Wake Child began with a couple of friends playing music. Danny Silberstein and Terrell Hines were helping Austin Max rehearse for a class performance he had the following day. All three attended the prestigious Berklee College of Music.
Danny, a singer-songwriter in the Laurel Canyon mold, had just released a solo EP titled Static Noise and Other Miscellaneous Sounds. He wanted to collaborate with Austin Max, a Tennessee native. Austin is the rare guitar virtuoso who plays off-the-cuff, never totally content with a written or unwritten riff. They had invited Terrell Hines to help them practice for Austin’s class performance the next day. Terrell is a former gospel drummer with a core of technical knowledge that expands as he plays, into the realm of his stylistic influences: psychedelic jazz and modern trap.
Austin and Danny started to play their song’s intro, lightly strumming their guitars. When it came time for Terrell to jump in, he played a sixteenth-triplet trap rhythm, providing a propulsive backbeat and transforming the song. Austin kept playing, but Danny couldn’t keep up, laughing in amazement and putting down his guitar. He was blown away by the feeling and the sound of the band dynamic he could already vividly envision.
It took a few months to convince the others, but Danny knew right away; this was a band and this band would be named Wake Child. As a trio, Wake Child synthesizes the hometowns of California, Georgia and Tennessee into a melting pot of Psych/R&B brilliance.
The track was recorded live in the remains of an old Masonic Temple in Boston, MA. The temple's mystical aura helped the band infuse "Hangup Blues" with a sense of isolation and magic, as the song's outro explodes in a psychedelic mist of lovelorn confusion.
Ali Murray is an ethereal folk songwriter/musician from the cold isle of Lewis in the north of Scotland. He writes dark atmospheric folk music with lush sweeping dreamy soundscapes and Celtic-twinged instrumentation. His new album LAND OF EVERGONE strikes a balance that is intimate and soaring, peaceful and haunting, sad and quietly joyful, delicately reverberating with Murray's dreamy voice and guitar playing.
Orellana is a neo-classical/post-rock collective hailing from Bristol, UK. Their new album “52”, released in late December, brought in the new year with it’s explosive and intricate sound. The project’s music transcends genre definitions in order to focus on a broad, diverse concept that is more emotional than tangible. This particular release is full of rich and diverse arrangements, but it is also a powerful exercise in minimalism, one that showcases the strength of very few notes placed in the right spots. The simplicity of the arrangement is actually one of the strongest aspects of this entire release: there’s a palpable stillness created by the long, drone notes in the background, which almost makes you feel like the world is happening in slow motion. When the chords and notes change, it feels quite monumental due to the beautiful contrast between the stillness of the background textures and the expressive sound of the guitar-based melodies.