I feel like this month has been one of the more uncertain ones so far: is it finally safe to go out again? Will we need to go back into lockdown? Will schools open? What happens if they do?
It all sucked, but this month’s music didn’t. In fact, it thrives on the uncertainty. I had a lot of fun exploring a ton of different genres this month, all tying back to that deep connection to roots music. In this list we have artists who feel secure in themselves, as well as people who are finding their way and reflecting on past mistakes. I hope you enjoy it as much as I do.
- Naomi Westwater — “Home” (Feelings) — Westwater has a powerful creative energy, as can be seen in her interview with Adobe & Teardrops. The Feelings EP is very much a flag in the ground, with Westwater asserting confidence in her identity.
- Adia Victoria — “Deep Water Blues” (A Southern Gothic) — This one almost slipped under the radar for me. Victoria’s storytelling is chilling and enraging, made all the more so by the hypnotic loops in the second half of the album. This is one of those albums where you just know she poured everything she had and then some into the album. See
- Moviola — “Orders of the Day” (Broken Rainbows) — Britpop with lyrics that are more jagged than the smooth pop sound makes it seem. “Orders of the Day” is a sly melancholy ballad about…creating a new world order? For both the song and Broken Rainbows overall, this is music you need to allow to wash over and surprise you.
- Riddy Arman — “Barbed Wire” (Riddy Arman) — Arman’s self-titled debut is atmospheric, poignant, and — most of all, funny. You can learn more about the album on my review on No Depression.
- Dori Freeman — “The Storm” (Ten Thousand Roses) — I’ve fallen in love with Freeman’s modern take on old-time music. So I was incredibly excited for Ten Thousand Roses, in which Freeman takes her knack for sharp songwriting and cranks up the electric guitars, proving her expertise extends to modern indie rock just as much as the party music of her forebears.
- Daniel Romano — “Tragic Head” (Cobra Poems) — Romano has had a freakishly prolific period during the pandemic. I believe Cobra Poems is one of NINTH albums he’s made in the last YEAR. This one leans heavy into 70s maximalism and is fun as hell.
- Caitlin Jemma — “Yes” (True Meaning) — There are a lot of albums described this way lately but I want you to know: if you’re feeling heartsick in any way right now (and who isn’t), Caitlin Jemma’s True Meaning is the album that will ease the pain.
- Kris Gruen — “You Can’t Put Your Arms Around a Memory” (Welcome Farewell) — Gruen’s plainspoken folk hits where it hurts. The Vermont farmer’s sparse arrangements and humane storytelling feel like a pat on the shoulder, if not a warm hug, preparing you to go out there and face the elements.
- Emily Frembgen — “Silver Lining” (It’s Me or the Dog) — Frembgen’s witty interpretation of anti-folk borrows as much from the Lower East Side as it does from ’90s singer-songwriters like Liz Phair.
- Kashena Sampson — “Alone and In Love Again” (Time Machine) — Sampson’s vocal chops make this album really shine. Her fascination with vintage rock’n’roll — somewhere between a rockabilly honky-tonk and a swanky lounge — make Time Machine feel like a portal to somewhere else. But it’s the penultimate song, “Black Sea,” that’s a huge accomplishment, finding Sampson exploring her past and future.
I think that following me on Spotify is a thing you can do to make sure you get a new playlist from me every Friday! You can also follow Tuesday Teardrops, a playlist of new and exciting songs that refreshes every — you guessed it — Tuesday! As always, buy music and/or merch directly from the artists because Spotify is a horrible and exploitative platform!
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