”
Backed by hopeful acoustic guitar and cello, he sings, “Why not do some good today with the time that we’ve got / Start with something simple / A lesson learned or to be taught / Plant a seed or lend a hand / A little helps a lot.”
“I’ve also been looking at not only how that affects the world in general, but also how it’s affecting people’s relationships,” Ward said. “It goes as broad as the country, but as narrow as some relationships and the struggles that people are having.”
“Why Not” is one of several songs Ward will be performing with Sara Gibson (cello) and Annie Bacon (vocals) at an April 28 show at the Downtown branch of the Ann Arbor District Library.
Ahead of the show, I spoke with Ward about his current state, his career transition from advertising to music, past albums, his latest songwriting efforts, his setlist for the AADL show, and plans for new material.
Painted Friends features philosophical lyrics and emotive indie-pop and pop-rock instrumentation on “Gomnia: Volume 2 (Indimindi).” Photo – Hannah McWhorter
Painted Friends boldly embarks on a path to spiritual enlightenment.
Along the way, the Detroit indie-rock duo of Jeremiah McWhorter (vocals, guitar, bass) and Mitch Crosby (drums) finds peace and forgiveness on “Better Bones,” the honest opener from their latest album, Gomnia: Volume 2 (Indimindi).
“This song has been on my mind for a very long time—longer than any others I’ve written,” McWhorter said. “I have changed the lyrics a few times throughout the whole process, but the message of it has pretty much stayed the same. It’s the same message that is expressed throughout all of Gomnia—the idea to love our enemies or Sermon-on-the-Mount-type-stuff.”
Surrounded by hopeful synth, pounding drums, and thoughtful electric guitar, McWhorter sings, “I heard a pretty word / And fell to my knees / I took time to pray for a way / To have a better life / And now I’ve no one to hate / No reason to shake / The truth is the light / That gives me a better life.”
“Love—by definition—must be freely given; it’s a choice,” McWhorter said. “I’m not referring to romantic feelings. I’m talking about choosing not to attack someone you disagree with out of love for them and their humanity.”
That plea for love, humanity, and truth flows throughout the 10 tracks on Gomnia: Volume 2 (Indimindi). Painted Friends deeply examines those notions through philosophical lyrics and emotive indie-pop and pop-rock instrumentation.
To learn more, I spoke to McWhorter about the Gomnia album series, select tracks, a recent album release show, and plans for releasing new material.
Carolyn Striho and Scott Dailey focus on the journey ahead on their latest single.
For Carolyn Striho, the road of life is full of unexpected twists and turns.
But those challenges don’t prevent the Detroit singer-songwriter from moving forward.
That perseverance fuels some of the inspiration behind her latest blues-rock single, “14 Miles of Bad Road,” with husband/guitarist Scott Dailey.
“If you say you’ve been on 14 miles of bad road, it sounds far. When I wrote it, I was thinking more of being up north with roads all over the place,” Striho said. “When you think about it, it could be anywhere—a city or a town.”
Determined to reach their next destination, she sings alongside propulsive electric guitar, bass, organ, and drums, “I wish all the world could see you and me again / I wish all the world could feel like a friend again / I wish all the world could be like a kid again / I wish all the world … / I tried, my friend / You lied again / I tried again / You lied …”
“Scott came up with the lyrics, ‘I tried, my friend / You lied again,’ and it makes sense, meaning, ‘You thought there was a rosy picture of life, and when you’re young, everything seems so good,’” said Striho, who shares counterpoint vocals with Dailey on the track’s chorus.
“You also might think someone’s going to swoop in and make everything better if life’s not going well. That doesn’t always happen, though.”
The Stratton Setlist 