This month’s edition of “The Soundcheck” deciphers a range of relationships, whether they’re fleeting or everlasting. Some pull the “Ripcord” to break a scary free fall while others cherish “Every Heartbeat” and say a belated “Thank You for Breaking My Heart.” It also reveals the wisdom that comes with age and experience—I Know a Thing and Ronronner—and the potential for future growth.
Adam Liles, “Ripcord”
The Indigo Curve guitarist shares an instant headrush of emotion and energy on his debut solo single “Ripcord.” Produced by Anton Pastoria, the track’s swirling, indie-rock array of pounding drums, glistening electric guitar and humming bass propel Detroit’s Adam Liles into a brief infatuation until the “ripcord” of reality takes over. In raspy, reverb-filled vocals, he sings, “And I’m feeling it all / As far as feeling it goes / She came in like a star / Oh, but she left like a ghost.”
Liles also released a new video for “Ripcord,” which features him strumming a cream Fender Stratocaster on a pedestrian bridge at sunset over an interstate. He teamed up with Love Streams Films’ director Andrew Brumfield and Craigen Z Oster to film the introspective take on his single. Liles and Brumfield also collaborated on The Indigo Curve’s kaleidoscopic video for “But I Wanna Write Love Songs” last summer.
Blockhouse Valley’s Ashleigh Glass, Jon Howard, Cody Cooper and Danny Steinkopf feature wistful stories about heartbreak, home and hope on their self-titled debut EP. Photo courtesy of Blockhouse Valley
With musical roots throughout the Midwest, Blockhouse Valley deeply cultivates a flourishing Americana landscape in southeast Michigan.
The metro Detroit quartet of Ashleigh Glass (vocals), Cody Cooper (mandolin, guitar), Jon Howard (guitar) and Danny Steinkopf (upright bass) combines robust elements of Appalachian folk and Tennessee bluegrass with gritty Rust Belt sentiments on their self-titled debut EP.
“Growing up, my prolific and prodigious grandparents helped shape my vision for my musical endeavors. I was exposed to artists like Dolly Parton, Marty Stuart and Chet Atkins, but my personal preferences skewed more toward rock, blues and indie music,” said Cooper, who hails from Sunbury, Ohio, and whose grandparents reside in northeast Tennessee’s Blockhouse Valley.
“When Ashleigh, a West Virginia native, and I started writing music together, we found a lot of shared experiences tied to the trials of living in the Rust Belt. We both lamented witnessing the impact of lost industry and economy on our parents’ and grandparents’ generations and were concerned about how it was shaping our peers and our perspectives in the Midwest.”
In response, Cooper and Glass penned six thoughtful tracks for the EP that reconcile past struggles and beckon future growth. Wistful stories about heartbreak, home and hope soar alongside rich harmonies and fervent acoustic instrumentation.
“The tie to Blockhouse Valley harkens to the short-lived promise of prosperity, the long-term costs lurking beneath the surface, and the ever-enduring splinter of hope that we might learn to do better as we learn from all we’ve seen,” Glass said.
“From this viewpoint, our music has been influenced by a wide range of artists, most notably Chris Thile and his bands Punch Brothers and Nickel Creek. They encapsulate so many elements that we relish, including bluegrass instrumentation that blends nods to their predecessors with truly virtuosic musicianship.”
Strange Heart’s Bobby Jankowski, Josh Clemens and Mike Schneider add soulful instrumentation and Motown-rich sensibilities to “Falling Back Again.” Photo – Dave Lamarand
The metro Detroit rock-soul trio of Josh Clemens (lead vocals, guitar), Mike Schneider (vocals, bass) and Bobby Jankowski (drums) share heartfelt truths of the past and find the way forward on their latest album.
“Falling Back Again is when you’re trapped in a cycle, and you’re falling back into the same old patterns,” Clemens said.
“In a relationship, it can be like, ‘We’re fine; we’re doing really good,’ but then it’s like, ‘We’re back to square one,’ and finally it’s like, ‘Are you leaving? No, I’m staying.’”
That cyclical nature of Falling Back Again elicits eight personal tales of love, self-acceptance and heartbreak against a backdrop of soulful instrumentation and Motown-rich sensibilities. Each track accepts one circumstance and prepares for the challenges of the next.
“It’s just this vicious cycle, and it never stops. When you’re Falling Back Again, you’re falling back to the beginning of the cycle, which has a ‘with or without you’ vibe,” Clemens said
“That idea also kinda hits throughout the album, and obviously it’s within the song ‘24 Hours (Without Your Love).’ In a song like ‘Good Company,’ it fits perfectly. It fits a lot of places.”
The metro Detroit jazz vocalist and jazz pianist relish the importance of self-love on their latest cathartic single, “My Lonely Heart.”
“I think we all have experienced poor timing with relationships or life in general. I definitely drew inspiration from the feeling of being in between healing and having to say no to take care of myself,” said Van Goor, who co-wrote the track with Bennett.
“Will had given me the working title, ‘My Lonely Heart,’ and I knew I could either take it literally and write about being sad or try to put an alternate meaning. The second option was more enticing, and because I like a challenge, I came up with a positive spin on being lonely.”
Throughout “My Lonely Heart,” Van Goor strongly upholds the positive side of being single while Bennett responds with wistful piano.
She sings, “But for now it’s spared from needing repairs, my lonely heart/Do not try to sway, my mind has been made up/How can I give love from my own empty cup?/Love feels like a trick, I can’t take the risk/I’ll keep my lonely heart.”
“I hope it helps people not feel alone in the struggle of wanting to jump into something exciting, but knowing that it’s best to wait until you’re ready,” Van Goor said.
Van Goor and Bennett sought inspiration for the track after learning the 1937 Billie Holiday-Teddy Wilson classic, “Foolin’ Myself,” during the pandemic lockdown. With creativity flowing, they penned “My Lonely Heart” and took it to producer-engineer Josef Deas at Ann Arbor’s Big Sky Recording.
“Will showed me a tune he wrote inspired by that style, and it became ‘My Lonely Heart,’” she said. “Josef totally got what we were going for and even added some effects that gave it a full, warm vintage feel.”
To accompany “My Lonely Heart’s” release, Van Goor and Bennett shared a new live performance video filmed at Big Sky Recording. Director Becca Messner captured the duo bringing an intimate club-style feel to the track.
“Becca had made a video I was in for the Miss Paula Quintet last winter for the tune, ‘Baby’s First Christmas,’” Van Goor said. “I loved how that turned out, and she got the idea perfect.”
In fact, Van Goor and Bennett will share another perfect performance of “My Lonely Heart” and other material at two upcoming live shows in Ann Arbor: Aug. 25 downtown and Aug. 26 at the Blue LLama for Bennett’s birthday.
“August 25 will be very fun playing outside downtown Ann Arbor, which was organized my Matthew Altruda. I think the audiences in Ann Arbor appreciate a variety of music, and that helps our efforts,” Van Goor said.
“(August 26) will be very special because Will is going to be bandleading. I’m looking forward to it, and I don’t get to be a ‘sidewoman’ very much. We will be joined by University of Michigan grad Reuben Stump on bass and Ann Arbor guitarist Jake Reichbart.”
Lilly MacPhee uncovers hidden thoughts about time, loss and love on “Between the Lines.” Photo – Jackie Pappas
Lilly MacPhee continually searches for a deeper understanding in life.
The metro Detroit indie folk singer-songwriter explores the true meaning of everyday words and actions on her new contemplative EP, Between the Lines.
“When I named the EP and thought about the overall theme of all the songs, I wanted people to really think about something before they say it. I believe in the notion of ‘say what you mean and mean what you say,’” MacPhee said.
“My whole goal with songwriting, and especially with the lyrics on this EP, is to always be authentic and raw. I also want to write lyrics universal enough to where everyone can interpret their own meaning.”
While reading Between the Lines, MacPhee digs beneath the surface and uncovers hidden thoughts about the passage of time, the loss of a loved one, the value of simple pleasures, and the need for lifelong connection.
Each haunting track also reminds listeners to learn from the past and find a sense of gratitude in the present, even as life’s troubles and uncertainties continue to build.
“Even through all the loss and the grief that I’ve experienced and others have experienced during these crazy times, I’m always trying to find the bright light,” MacPhee said.
“And for me, that’s through songwriting and the idea of trying to find the bright light in the darkness and finding the positivity when it might be hard to see.”
Aspen Jacobsen practices self-care on “Shouldn’t Give a Damn.” Photo – Scottie Magro
Filled with confidence and purpose, Aspen Jacobsen boldly shares a sense of personal empowerment.
The Americana-folk singer-songwriter and multi-instrumentalist confronts internal guilt and fear from toxic relationships on her latest defiant single, “Shouldn’t Give a Damn.”
“I struggle with people-pleasing, and at times, have given a tremendous amount of energy to others, leaving nothing for myself and getting nothing in return,” said Jacobsen, 17, a senior at Interlochen Arts Academy.
“What inspired me to tackle toxic relationships and the effects it has on someone was through my own personal experience. I felt powerless and used, yet guilty and afraid of putting an end to an unhealthy relationship to prioritize myself.”
Jacobsen strongly channels that “Shouldn’t Give a Damn” energy as steadfast acoustic guitar, pulsating drums, fearless electric guitar and earnest fiddle create a protective barrier of fortitude.
She sings, “3 a.m. caffeine I don’t want to fall asleep/‘Cause your misted over eyes are haunting my dreams/Yes it helped me but hurt my guilty mind/Now you’re cleaning up my ashes and what’s left of your pride.”
“The first two lines … I wrote after a sleepless weekend. I had constant nightmares that left me scared to fall asleep because of feeling guilty. It was through writing this song that I had let go of the guilt and reminded myself that it’s OK to be ‘selfish’ sometimes and take care of yourself before others,” Jacobsen said.
“That is healthy, that is self-love. This song is me declaring to myself and the listener that you don’t have an obligation to give a damn for someone with whom you have a toxic relationship.”
Ahead of Saturday’s soulful show, The Stratton Setlist chatted with Plomaritas and Phillips about their current inspirations, live sets and musical plans for 2022.
TSS: How has your 2022 been so far? What’s been inspiring you these days as an artist, songwriter and musician?
AP: 2022 has been off to a good start, all things considered. I started it off playing a Caribbean cruise for a week. Since then, I’ve been in the studio a bit and coaching high schoolers for the singing competition, Future Stars, in Ann Arbor. I’ll be the musical director for the show, which happens later in February.
What inspires me generally in songwriting are my wife and three sons. It’s also the struggle of being a professional musician and all of the trappings of fighting through insecurity and enjoying your own and others’ art, and being jealous of their success and reveling in it at the same time as they’re often my friends.
Two things I’ve taken in that have affected me greatly in the past year – The Ken Burns documentary on the history of country music and the “Cocaine & Rhinestones” podcast by Tyler Mahan Coe. Some processing of those will surely spill out onto the stage at Trinity House.
KP: I’ve been experiencing a lot of personal challenges and upheaval, but also so much growth and hope as of late. I’ve been more grateful than ever for the outlet that songwriting is to me. During this season, it’s felt more like a necessity than a choice.
Interested artists or bands from any genre can enter the contest through Feb. 28. To be considered, entrants can submit audio demos/recordings that best demonstrate their musicality and artistry.
“Submissions can be any type of audio,” said Katona, producer-engineer for Bird Fight Records and owner of JK (Not Kidding) Studios. “It’s more about the songwriting than it is about production. We’ll take it from wherever it is to a fully produced song.”
The winning artist or band will have their material produced by JK (Not Kidding) Studios and released via Bird Fight Records. They also will receive marketing and video production support as part of the winning package.
“The people in Michigan and Detroit are so talented,” said Penn, graphic designer and social media manager for Bird Fight Records. “There are so many incredible artists around … we don’t want them to go unrecognized.”
Tom Alter and Katie Williamson discard painful feelings of the past and surge toward the radiant promise of the future on “Far Above and Far Away.”
Brimming with atmospheric soundscapes and curative tales, After Blue provides a calming, aerial pathway to new possibilities.
The metro Detroit indie folk duo of Katie Williamson (vocals, piano) and Tom Alter (vocals, guitar) instantly soothes and invigorates weary, lost souls on their enchanting new album, Far Above and Far Away.
“I think the first song, ‘Armada,’ was written prior to the pandemic, and I read an article in the paper about the town and what they did to build the garden. And Katie and I finished that one off together in her old house. I think that song kinda set the stage for the rest,” said Alter, who formed After Blue with Williamson in 2016.
Throughout their latest release, After Blue gracefully discards the painful feelings of the past and surges toward the radiant promise of the future. Each mesmerizing track allows listeners to rediscover their sense of spirituality and inner peace within an azure-filled dreamscape.
“I think ‘Charlotte’ was the next one that was written … but it is about persistence. There’s a line in there where it says, ‘I promise that bruises heal,’ and that’s the core of that song,” Alter said.
Lucas Powell unearths fragile thoughts from the past on “Michigan.” Photo – John Kroll
Lucas Powell deeply digs into buried experiences and emotions of the past.
The metro Detroit indie folk singer-songwriter and multi-instrumentalist delicately exhumes old selves and uncovers entombed painful memories on his cerebral, haunting debut album, Michigan, which dropped in August.
“One of my favorite songwriters as a kid was Jon Foreman because I grew up religious and liked Switchfoot. He once said songwriting is like archaeology for him. He just digs inside and finds something. I saw that in an interview a couple of years ago and realized that’s my songwriting process,” Powell said.
“If I can’t write something, then I know that it’s because I need to meditate and get it out of me. Michigan is very embodying of a young, coming-of-age kid trying to get it all out. I could just see me trying to find the right words to say, and I love it for that reason.”
On Michigan, Powell slowly unearths fragile thoughts about spirituality, growth, self-worth and loss throughout his 12-track personal excavation. Filled with vivid religious imagery and layers of swelling cinematic soundscapes, the album thoughtfully chronicles his cathartic journey toward inner enlightenment and existential freedom.
“I’m exploring those themes to use that language as my own narrative. Artists use Christianity or religion as a way to talk about themselves or question it. It’s a mix of sometimes I’m addressing it, and sometimes I’m just using the language that I have,” Powell said.
The Stratton Setlist 