The Idiot Kids’ Nicholas Zambeck, Jon-Mikal Bartee and Andrew Maslowsky search for acceptance on “Chapels.” Photo – Jackleen Diana Eve
For Jon-Mikal Bartee, a new album with The Idiot Kids allows for a deep exploration of the past and a clear pathway for the future.
The lead vocalist-guitarist of the Detroit garage-punk trio mines personal experiences, thoughts and emotions related to sex, identity, addiction and trauma on Chapels. In turn, those excavations create more space for relief and renewal.
“That’s kind of what the whole album is about. Through trauma and addiction and all of that, trying to find acceptance. That’s just what it kind of turned into. It’s not like we sat down and said, ‘I want to write an album about my childhood,’” Bartee said.
“For me, listening to artists like Elliott Smith, Thom Yorke, Bob Dylan and people who talked about very personal things—sometimes in a more abstract way and sometimes a little more literally—that’s what I connected to. Just from hearing people talk about what they’re dealing with didn’t resonate in the same way as like putting it to a melody or a rhythm.”
Alongside bandmates Nicholas Zambeck (bass) and Andrew Maslowsky (drums, vocals), Bartee adopts that refreshing approach on Chapels, which features a dozen tracks filled with candid lyrics, earworm choruses and turbocharged punk-rock instrumentation.
“This is the kind of stuff, as a kid and as a teenager, I didn’t hear anyone talking about. Luckily, the world has come a long way in the last 20 years. But, at the same time, with more visibility, there’s also more hatred, so it’s kind of like this battling force back and forth,” said Bartee, who grew up in a religious family and came out as an adult.
“These are the songs I wish I had heard as a teenager or a young adult, and I was dealing with that internalized homophobia and religious trauma and whatnot. That’s why I ended up calling it Chapels because it all kind of went down to that.”
The Ottawa, Ontario blues singer-songwriter and multi-instrumentalist spotlights the honesty and vulnerability people share after dark on “We Bloom at Night.”
“For years, I had wanted to write a song around an idea that Eniid Goodman, a great Canadian songwriter and interpreter of Joni Mitchell’s music, had shared with me,” said Sturton about her new track, which will be included part of the upcoming Night Bell 12-inch vinyl single via J.M.I. Recordings.
“It was about how there are times in life when we can be wide open to who another person is, but that it can also be stressful if [that experience] is [later] followed by them pulling back.”
At the start of “We Bloom at Night,” Sturton sings, “I see the moon / And the moon sees me / I’m used to hiding / Comes so easily / But the moon’s gentle light / Keeps shining on me / Patient and kind / Shining on what I want to be.”
“[Eniid] shared that she had learned … there are cycles in nature of [flowers] opening and closing. When I had mentioned to [another] friend about how flowers open during the day and close at night, he said, ‘What about the evening primrose?’” Sturton said.
“And in that moment, I got the idea of how to express the song I had struggled with for years. It did kind of change my life and is one of my favorites.”
The track also celebrates Sturton’s love of the nighttime and the tranquility that comes with it.
“I am most definitely a night owl and always have been since I was a child,” she said. “I like how people open up when it gets dark. When I’m myself, I feel like I can hear my thoughts better when the town is sleeping.”
I recently spoke with Sturton about her background, time in Plumtree, current recordings, new song and upcoming 12-inch vinyl single, this week’s shows with Detroit folk singer-songwriter Mike Ward and future plans.
The Detroit alt-country duo of Carrie Shepard (vocals, acoustic guitar) and Lawrence Daversa (electric and steel guitars, backing vocals) explore and weather life-changing terrain on their new Odyssean album, On the Run.
“When we were trying to think of an all-encompassing title, we started realizing how much that theme goes through the record, the On the Run theme,” said Shepard about the album out today via Sweet Apple Pie Records.
“We didn’t have a specific theme before going into the record because we actually recorded about 20 songs at once. We picked half that we thought would go well together for this first one, and we have half that we’re hoping to release next year.”
As the first half, On the Run journeys through melodic Laurel Canyon soundscapes, ‘70s-inspired country-rock instrumentation fused with hard-rock, psych-rock, blues and funk elements, and daring tales of growth and reflection. Collectively, the album’s 10 tracks serve as the ideal sonic companion for an open-ended road trip.
“The last two records featured the same guitar and the same amp that I play with live all the time. I just brought different stuff in because I was playing different stuff … and some songs like ‘Billy’ seemed like it needed to be a little more aggressive,” Daversa said.
“I did a whole run-through of that song and sent it to some guitar-player friends of mine and one friend was like, ‘Yeah, I hear what you’re trying to do on that, but that ain’t it.’ At first I was like, ‘Forget you, man,’ and then I started thinking about it. He was right because I changed it to what we do now, and I think it turned out a lot better.”
The Detroit indie-rock sextet of Kate Hinote (vocals, lyrics), Erin Williams (backing vocals, keys, lyrics), Tony Hamera (guitar, synths), David Johnson (guitar), Bryan Talaski (bass) and Jim Faulkner (drums) chronicles pivotal moments of growth, heartbreak and change on their latest cathartic EP, Time Didn’t Matter.
“I certainly hope that people can relate to it and have that feeling,” Hinote said. “Any time you’re making music, you hope that people can react to it in some way, and I am considering that when I’m writing, but I also gotta get stuff out.”
As an emotional outlet, Time Didn’t Mattercarefully opens the floodgates of past relationships, present circumstances and future possibilities. Six passionate tracks flow alongside introspective lyrics, fiery goth-rock instrumentation and ethereal shoegaze sensibilities.
“That’s just what kind of comes out … I’ve always written that way and still try to write in a way that can be interpreted,” Hinote said. “It’s a little vague, so that it can be left open to interpretation, and there are certainly some specific relationships that are addressed on this EP.”
Otto’s Nate Dornfried, Chesney Walters, Jonny Walker and Austin Howard create an ’80s-inspired pop sound on “Still Picture You.” (Not pictured: Ryan Freitas) Photo – Brooke Tiller
For Otto, a series of virtual songwriting sessions provided unexpected creativity and camaraderie.
The Detroit indie-pop quintet of Chesney Walters (vocals), Jonny Walker (guitar), Nate Dornfried (keys), Ryan Freitas (bass) and Austin Howard (drums) instantly gelled while penning new tracks over Zoom for their infectious debut EP, Still Picture You.
“In 2019, I was ready to call it quits with music, and then two weeks later, I just changed my mind. Austin and I decided to start doing our own project, and we started writing with no end-game in mind. And I knew Nate from where we grew up, and I ran into him and asked if he wanted to be a part of it,” said Walker, who previously played with Howard in another project.
“The three of us wrote together for a year and a half and auditioned 10 different singers, but couldn’t find anyone we were happy with. I was ready to call it quits (again) because we just couldn’t find anyone, and then Chesney just came out of nowhere. Austin and I also have known Ryan for a while. He ended up playing bass with us for one show, and now he’s here.”
With the right lineup intact, Otto started compiling a new batch of earnest tracks in 2020. Walters met regularly with Walker to write and refine the ‘80s-inspired, synth-pop songs that would become Still Picture You.
“I was living with my family at the time in the suburbs, and I wasn’t allowed to go anywhere except to Jonny’s house to write music,” Walters said. “We would just write and write for months while there was nothing else to do.”
During their writing sessions, Walters and Walker collaborated remotely with other Otto members until the pandemic subsided. It would be another six months before the entire band would meet in person.
“I hadn’t met them for months once we started, and we would all rotate at Jonny’s house and be there at different times,” Walters said. “But the first time we were all together in the same place was when we went to Nashville in March 2021 to record.”
Pia gets nostalgic on her new single, “Old Days.” Photo – AC Backus Photo
Pia thoughtfully shares a personal snapshot in time.
The Detroit indie rock singer-songwriter reminisces about a past friendship and recalls vivid moments of connection on her nostalgic new single, “Old Days.”
“It’s the singular event of a friendship not really ending, but dissipating and changing the way that it used to look. It’s a shorter realization of like, ‘Oh wow, this person that I used to either talk to every day or had this certain relationship with, it’s now different,’” she said.
Throughout “Old Days,” Pia wonders what her friend drinks for breakfast and whether they remember summertime highway jaunts or stolen firewood adventures.
Alongside those inquiries, an emotive swell of wistful electric guitar, quavering bass, thumping drums, shiny cymbals and jingly tambourine seamlessly transport Pia to the past.
She sings, “It makes me sad something changed in your eyes/Ask how you’re doing seems like a big disguise/December’s long and we both know/That the sun is coming and it’s melting the snow.”
“When I reached the end of writing ‘Old Days,’ it helped that I similarly was realizing, ‘Oh friendships and relationships end, but not always for the worst, and that time is still special,’” Pia said.
Pia penned her sentimental track in May and recorded it with a talented team of collaborators, including producer John Katona of JK (Not Kidding Studios), Minihorse’s Ben Collins (lead guitar), Tom Mihalis (lead guitar), Stoop Lee’s Ade Olaniran (drums) and Matt Jones (bass).
“I recorded the demo and basis of the whole song with Ben Collins and myself on guitar and vocals and Ade of Stoop Lee on drums. Then, I sat on the song for a little because I got busy with residency, and then ended up finishing it up at John Katona’s,” said Pia, who’s also a pharmacist.
To accompany the release of “Old Days,” Pia dropped a thoughtful new lyric video, which features her roaming around Belle Isle.
“I asked my 16-year-old sister to videotape me doing random stuff on my friend Matt’s camcorder. She was like, ‘Oh, I get to use a camcorder?’ And I was like, ‘Yeah, try it out.’ She followed me around, and I used that footage in the video,” she said.
Dirt Room will bring their burgeoning sound to Small’s in Hamtramck. Photo – Mykel Andre
With new blood, Dirt Room continually thrives on organic growth.
The Detroit experimental collective of Samuel “SJ” Sprague (vocals, bass), Patrick Norton (guitar, Octatrack), Nate Zonnevylle (synth) and Duncan MacKillop (drums) will cultivate their burgeoning sound through a series of upcoming Nice Place Presents live shows, including Feb. 4 at Small’s in Hamtramck.
“This is a completely new lineup for Dirt Room, but the synergy is there. Their musicianship and enthusiasm inspire me to keep going,” said Sprague, who co-founded the band in 2016.
“Pat has been an absolute rock for me over the past few years. Their ambition and work ethic astounds me, and the music we write together is truly a blessing in my life. Duncan and Nate are the young bloods in the group. They’ve been super enthusiastic about the new music we’re playing together and working really hard to make something special.”
“We’re very fortunate to be playing with such talented local artists, especially after being undercover for so long,” Sprague said. “I’ve known the Who Boy group as well as Mykel Andre for a few years now, so being able to put a show together with these guys is definitely special.”
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.”
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.
Skywerth blends metal, psych rock, industrial, prog and hip-hop on “Waves.” Courtesy photo
Last spring, Skywerth watched a bewildered nation quickly unravel before his stunned eyes.
The Detroit multi-instrumentalist, producer and songwriter felt overwhelmed by the social, economic and political upheaval arising from the COVID-19 pandemic.
“I had just watched Ahmaud Arbery getting shot down in his own neighborhood and the music industry crumbling overnight all while looking at the incredible divide and conspiracy theories being pushed on social media,” he said.
That lingering frustration, disappointment and anger prompted Skywerth to pen his latest striking multi-genre, emotional-fueled single, “Waves,” featuring Hamtramck indie folk duo Jackamo.
“It was so apocalyptic, so I just wrote exactly what I was observing. Social media is tailored for you, so if anything pops up on your feed that is outside of your belief system, it’s going to stick out like a sore thumb, and your friends are going to say it’s wrong, too. No matter what it is, you are constantly being told that you’re right.” he said.
Now available on all streaming platforms, “Waves” elegantly rises with the genre-bending tides of metal, psych rock, industrial, prog and hip-hop into a symphonic tsunami. Thumping drums, tingling cymbals, swirling electric guitars, crawling bass and expansive synths quickly engulf listeners in a welcoming sense of relief and escape.
Skywerth reflects, “Alone in the waves with your eyes open wide, living in a paradise/Stare into the light/Hands upon the shore, eyes are getting sore/Here we are, caught in the eye of the storm/As the rain starts to fall, as the rain starts.”
“Lyrically, it’s a bit of a pessimistic song. If the song can make two people put their phones down and reconnect with one another in real life for two days, then it would make the year for me,” he said.
Skywerth also forges a beautiful musical connection with Jackamo’s Alison and Tessa Wiercioch, who provide somber, thoughtful harmonies on “Waves.”
“I fell in love with Jackamo the moment I heard them. We have mutual friends, and they also work with Steve (Lehane) at Rustbelt Studios. After writing the lyrics, I knew Ali, Tessa and I could do something pretty cool,” he said.
Along with Jackamo, Skywerth collaborated with Eric Hoegemeyer (soundscapes, synths), Matt Voss (drums) and co-producer Steve Lehane (bass, drum machines, production) on “Waves,” which initially started as an instrumental track.
“After the pandemic hit and I wrote the lyrics, I had this sort of organized chaos. Instead of being consumed by this confusion surrounding me, I had all my thoughts and observations laid out on something that was familiar and felt like home to me,” said Skywerth, who recorded the track at Royal Oak’s Rustbelt Studios and credited Lehane with transforming “Waves” into a vocal track.
“It wasn’t a conscious decision to weave all of these (multi-genre) elements together. I’ve got a bit of ADD, so when something sounds the same for several minutes I get bored. I need to change things a bit to keep me interested. I think the dynamics of the tune help outline the emotions felt from the pandemic.”
Skywerth brings those heavy emotions to life in his wistful new video for “Waves” as he ponders the pandemic’s ongoing impact with Alison Wiercioch in Hamtramck. Filmed and edited by Sara Showers and Cheyenne Comerford, the video also features footage of Skywerth performing live inside a vacant Magic Bag in Ferndale.
“We started tossing around ideas for a video in late 2020, and we shot at The Magic Bag in February. It was quite unsettling being in the venue during the pandemic. We also shot in Hamtramck back in the spring, and it was a group of friends running around with a camera,” he said.
The Stratton Setlist 