I Was A King slims its jangle pop sound to a duo on ninth album “Follow Me Home,” arriving Oct. 28; Latest toe-tapping single “Lo Pressure,” out now.

Earlier recordings include Robyn Hitchcock, Teenage Fanclub; Band’s Frode Strømstad is also one-fourth of The No Ones with R.E.M.’s Peter Buck.

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I Was A King (L-R Frode Strømstad, Anne Lise Frøkedal) as photographed by Donald Milne

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PLAY, POST & SHARE

I Was A King | “Lo Pressure”

[STREAM]: https://Fanatic.lnk.to/IWasAKing-LoPressure

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“Everything from the forthcoming Follow Me Home has been nothing short of endearing,” says Austin Town Hall in its coverage of the latest I Was A King single “Lo Pressure,” continuing on to say the song “could be the one I play again and again for the duration of this year.”

Hear “Lo Pressure” by I Was A King now at Austin Town Hall here or at the link above.

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I Was A King

Follow Me Home LP

(Coastal Town Recordings)

Oct. 28, 2022

 
 

Track Listing:

01. All This Time

02. Down

03. Follow Me Home (STREAM)

04. Growing Wild

05. Here At Last (STREAM)

06. Know The Way

07. Flag

08. Leave

09. Lo Pressure (STREAM)

10. Getting Colder

11. Sweet Things

12. Wood & Stone

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I Was A King | Live

11/02/2022: Stavanger, Norway @ Tou Scene

11/03/2022: Oslo, Norway @ Kampen Bistro (w/ Gary Olson of The Ladybug Transistor)

11/04/2022: Porsgrunn, Norway @ Ælvespeilet Kulturhus

11/05/2022: Moss, Norway @ House Of Foundation

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I Was A King | About
 

The front cover art for Follow Me Home, the ninth album by Oslo, Norway’s I Was A King (Coastal Town Recordings, Oct. 28) displays dotted lines that correspond to colorful cutouts on the back cover, one for each of the album’s twelve songs.

This is an innocent, childlike prompt to play it like a puzzle, literally, but on a more figurative note, this bit of fun also feels like a suggestion to fill in the blanks on what these songs mean to the listener.

Album opener “All This Time” is a just shy of two-minute prologue, foreshadowing the bits of melancholy carried throughout the album, fully realized on the following cut “Down.”

Gentle whispers

from the ground

you’re awake

but you’re still dreaming of the sound

when the shadow calls

breathing down your neck

awaiting a response

The feelings these lyrics evoke are moving, delivered with the insistent, singular-sounding combined voices of the band’s co-writers Frode Strømstad and Anne Lise Frøkedal, and bringing about that deep understanding of shared human condition that, even when packaged in the few minutes of a pop-rock song, is powerful enough to move mountains (and navigate fjords!)

In the case of I Was A King, the band has been around long enough to navigate without a map. Follow Me Home is clearly the sound of hard-won confidence.

Formed by Strømstad in 2006, with its debut album released in 2007, I Was A King continued at a steady pace for the next seven years, appearing on almost as many record labels throughout. Some may say the band’s sound went through just as many iterations during this time.

2009’s self-titled sophomore album featured contributions from Sufjan Stevens and Gary Olson of The Ladybug Transistor (on the Follow Me Home single “Growing Wild” you’ll be reminded of Sufjan’s banjo flourishes mixed with the opening notes of a Sonic Youth tune.)

2010’s Old Friends brought elements of Big Star and The Stooges into the mix and in 2012 indie rock icons Robyn Hitchcock and Norman Blake (of Teenage Fanclub) came on board to co-produce and perform on the band’s major label debut You Love It Here.

Following 2014’s Isle of Yours, I Was A King finally took a respite before returning for 2018’s Slow Century. 2020’s Grand Hotel followed.

2022’s Follow Me Home is perfectly titled. The album feels like kicking up your feet in front of the fire after a long journey that was trying, but filled with experience.

In reality, that warm fire would have likely been welcomed during the Follow Me Home recording sessions.

“We recorded Follow Me Home in December of 2021 in a building that had been a very important hub for Norwegian music over the last 20 years,” Strømstad explains. “While we were making the album, the building was emptied, and the heat and water shut off. It has since been demolished.”

Even under these considerably less-than-ideal circumstances, Strømstad and Frøkedal managed to make another reality of the time – producing these recordings during a lockdown – work to their advantage. The minimal take on the sound that I Was A King had been traveling towards all this time is its strongest asset on Follow Me Home.

“The previous two records were very band-oriented,” Strømstad says. “We felt that doing it as a two-piece this time would be a fresh approach, playing instruments we normally don’t play just to get some different ideas and textures and keeping it as simple and organic as possible.”

With Follow Me Home, Strømstad and Frøkedal had to fill in the blank spots in their process, just like the art that adorns the album cover. When the audience places the pieces, a colorful image emerges.

Follow Me Home, the ninth album by Oslo, Norway’s I Was A King, arrives on Oct. 28, 2022 via their own label Coastal Town Recordings. Contact Josh Bloom at Fanatic for more information.

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I Was A King | Links

ASSETS : FACEBOOK : INSTAGRAM : TWITTER : YOUTUBE : BANDCAMP : SPOTIFY : APPLE

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Josh Bloom at Fanatic Promotion | Contact

WEBSITE : FACEBOOK : TWITTER : INSTAGRAM : YOUTUBE : SOUNDCLOUD : SPOTIFY : BLOG : E-MAIL

“I tried using my usual gear,” Jenny Parrott says about attempting to record while pregnant. “I gave up and said, ‘Let’s see what I can do with only vocals.’”

 “‘Pregnancy Choir’ is a beautiful, literate window into a parent’s soul,” says musician Brennen Leigh, songwriter for legends Lee Ann Womack, Rodney Crowell.

 
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Jenny Parrott self-portrait with baby Juno
 

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Jenny Parrott | In The Press
 
“A soaring solo effort...” — KUTX, Austin (NPR)
 
“There is nothing to not like about Jenny Parrott.” — Folk Radio UK
 
“As if the singer-songwriter scribed the lyrics while sitting on a cloud.” — Austin Chronicle
 
“Potent songs with a smoldering drowsy flow.” — Americana Highways
 
“A wonderfully rich amalgam of American roots music styles.” — Rock N Reel (UK)
 
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PLAY, POST & SHARE

Jenny Parrott | Runnin’ To You
 

[YOUTUBE]: https://www.youtube.com/watch?v=Nl0sP414jrk
 
[SOUNDCLOUD]: https://soundcloud.com/fanaticpro/jenny-parrott-runnin-to-you

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“I tried using my usual gear and instruments,” Jenny Parrott says about her attempts to record while pregnant with baby Juno. “I gave up and said, ‘Let’s see what I can do with only vocals.’”

The resulting eight-minute “Pregnancy Choir,” spread over seven tracks, is out Nov. 4.

Musician Brennen Leigh — known as a timeless songwriter for herself and others (including legends Lee Ann Womack, Rodney Crowell, and many more) is an early fan of the piece, saying, “‘Pregnancy Choir’ is a beautiful, literate window into a parent’s soul.”

Hear “Runnin’ To You” from “Pregnancy Choir” by Jenny Parrott at the links above. 

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Jenny Parrott
“Pregnancy Choir”
(Rachel Rachel Records)
Nov. 4, 2022
 

Track Listing:
 
01. Tree Funeral
02. In 6 Rows
03. Runnin’ To You (YOUTUBE | SOUNDCLOUD)
04. Origin
05. Rain
06. Sharp Sound
07. Make Me Love

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Jenny Parrott | Live

09/30/2022: Austin, TX @ Hole In The Wall (Residency)

10/07/2022: Austin, TX @ Hole In The Wall (Residency)

10/14/2022: Austin, TX @ Hole In The Wall (Residency)

10/21/2022: Austin, TX @ Hole In The Wall (Residency)

10/28/2022: Austin, TX @ Hole In The Wall (Residency)

11/04/2022: Austin, TX @ Hole In The Wall (Record Release)

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Jenny Parrott | About

 
Austin-based artist, songwriter, and new parent, Jenny Parrott will release “Pregnancy Choir,” an eight-minute musical poem presented over seven tracks on Nov. 4, 2022.
 
Centered mainly around her layered vocals (recorded while pregnant with baby Juno), Parrott says, “‘Pregnancy Choir’ explores what it’s like to be in a pregnant body and to hear many voices: Ancestors, doctors, lovers, friends and relations all talking to and at you. “Literally ‘Joe Everyone’ tries to give advice,” she jokes.
 
The voice we hear the most through Parrott on “Pregnancy Choir” is the one she describes last: “Your own brain’s ‘Lil Greek Chorus.’”
 
The piece is a surprising change from the twang of Parrott’s 2021 album The Fire I Saw, but no less deeply felt. It’s her ability to effectively channel emotion that has brought attention to Parrott’s work over the years, regardless of style.
 
This time, “Pregnancy Choir” piece came out of necessity.
 
“I tried to record using my usual gear and instruments,” Parrott remembers. “I just gave up one night and was like, ‘Let’s see what I can do with just vocals. No bending, no lifting! Also, I’ve been obsessed with Bernice Johnson Reagon, Grouper, and Björk for a while.”
 
While “Pregnancy Choir” is deep in concept, it’s also a joy. The circumstances surrounding its creation, and the cover art featuring the duo of Jenny and Juno, may subtly remind of the Talking Heads baby-based hit, “Stay Up Late.”
 
Still, Parrott reminds of the reality that sometimes the “Lil Greek Chorus” is “at odds with itself, experiencing the thrill of life, fear of death, excitement, and foreboding all at once. It rejects the ‘Earth Mama’ ‘Pinterest-y’ branding of pregnancy in favor of an honest dive in the conscious, sub-conscious, and general cacophony they create in a mind.”
 
Parrott is also acutely aware of what experiencing pregnancy and becoming a new parent means at this moment in our society.
 
“Being able to create and sustain life is a magical thing,” she confides, “But the magic is dimmed by living in a culture that seeks to control bodies. It can feel like a pregnant person’s body is a public commodity. Some of the dissonance in the album is meant to reflect that.”
 
When it’s done, Parrott hopes to leave a listener without “the barrage of opinions and messaging you receive living in a pregnant body in Texas in 2022,” and more with the ability of the “Lil Greek Chorus” to support, transform, and uplift.
 
“Pregnancy Choir” by Jenny Parrott is scheduled for release on Nov. 4, 2022 via Rachel Rachel Records.
 
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PLAY, POST & SHARE
 
More by Jenny Parrott | “I Thought” | From 2021’s The Fire I Saw
 

[VIDEO]: https://www.youtube.com/watch?v=FKqZPwOoCLk
 
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“A soaring solo effort... Turns the heat way up with intricate synth-work and some of her finest vocal performances to date,” says NPR member station KUTX, Austin in its “Song of The Day” coverage of the title track from Jenny Parrott’s The Fire I Saw, out now. Hear “The Fire I Saw (Is There Anyone To Meet Me?)” here.
 
“Queer artist Jenny Parrott doesn’t need a seat at your table,” says Adobe & Teardrops, a publication committed to representing voices in the Americana world that are too-often overlooked: Women, BIPOC, and LGBTQ+  individuals, in its “I Thought” video premiere coverage and wide-ranging interview with Parrott. Check it out here.
 
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The bathroom at the Hole In The Wall club in Austin, Texas is the setting for the self-directed “I Thought” video by Jenny Parrott.
 
“The bathroom there is like a character,” Parrott says. “A place where women, femmes and non-binary people go to hang out, to fool around and party, and to get away from men for a second.” Parrott says that the video also shows “how violence and love can be all around, and how it can be very hard for many of us to know where the safe spaces are, or who is a safe loved one.”
 
“I Thought” also stars dancer Terrance Carson of Ballet Afrique, Ally Means on Viola, and Carrie Jane Fink as Parrott’s partner in the clip.
 
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Jenny Parrott | Links
 
ASSETS : WEBSITE : FACEBOOK : TWITTER : INSTAGRAM : YOUTUBE : BANDCAMP : SPOTIFY : APPLE
 
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Josh Bloom at Fanatic Promotion | Contact
 
WEBSITE : FACEBOOK : TWITTER : INSTAGRAM : YOUTUBE : SOUNDCLOUD : SPOTIFY : BLOG : E-MAIL

Matthew Schwartz readies first Pacifico album in five years for early 2023 release; Thirteen new songs on “Self Care” follow-up 2022’s “‘05/‘22” EP.

17-year span from start to finish of “‘05/‘22” reconnected Schwartz with his younger self, “a man trying to find his way in a world he’s not familiar with.”

  
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Split-screen of Pacifico’s Matthew Schwartz illustrates the “how it started / how it’s going” story behind Pacifico’s “‘05/‘22” EP.

Photographs from 2005 (L) and 2022 (R) by Daniel Stabler

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Pacifico

“‘05/‘22” EP

(Pacifirecords)

Out Now

Streaming Link:

STREAM FULL EP

 
Track Listing:
 
01. The Time Has Come My Lover / Alone (STREAM)
02. Suddenly / Back At The Start (STREAM)
03. The Red Eye / We Won’t Go Back Here (STREAM)
04. Needing And Waiting / Carnival
05. Move On / V2
 
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Pacifico | About
 

17 years is a long time to make an EP.
 
Pacifico’s upcoming “‘05/’22” EP – the title being a literal nod to the how it started / how it’s going nature of the record –arrives June 3, 2022 on the Atlanta-based artist’s own Pacifirecords.
 
What was the artist-in-charge, Matthew Schwartz doing during the 17 years since beginning this Pacifico release in 2005 and completing it in 2022?
 
He was doing Pacifico.
 
Huh?
 
Indeed, this is the story of a lost hard drive. Musicians don’t do back-ups, after all.
 
Teamed with Jeremiah Edmond, Schwartz’s musical cohort in 2005 just prior to Edmond joining Manchester Orchestra, the recordings that have now been realized as the “‘05/’22” EP were initially intended to become the debut Pacifico album.
 
Schwartz was undeterred when the project was derailed. Quite the opposite, he went on to release three full-length Pacifico albums and eight EPs, along with a handful of standalone singles and compilation appearances.
 
These high intensity, high production value recordings were made with many of Schwartz’s heroes, including Jason Martin of Starflyer 59, Ronnie Martin of Joy Electric, Peter Randall (bassist with The Kooks and Adele), and many more. Compelling artwork during this time was beautifully rendered by Adult Swim’s Trey Wadsworth.
 
Inspired by rock influences as beloved, popular, and revered as Foo Fighters, Radiohead, and Weezer to songwriting powerhouses such as Jeff Buckley, Jeremy Enigk, and Elliott Smith, it’s not surprising that Pacifico songs found their way into films, television, and video games.
 
Unlike the “‘05/’22” EP, these recordings were backed up!
 
But it’s okay, because in 2020, while everyone was working on sourdough starter during lockdown, Schwartz’s collaborator from the beginning of this story, Jeremiah Edmond, found that missing hard drive.
 
Unintentionally, the “‘05/’22” EP embodies the same conceit as the Richard Linklater film “Boyhood,” in which the director got together with his actors every few years to shoot more footage, resulting in a final film where we see the actual and realistic aging and maturing of the characters within the story.
 
Similarly, once Schwartz was reunited with his technology, he wasted no time bringing in his current band members, C Jason Mask (Guitar, Vocals) and Wes Clifton (Bass, Vocals) to pick up right where the previous recordings left off. The result is a unique document where youthful exuberance and experienced professionalism meet. The songs are melodic, addictive toe-tappers that say things that only adults can say.
 
As a visual representation that perfectly suits the story, the two images comprising the photo collage of Schwartz that accompanies the release were both shot by photographer Daniel Stabler, one in 2005 and the other in 2022. Even the song titles support the theme, each being named for the placeholder title it was given in 2005 and the final title given in 2022.
 
“Suddenly / Back At The Start” is the first single taken from the “‘05/’22” EP, in which Schwartz sings, “All these nothings they meant more than me than a million somethings ever could be.”
 
“The song was lost for many years and only found towards the beginning of the pandemic,” Schwartz reminds us, true to form.
 
Fortunately, what was apparently nothing for the last 17 years is very much something now.
 
“‘05/’22,” the new EP by Pacifico is out now via Pacifirecords.
 
Matthew Schwartz of Pacifico is available for interviews. Contact Josh Bloom at Fanatic for more information.
 
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Pacifico | Links

ASSETS : WEBSITE : FACEBOOK : INSTAGRAM : TWITTER : YOUTUBE : BANDCAMP : SPOTIFY : APPLE : PACIFIRECORDS
 
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Josh Bloom at Fanatic Promotion | Contact
 
WEBSITE : FACEBOOK : TWITTER : INSTAGRAM : YOUTUBE : SOUNDCLOUD : SPOTIFY : BLOG : E-MAIL

Alex Lilly hired to write “theme songs for humans,” including “Melinda,” about a tap dancer Lilly confesses to be “slightly, but healthily obsessed with.”

“Melinda,” taken from upcoming “Repetition Is A Sin” (Oct. 21), features James King of Fitz and The Tantrums,  Barbara Gruska of Belle Brigade.

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Alex Lilly as photographed by Pasqual Amade

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Alex Lilly | In The Press

“Alex Lilly’s songs keep their cool.” — The New York Times

“Alex Lilly is the genuine article.” — FLOOD

“Pretty freaking awesome.” —  FADER

“Alex Lilly is spellbinding. Album of The Week” — LA Weekly

“Alex Lilly steps into the spotlight.” — Flaunt

“Three-minute modern art pieces.” — Buzz Bands

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PLAY, POST & SHARE

Alex Lilly | “Melinda”

[YOUTUBE]: https://www.youtube.com/watch?v=ltrCW6hHFDo

[SOUNDCLOUD]: https://soundcloud.com/fanaticpro/alex-lilly-melinda

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“During the early pandemic days when I lost all my work, I started composing jingles and theme songs for people,” explains Alex Lilly of how “Melinda,” from her upcoming new album Repetition Is A Sin (Oct. 21, Release Me Records) came to be.

“Melinda Sullivan is an incredible tap dancer living in Los Angeles with whom I’d performed a handful of times at a little jazz club called The Gardenia. Melinda’s hubby contacted me about writing a jingle in her honor and I was delighted as I’ve always been slightly (healthily) obsessed with Melinda.

“I wanted a laidback feel for this song,” Lilly continues. “Almost like a bar band. James King from Fitz and The Tantrums is on sax going for that Bowie ‘Win’ effect, and my best friend and favorite drummer, Barbara Gruska from Belle Brigade is on drums. Gabe Noel is nailing that vibe on bass.

“And of course Melinda’s spirit of talent and hotness is all over the song. At first I was worried that the lyrics came on too strong but when you’re inspired, you’ve got to go for it!”

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Alex Lilly | Live

Fri., Oct. 21, 2022: Los Angeles, CA @ Gold-Diggers

Repetition Is A Sin (Record Release Show) | On Sale Now

w/ Special Guests: The Living Sisters

(feat. Inara George, Eleni Mandell, Alex Lilly, and Becky Stark of Lavender Diamond)

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Alex Lilly

Repetition Is A Sin

(Release Me Records)

Oct. 21, 2022 

 

Track Listing:

01. Pure Drivel (STREAM | VIDEO)

02. Frank (STREAM)

03. I’m Getting Better At Falling In Love

04. Spirit

05. Rosalind

06. Delight Me

07. Human

08. Melinda (YOUTUBE | SOUNDCLOUD)

09. Afternoon In Bloom

10. Bugs Bunny

11. Built For Chaos

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PLAY, POST & SHARE

Alex Lilly | “Pure Drivel”

[VIDEO]: https://www.youtube.com/watch?v=eQVtzFhSK9o

[STREAM]: https://Fanatic.lnk.to/AlexLilly-PureDrivel

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According to The New York Public Library, since 1982, libraries across the United States have observed Banned Books Week, a time to highlight titles that were targeted for removal from schools and libraries. In 2022, there has been a particularly aggressive wave of bans and challenges across America.

The American Library Association, which pioneered Banned Books Week, has reported a record amount of books banned in recent years—many of which center people of color and LGBTQ+ voices.

Alex Lilly’s current single “Pure Drivel,” taken from her upcoming album Repetition Is A Sin (Oct. 21, Release Me Records) addresses the subject in song, in which she sings “I know you canceled all your plans, so come over, let’s read some books that got banned.”

The choreographed video for the tune, filmed in and around a Berlin library, is streaming now.

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Alex Lilly | About

Repetition is a sin — is it a mantra? A judgment? A fact?
 
Repetition Is A Sin is the title of the upcoming second album by Alex Lilly.
 
Repetition Is A Sin is also a cliffhanger! Will Lilly live up to the challenge she’s issued to herself following the hearty praise for her 2019 debut 2% Milk?
 
“Everything about this debut album by Alex Lilly is spellbinding,” said L.A. Weekly. “Pretty freaking awesome” and “the genuine article” wrote The FADER and FLOOD. NPR’s Los Angeles affiliate KCRW called 2% Milk “a pleasure” and Jon Pareles wrote in The New York Times that Lilly’s songs deliver “structural and emotional complexity with deceptive nonchalance.”
 
Lilly’s talents are on point for other artists, as well. Her co-write of “I Like Girls” for jazz vocalist Samantha Sidley (“Now she’s gluing garden gnomes to geodesic domes, people call it junk, I call it art”) spring boarded that record to a “Top 10 Album of The Year” nod from the Los Angeles Times.
 
Spoiler alert!
 
Lilly’s latest fulfills the promises she made with her first album and much more.
 
First, Repetition Is A Sin is funny! Conversational and free, it is the sound of self-actualization. Lilly’s thoughtful and intelligent wordplay, unexpected and exhilarating production touches, and emotional vulnerability are pure joy.
 
Contrasting this with Lilly’s awesome sense of humor, it is also pure power!
 
And so, with the album opener and first single “Pure Drivel,” Lilly issues an anthem and rebel yell for...  librarians! Because, of course.
 
“I know you canceled all your plans
So come over let’s read some books that got banned mama”
 
“I wanted to write a stay-in date night about reading — a nerdy booty call,” she says. “I was in a book club over the pandemic, which was interesting as we mostly just drank and smoked and never finished a single book.” Lilly then quickly adds, “I’m not proud of this!”
 
Lilly spent part of her pre-solo career touring as part of Beck’s band and he attended Lilly’s book club to read the first chapter of “Moby Dick.”
 
“Because we never finished it, I can only confirm that the first half of ‘Moby Dick’ is great,” she jokes.
 
What Lilly can confirm absolutely is that Repetition Is A Sin “feels emotionally brighter and more jewel-toned than 2% Milk.”
 
The trifecta of tunes that open Repetition Is A Sin include “Frank,” in which Lilly mentions her closest friends by name while questioning if she will get to party with them in the afterlife.
 
“I don’t wanna go to heaven
Cuz none of my friends will be there
No one will be
Getting plastered with me
In the air”
 
“These are all real people mentioned in the song except for Frank,” Lilly explains. “I don’t know who he is. Maybe I will someday.”
 
The many character-driven songs on the album were partially inspired by the pandemic.
 
“Being isolated from people for a bit spurred me on,” Lilly says. “I had a hobby for a while where I was commissioned to write theme songs for humans, including this spectacularly talented and cute tap dancer living in Los Angeles.”
 
That project inspired the album’s “Melinda.” “Well if I ever turn gay, let’s go, If you ever stop being straight, Well let me know,” Lilly sings.
 
“It was a lot of fun and I continued the idea of song portraits for several other tracks on this record, almost like creating my own company that includes friends (“Frank”), movie stars (“Rosalind”), a cartoon character’s alter ego (“Bugs Bunny”), my grandma (“Spirit”), and Frank, the made-up drunk.”
 
The album’s most moving tune is next, a love song like no other. It is an all or nothing moment for Lilly. “I’m Getting Better At Falling In Love” is confessional, vulnerable, optimistic, and hopeful.
 
And of course, hilarious:
 
“I’m getting better at falling in love
I’m getting so good, gotta mind to do it full-time
Love muscles getting buff
Now it’s all that I can do”
 
“I’m Getting Better at Falling in Love” is a happy love song,” Lilly says. “It’s an anomaly for me.”
 
It’s a tune destined to become some couple’s “our song.” So lovey-dovey, but the humor of it all is still just within arm’s reach.
 
Lilly invokes “Seinfeld” character George Costanza to make a point about where she’s coming from on this record, asking, “Do you know the episode where George decides to do the opposite of everything he usually does just to see what difference it makes in his life? I could keep making mistakes, but they had to be new ones. Musically and personally. Repetition is a sin.”
 
On the musical tip, Lilly says, “My recording mindset was very different than it had been in the past. This time, the sounds are dialed in so well, but the feeling is loose.”
 
To make this happen, on the recommendation of friend and fellow musical risk-taker, John Vanderslice, Lilly worked extensively with engineer James Riotto to create Repetition Is A Sin.
 
“We went deep into harnessing the sounds of old oscillators and drum machines, and then syncing them up using an interface. This was the kind of wizardry I was after!
 
“It sounded so good off the bat that it didn’t need to be perfect, which is a pretty swift departure from my normal process. Previously, I felt like I had been an actor in a movie, where I could rely more on editing. Now, I was actor in a play, and had to commit to the emotional arc of an entire take.”
 
Lilly’s movie vs. play analogy is about the best description of this record yet. Unlike a film that you’ve already seen, each listen to Repetition Is A Sin contains the tension of a unique performance. It’s a cliffhanger!
 
Repetition Is A Sin, the second solo album by Alex Lilly, arrives October 21, 2022 via Release Me Records, preceded by the single “Pure Drivel,” out now.
 
Contact Josh Bloom at Fanatic for more information.
 
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Alex Lilly | Links
 
ASSETS : WEBSITE : FACEBOOK : TWITTER : INSTAGRAM : RELEASE ME RECORDS
 
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Josh Bloom at Fanatic Promotion | Contact
 
WEBSITE : FACEBOOK : TWITTER : INSTAGRAM : YOUTUBE : SOUNDCLOUD : SPOTIFY : BLOG : E-MAIL