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.”
“There’s a quote from Ezra Pound where he says, ‘The image is more than an idea. It is a vortex or cluster of fused ideas and is endowed with energy.’ The mission of my writing is to use imagery,” said Yost, who’s inspired by the late 20th century American poet’s development of imagism, a movement that stressed the precision and economy of language.
Alongside Blank Tape Tax bassist Hayley McNichol, Yost employs astute, concise lyrics and raw, brisk instrumentation to address internal challenges with mental health, relationships and loss. While only 21 minutes long, Plastic Vapid Sexual Cool provides a detailed analysis beneath the surface.
“‘Hospital’ is about me having a mental breakdown, but it’s also about a number of other things,” Yost said. “I have my interpretation as the author, but you, the listener, may have another interpretation based on the words, and your interpretation is just as valid an interpretation as mine is.”
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.
For their debut release, the Kate Hinote Trio beautifully assembles the ideal Detroit songbook.
The Motor City acoustic three-piece of Kate Hinote (vocals), David Johnson (acoustic guitar) and Matthew Parmenter (violin) carefully handpicked an exquisite collection of melodic, mesmerizing tracks from their own catalog as well as from other local songwriters for Near.
“When we were finalizing Near a couple of months ago, I told the guys, ‘One thing that’s going to be compelling about this album is the other songwriters’ contributions.’ Those songs are much different than how I would write or what Matthew Parmenter and I would write together,” said Hinote, who’s previously performed with The Blueflowers, Sound of Eleven and Ether Aura.
“I knew I wanted to have a Detroit songwriters’ album, and every song is so different because of their contributions. It gave the album some variety, and I’m just drawn to songs that have relationship elements. I think that’s the nature of everybody I included,” Hinote said.