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Zimbabwe-born, Australia-raised artist and musician, Tkay Maidza, grew up playing tennis. Her parents were metallurgists – academics who worked in the field of mining and chemistry – and, as a result, the family moved around Australia often, from Perth to Whyalla, in search of new and better opportunities. Maidza had to learn quickly to rely on herself. That’s exactly what she did – socially, academically and athletically. But, at some point, she outgrew the game. She needed a new focus. That’s when music entered the picture in earnest. For Maidza, music had always been around the family, now it was her turn to try her hand. By making the choice early on to dive into music headfirst, Maidza kick-started a career that will yield her fair share of precious things like gold, silver, platinum and diamonds.

When Conor Oberst was growing up, there was only one hip record store in town. Oberst, who was born and raised in Omaha, Nebraska, a town he continues to call home, found the area to be both a blessing and a curse. Omaha, which is the largest city in the state, is only five-percent the size of, say, New York City. But what the region lacked in infrastructure or volume, it enjoyed in comradery and community. Oberst, whose popular band Bright Eyes released its latest record, Down In The Weeds Where The World Once Was, this summer (the band’s first in nine years), remembers spending hours in that record shop, flipping through albums and observing gig posters thumb-tacked to the wall.

“There was one cool record store and everything revolved around that,” Oberst says. “That’s where you went to find out about new records and where bands hung their flyers for shows. It was insular but supportive.”

Nashville-based songwriter, Ingrid Andress, is a “terrible liar.” One listen through her confessional record, Lady Like, which will be re-released as a deluxe version on Friday, and it’s evident: Andress wears her heart on her sleeve as clear as the day is long. On the album, she sings of chance encounters at the bar, broken hearts, family and her signature scuffed-boot-brand of feminism. The deluxe version of Lady Like, which was first released in March just when the COVID-19 pandemic hit, also includes three stripped-down songs at the end of the LP, which both showcase and underscore Andress’ talent for emotive, honest and clear storytelling.

“To me,” Andress says, “it all comes down to the song. For someone who learned how to write in Nashville, there’s something beautiful about listening to a story without all the bells and whistles around it. Those can be fun, too. I enjoy co-producing and turning a song into a wall of sound. But I’m also a sucker for just focusing on the words.”

Bonnie Bloomgarden, who fronts the Los Angeles-based rock ‘n’ roll band, Death Valley Girls, doesn’t waste precious time. If she’s in a tour van driving from one city to the next, she won’t put something frivolous on the radio. Instead, it’s a potentially world-changing, mind-exploding podcast. Or it’s funk music from a region in Africa recorded in the 1970s that gives her a stronger connection, in some mystical way, to community. Or, when in the studio with her stirring band, Bloomgarden is the type of bandleader who errs on the side of a burst of energy, not painstaking precision, in a given take. That’s why there is such a thick, full boldness to Death Valley Girls’ forthcoming LP, Under the Spell of Joy, out October 2nd.

Henry Binns, co-founder, along with Sam Hardaker, of the popular electronic band, Zero 7, keeps a garden. There isn’t much else for the artist to do these days in the time of social distancing, COVID-19 and quarantine besides make music and tend to the burgeoning flora. But it’s alright. Both endeavors, actually, are coming along rather nicely. Both are producing. Today, Binns says he has a “lovely, big” garden in his home in rural Somerset, England. And his acclaimed group has a new record, Shadows EP, set for release on October 23rd that features the up-and-coming Australian Jeff Buckley-esque vocalist, Lou Stone. And we’re proud to premiere the EP’s second single, “Outline” today.

In the history of music, there are major venues like Madison Square Garden, The Gorge or Red Rocks that have long, well-told stories. But there are also smaller, more modest hubs that were, in their own little ways, integral to a thriving sonic movement. In Seattle, Washington during the mid-80s, one of those small hubs was a Kinko’s in the city’s University District. There, eventual Soundgarden, Pearl Jam and Temple of the Dog drummer, Matt Cameron, would print readers for the nearby University of Washington and, at night, give away hundreds of free leaflet copies to local bands that were making flyers, posters or any number of promotional materials. Cameron was a hero. Still is to many. Especially to those fans of the sludgy rock ‘n’ roll he helped make eternal.