(Contemporary) Folk music refers to a wide variety of genres that emerged in the mid 20th century and afterward which were associated with traditional folk. Starting in the mid-20th century, a new form of popular folk music evolved from traditional folk. This process and period is called the (second) folk revival and reached a zenith in the 1960s. The most common name for this new form of music is also “folk,” but is often called “contemporary folk” or “folk revival music” to make the distinction. The transition was somewhat centered in the US and is also called the American folk music revival. Fusion genres such as folk rock, folktronica, and others also evolved within this phenomenon. While contemporary folk is a genre generally distinct from traditional folk, it often shares the same English name, performers and venues as traditional folk; even individual songs may be a blend of the two.
– Wikipedia: The Free Encyclopedia
I grew up in a small town in Minnesota called Elbow Lake. There wasn’t a whole lot to do in the “sticks” of MN, so I found love in rock ‘n’ roll at an early age through my older brother’s music collection. He moved out when I was young, joined the Air Force and was stationed in England when I was in middle school, so our family took a trip overseas to see him. When I got there, he showed me his electric guitar. I picked it up, and he showed me a couple of licks. I played that damn thing the rest of the time I was there. My parents heard me playing it the whole weekend and later that year, for Xmas, I got my first guitar. I was obsessed. I quit all sports and just focused on that.
Hello friends. We are from the prairies of southern Alberta where it is sparse and dry, kind of like us. We don’t know what we’re doing or what we want, but we think we will continue. Join us as we try not to suck, but also don’t worry too much about being great. We’re just trying to be ok.
My second album is somewhat of a time capsule. These are the songs I wrote between realizing I needed to get better and doing something about it.
My alcoholism and dependence on other addictive behaviors (weed, sex, etc.) had progressed to a point where they had begun destroying every semblance of a good life I’d managed to build despite them. To preserve any chance I had at living well, I needed to change the way I spent each and every moment of my time. In order to honestly document these in musical form, I stripped away every instrument other than my voice, guitar, laptop, and tape recorder.
If there is anything for you in these songs, you will most likely find it outside of what I have to say about them. All I really have to say is thank you so, so much for listening. So much.
That said, in case it might inform your listening, here’s what I have to say:
The different settings for my latest album, Desert Cities – Part One, span from Denver to Seoul. Track three, Brooklyn, is a love song for the gritty and enigmatic Bushwick neighborhood and track four, Coming Home, rides the metro north to Midtown where home is not a place but a person (and a lovely oasis at that). Track two, Lost in Seoul, reflects on the foreign shores of South Korea, “the crowded streets, the angry East Sea, don’t mind if I belong here for a while.”
Only track one, Hold out Thirst, mentions a dry, barren, lifeless, sandy desert. Its brief and stark first refrain, “I went to the desert and held out my thirst,” captured something much bigger in me when I first listened back to the completed album. The desert, in this case, is where one goes to reflect deeply, to test themselves against the elements, physically and emotionally and to experience thirst as a fundamental sensation of life, to feel acutely alive. The remainder of the album (part two included, TBR Fall 2019) is born of this same desire.
I first found Naomi Ruth when I was 14. I’d built up the courage to take what my grandmother had taught me about guitar chords and fuse it with the inspiration of pop-divas and bluesy women, blended together with the help of my teenage brain to produce an emotive mess. Out of it all emerged a sound that was bluesy but somehow country, angsty but emotional, and despite the lo-fi quality and cringey lyrics, I somehow liked it a lot.
I’m Jesse, an independent singer/songwriter/producer. I’ve been recording music in different projects since 2009. Juliet’s Funeral, The Freddy Velcroman Expedition, and International Spies just to name a few. I’ve always been inspired by the DIY concept of garage rock and punk bands. I’m a huge fan of the ’60s and ’70s psychedelia and pop music.
I would describe my music as Alternative Pop Rock with explorations into Folk/Blues, Reggae and Jazz. I’m trying to find that someplace out there for my music, those ears to hear it and hearts to feel it. It’s been hard with such a wide range of influences. That’s when I realized I’d have to carve out my own corner here on this earth to fly my freak flag.
We are Loving Love, an art project that was started in Kyoto in 2018 by Kotoku Tsurutani and me, Hifumi Sasaki, the lead songwriter, and guitarist. We have grown to five members now, and we have released our 1st EP, “A Momentary Cocoon Of Memory.” Please check it out!