The Legal Matters’ Andy Reed, Chris Richards and Keith Klingensmith chronicle the pandemic, politics and personal struggles on “Chapter Three.” Courtesy photo
The Legal Matters brilliantly shine a light during a lingering time of uncertainty.
The mid-Michigan and metro Detroit power pop trio of Andy Reed, Chris Richards and Keith Klingensmith combines sunny melodies, lush harmonies and spirited instrumentation over a dozen contemplative tracks chronicling the pandemic, politics and personal struggles on Chapter Three.
“Music lovers value music even more now than they did before the pandemic. We hope people enjoy this record, and that it’s another decent thing that’s come out of this crappy time. We want people to put their ears on it and give it a chance, and we think there’s a little bit of something there for everybody,” Reed said.
Now available via Klingensmith’s Futureman Records, Chapter Three serves as The Legal Matters’ third infectious, compelling release since 2014. Each track provides an intimate, thoughtful perspective about moving forward in today’s ambivalent, precarious world.
“This record was mentally one of the most helpful things through all of this because it gave the three of us a chance to work on something that we really enjoy doing. We’re ridiculously pleased with the results,” Reed 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.
Chain of Lakes’ “Next Few Winters” EP commemorates the all-weather experiences of home, relationships and family. Courtesy photo
Chain of Lakes beautifully recreates the cozy, peaceful feel of winter in the midst of summer.
The Alto indie folk singer-songwriter brings a relaxed, reflective mood to a new live virtual performance of his latest EP, Next Few Winters, premiering 8 p.m. Sunday via The Stratton Setlist’sFacebook page and newly launched YouTube channel.
“We went in there with the idea of recreating the tracks. It’s a cool way to revisit the songs and get together with the boys. There are only three people that can play ‘Next Few Winters,’ ‘Black Ice’ and ‘Where It Starts,’ and it’s us recreating that space sonically while being in the same room together,” said Kyle Rasche, aka Chain of Lakes.
Rasche (vocals, guitar) teamed up with Jeffrey Niemeier (violin) and Kyle VanderVeen (ambient guitar) to record the intimate live show at Grand Rapids’ Second Story Sound in June. Mixed and mastered by Greg Baxter and filmed and edited by Drew VanderVeen, the video features Chain of Lakes performing inside a dimly lit, wood-paneled, red-walled studio.
“I was not envisioning sweating in shorts and a tank top while I was practicing for Next Few Winters. We had to dress a little warmer for the video so people might actually believe it was recorded back in the winter,” said Rasche with a laugh.
Dani Darling transports listeners to a boundless cosmic frontier filled with vintage-neo soundscapes on “The Future.”
Drenched in psychedelic sensibilities, space-age rhythms and funky prog-jazz fusions, Dani Darling vividly constructs an insightful time machine that revisits past reflections and welcomes future possibilities.
The Ann Arbor chanteuse-guitarist instantly transports listeners to a boundless cosmic frontier filled with vintage-neo soundscapes and never-ending stories on The Future EP, which dropped June 25.
“The kind of energy we need is that kind of New Year’s Eve vibe, like having a fresh start, feeling adventurous and wanting to see what’s out there. When it comes to these current times, I think it’s about being hopeful for the future and the energy that people have when they’re anticipating it and feeling positive about it,” said Danielle Davis, aka Dani Darling.
“That’s why New Year’s Eve is my favorite holiday; that whole energy is unmatched when everyone is hoping for something greater and looking forward to letting go of what’s in the past.”
Darling initially envisioned The Future during a winter solstice 2020 recording session at Ypsilanti’s Grove Studios. At the time, she recorded the album’s astral, improvisational jam, “The Age,” and embraced the hypnotic, psychedelic sound that emerged.
“After we all finished playing it, we stopped and looked at each other and said, ‘Whoa that was exactly it.’ Then we were like, ‘Let’s do it again,’ and the New Year’s Eve session was the one heard around the whole project. It was a seven-hour lock-in, and most of it came out of that,” said Davis about her third release and follow-up to 2020’s mystical Mage EP.
“I was also thinking about the next phase of Dani Darling coming from a very lo-fi, toned-down sound where I’m pretty limited with my resources to suddenly having this ability to bring my friends and people I really respect in musically. That really changed the game.”
Athens Creek’s Taylor Haring and Nate Jones address growth, divorce, nostalgia and sobriety on their debut EP, “The Road Home.”
For Athens Creek, The Road Home represents a poignant, personal mile-marker in a lifelong journey to overcome adversity and find redemption.
The metro Detroit Americana duo of Taylor Haring (vocals) and Nate Jones (vocals, guitar) proudly reflects on that introspective odyssey nearly a year after releasing their debut EP.
“Our original plan was to write a full album, and we wrote down on paper the ideas we had for it. The ideas that were there mostly came from that paper, which captured what we wanted to write over the next year. Unknowingly, we didn’t realize other things were going to come up,” Jones said.
“Right now, we still have a sense of pride about it. We’re glad we got through it and did it, despite the fact that it took a year and half for us to release it. It was worth it.”
Released last August, The Road Home beautifully documents Athens Creek’s original destinations of professional and spiritual growth, yet refreshingly chronicles the unexpected detours of divorce, nostalgia and sobriety across six tracks. It’s a realistic, relatable portrayal of life’s ups and downs zigzagging from one point of uncertainty to the next, especially in a pandemic.
“When everything first started to happen, we didn’t know how long it was going to last. First, it was only going to be a couple of weeks, and now it’s been nearly a year and a half later. We all had our own struggles and learning curves, but it allowed us to create and share in ways that we didn’t before as far as recording and having live meetings with each other,” Haring said.
Alison Albrecht shares her personal transformation on “I Say.” Album artwork – Andrew Albrecht
Alison Albrecht elegantly transforms past lessons into future growth.
The Ann Arbor pop-soul-folk singer-songwriter deeply reveals her personal metamorphosis on “I Say,” an authentic, fearless anthem about taking charge of one’s life.
“It encapsulates exactly how this last year has gone for me. It’s just been a huge transformation in realizing if you can let go of the ‘supposed tos’ and the ‘shoulds’ and just live more boldly with conviction and confidence life opens up so much more,” Albrecht said.
Albrecht carries her courageous mindset forward as beating electronic drums, delicate cymbals, mellow bass, contemplative piano and tranquil synths provide internal strength. She soulfully sings, “Silence the voices/Chin up/Look into the mirror/Lock eyes with the face/And finally the fog begins to clear/Biting my nails down/But alone/Nowhere to hide/I breathe the same air/With a fresh new pair of eyes.”
“I’ve been diving into passion projects rather than thinking, ‘I should do this’ or ‘I should do that.’ I’m finally having the confidence of living in every moment and being present. This time, I say I’m not going to listen to those outside voices like I had been for a long time,” said Albrecht, who’s inspired by Sara Bareilles.
Albrecht teamed up with younger brother Andrew Albrecht to co-write and produce “I Say” in their home studio. Andrew provided the thoughtful piano instrumental while Albrecht penned the personal lyrics during a brief, torrential downpour.
“Two seconds later, the clouds suddenly parted and the sun beautifully shined. I was like, ‘That is such a metaphor for the song, and I need this right now.’ I tried to harness that sort of energy, and we wrote the song real quickly. It’s definitely one of my favorites,” she said.
The Albrechts sent the finished track to Jim Kissling at Ferndale’s Tempermill Studio for mastering. Once the single was released in March, the siblings started developing a concept for the upcoming “I Say” video, which will drop later this summer.
“We’re so lucky to live in an era where we can do things ourselves. I’m all about authenticity and trying to know exactly who I am and who we are. I think capturing video and audio in spaces where we feel comfortable gives the audience great insight into who we are,” Albrecht said.
FROSTisRAD embodies a bold and brash mindset on “McLovin/The Ugly One.” Photo – Myron “TheMrMr” Watkins
Backed by hip-hop swagger and emo pop-punk tenacity, FROSTisRAD provides the ultimate confidence boost for angsty listeners.
The Detroit alternative rapper infuses courage, strength and authenticity into his latest insecurity-smashing single, “McLovin/The Ugly One,” now available on all streaming platforms. FROSTisRAD’s fearless multi-genre anthem delightfully draws inspiration from “Superbad’s” much-adored McLovin character.
“He was the man in that movie, like a lot of people overlook that. He was the realest one. He wanted to tell the homeboy, ‘Like Yo, we’re going to be roommates together. You just need to tell him,’” said Jeremy Ian Doneghy-Horrington, aka FROSTisRAD.
“He’s the only one who ended up with the girl at the end. He was rolling with the cops shooting the guns, like he was the man. He was overshadowed; he needed more props.”
Throughout “McLovin/The Ugly One,” FROSTisRAD instantly adds a sonic backbone as vivid, ascending electric guitars, booming bass, light cymbal taps and intermittent electric drums push listeners into unfamiliar territory.
In tandem, AV CLUB bandmates Armando De Jesus III (guitar, audio engineer), Antonio De Jesus (drums, film), VA (bass, multi-instrumentalist) and Myron “TheMrMr” Watkins (film/DJ) help FROSTisRAD solidify his bold and brash mindset.
FROSTisRAD reveals, “Pops told me right/Keep ’em at a distance/And everything is tight/I’m mostly talking shit/Yo/I don’t believe the hype/Lambo for the weekend/They can’t believe my life/I don’t give a fuck/This is nothing/Bitch I’m super bad/I’m McLovin/Yea/Got two on me/You the one I’m fucking/Bitch I’m super bad/I’m McLovin/Yea.”
That newfound “McLovin” self-assurance also prompts FROSTisRAD to accept his true self and look past others’ shortcomings and hang-ups. He developed the initial reflective concept for the track while recording it in his home studio.
“I know I’m gonna be friends and forgive people when they do shit. Because that’s just my nature, it’s the kinda guy that I am. It’s just a battle in my head if I’m gonna stay mad at people,” said Doneghy-Horrington.
“I feel everyone doesn’t do things purposely or intentionally to hurt each other. It’s just based on how they’re feeling that day, and they don’t know how to fucking manage the way that they feel or treat people sometimes.”
Kenyatta Rashon reflects on her transition as an emerging artist and expectant mother on “The Art of Keeping It Real.” Photo – Chris Hollis
Kenyatta Rashon delightfully turns the page to a new life chapter.
The Ypsilanti R&B vocalist and Amplify fellow welcomes a new era of artistic growth, emotional strength and inner enlightenment on her latest album, The Art of Keeping It Real, out now via all streaming platforms.
“I didn’t come up with the title until afterward. The word that stuck out to me was ‘honesty.’ A lot of it has to do with emotional passages whether it’s friendships, relationships or fun; it’s everything that’s deep in your spirit,” Rashon said.
“When I got the chance to work with the fellowship, Rod (Wallace) and I spoke, and he was like, ‘Well, what would you like to do?’ And I was like, ‘I want to put it all out,’ but I explained to him that it’s very hard for me because I get writer’s block. He said, ‘I want you to write everything down,’ so I began to write everything down.”
That journaling process allowed Rashon to deeply reflect on her transition as an emerging artist and expectant mother. She spent five months crafting the seven authentic, insightful stories that would become The Art of Keeping It Real. (The project also features her 2020 single, “Ymmfb.”)
“I found out I was pregnant, and I went through all the emotions you can imagine from being pregnant. By the time it all came together, I’m like, ‘This is a story; this is something interesting that someone can relate to on many levels,’” said Rashon, who’s inspired by Amy Winehouse, Beyoncé, Erykah Badu, Aretha Franklin and Mary J. Blige.
“I wanted to go with these songs and focus on transparency and honesty, so I decided to go with The Art of Keeping It Real. Everything I’m summing up is art, and the art I’m projecting is keeping it real.”
The Ann Arbor R&B artist-engineer-producer honors the emerging Detroit R&B trap songstress in a four-minute, MTV Cribs-style video for her namesake track. Neshae co-stars in the video with Watson and Ypsilanti hip-hop artist Young’n Destined.
“Having Neisha in the video was dope; I appreciate her coming through. In fact, I speak for everyone who was there at the video shoot. We all appreciated and loved her for being there. I’m not sure how she found out exactly,” said Watson, who’s racked up over 25,000 views on the video.
“We were promoting the upcoming shoot so I assumed someone tagged her and kept sharing the post. Her presence brought more life and more energy to the video. Everyone was bringing their best to the table, but Neisha brought some more light to this bright environment.”
Filmed by Xerox Visuals, the “Neisha Neshae” video features Watson, Young’n Destined and a bunch of friends celebrating together at a lively house party. Watson and Young’n Destined each serenade Neshae as the party’s guest of honor at an Airbnb in St. Clair Shores.
“MTV Cribs was always a great show so I figured why not bring that back to life in the video. Recruiting everyone was pretty easy. Everyone who had heard the song did tell me that they wanted to be part of the video if it ever came up,” Watson said.
“We contacted all of our friends and told them to come and bring their friends, too. Everything fell into place. We’re all about good vibes so everyone knew what to bring to the table; besides everyone was good people.”
London Beck confronts dark emotional terrain on “The Black Satin Sessions.” Photo – E. (Liz) Keller
London Beck beautifully reveals the earnestness and empowerment of being vulnerable.
The Ann Arbor R&B vocalist-instrumentalist-producer and Amplify fellow openly shares a personal, emotive journey of defeating inner demons and embracing newfound strength on their latest album, The Black Satin Sessions.
“This project really showed me that it’s OK to be vulnerable and ask for help. It’s OK to use the resources that are available to you if you feel like you’re giving it your all and nothing’s really working. Even though there’s this outspoken, loud and formidable essence of London, I want people to understand there’s a softer, more thoughtful side of me,” Beck said.
“In that vulnerability, it’s OK to move toward a path of healing, and it’s OK to heal with people who have your best interests at heart. I can still encourage people and open doors for them while making space for me to have my needs met.”
Beck openly chronicles confronting dark emotional terrain while uncovering an enlightened path of self-redemption across 13 passionate, metamorphic tracks on The Black Satin Sessions. Each multi-genre track shifts, shimmies and soars over introspective lyrics, exquisite instrumentation and fiery vocals.
With Beck at the helm, listeners seamlessly absorb enchanting sonic snippets of R&B, electro pop, dance, Motown, rock, classical and folk rolled into a refreshing auditory experience.
“I had initially intended to put out two smaller EPs, one that was rock, acoustic-focused and one that had the electro vibes that people typically know me for. As we were working through this project and with the Amplify fellows, I was really thinking about my journey, and it all came together in the most beautiful, unexpected way,” said Beck, who’s also a classically trained violist.
“I decided to write and make music that’s on my heart and my mind. Once I had finished all of the music, and I listened to it, I was like ‘Wow, this really tells my story.’”
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