Friday, April 29, 2016

Live Review: Larkin Poe at Mercury Lounge (4/19/16)


>> At first glance, Rebecca and Megan Lovell may not be taken for sisters. While Rebecca has the easy, eclectic look of a 70’s rock star (complete with turquoise jewelry), older sister Megan sports the dyed grey hair and all-black of a 90’s goth goddess. It’s surprising enough that the two come from the same band, let alone the same family. But fast forward two minutes into Larkin Poe’s set at Mercury Lounge—a show played immediately after a triumphant stint in Europe with Elvis Costello and a quick set on the Conan O’Brien show—and it is obvious that the two grew up side by side.

>> There’s a magic in the musical bond between the Lovell sisters, something that can only come from spending a childhood together learning to play guitar in the same house. The sisters were homeschooled by their parents (both doctors) in Atlanta, Georgia, which meant plenty of time together to form the bond that is now evident when the two perform on stage.

>> Even in a crowded Manhattan bar, Larkin Poe brings the earthy soul of Georgia to life in their music. Rebecca’s deep, soulful voice, crystal clear over Megan’s lap style slide guitar, transforms a dark back room into a field of wildflowers, and a low ceiling crisscrossed with stage lights into a wide open sky speckled with thousands of stars. This incredible transformative power of Larkin Poe, coupled with the Lovell sisters’ intuitive knowledge of each other’s musical tics, makes for an incredible performance—one you would be wise to catch next time they come to town.

- Photos and words by Emily Becker 






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Saturday, April 9, 2016

Transit Reveals Support for Final Shows


>> In sad but true news, Transit is no more. After announcing a slew of final shows, with many of which selling out almost immediately, the band has revealed the list of supporting acts. Celebrate 10+ years of Transit by grabbing tickets to the remaining shows here, and view the full details for each of these final shows below a message from the band:
Today we are excited to announce all of our friends that are supporting us on our final run as a band. We put a lot of thought into asking musicians/artists/friends that we have respect for whether it was 10+ years ago or just new to last year. As a band, we feel we have always been genuine with what we've done and couldn't find any better way to end our career than to be sharing the stage with music we know deserves your ear and attention. We have made a lot of amazing memories with these people over the years and we know they will be in our lives forever. As we close the door on our chapter we invite you to embrace these women and men who will continue to rock and roll in some capacity through out the rest of 2016 and beyond. Thank you for always supporting us, now do us one more kindness and support some real creativity. Cheers.



TRANSIT PROUDLY PRESENTS:

4/19 - Providence, RI @ Fete Music Hall with:
Royal Street / Light Years / The Red Summer Sun

4/20 - New York, NY @ The Studio @ Webster Hall with:
Dave Mackinder (Fireworks) / With the Punches / Light Years

4/21 - New York, NY @ The Studio @ Webster Hall with:
Crucial Dudes / Light Years / Giants at Large

4/22 - Philadelphia, PA @ Barbary (Philly Matinee) with:
? / Gin War

4/22 - Philadelphia, PA @ Foundry (Philly Late show) with:
Ace Enders / Light Years / Grayscale

4/23 - Amityville, NY @ Amityville Music Hall (Long Island matinee) with:
Candy Hearts / Light Years / Macseal

4/23 - Amityville, NY @ Amityville Music Hall (LI late show) with:
??? / Light Years / Giants at Large

4/24 - Hamden, CT @ The Space (Matinee) with:
Koji / Light Years / Whittled Down

4/24 - Hamden, CT @ The Space (Late show) with:
Such Gold / Light Years / A Will Away

4/25 - Worcester, NA @ Upstairs Palladium with:
Alan Day (Four Year Strong) / Light Years / Rival Island

4/26 - Revere, MA @ VFW Hall (Matinee) with:
SPECIAL GUEST / Rival Island

4/26 - Boston, MA @ Sinclair with:
Brian Marquis / Light Years / Half Hearted Hero


*This group has been an incredibly important part of TMO's history, so you can bet you'll find Kate at the 4/20 show in NYC. See you there?




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Wednesday, March 30, 2016

Album Review: 'This Is Your Brain On Love' by Rare Futures


>> When I first encountered Rare Futures (formerly known as Happy Body Slow Brain), their on-the-rise status combined with the upcoming release of a new album set off a red flag in my mind. As an indie and alternative music listener myself, I’ve seen too many “cool” bands come out with simplified, “accessible” albums. Because of this, new releases come to many of us with a sense of excitement as well as dread. Could Rare Futures lose their sound to, dare I say, “pop-sensibility?”

>> Luckily, this was not the case for This Is Your Brain On Love, which was released on March 25, 2016. 13 tracks deep, This Is Your Brain On Love keeps its musical integrity throughout.

>> True to the title, Rare Futures delivers an album that you can lose yourself in. Songs like “Reminding Me To Live” and “The Pressure” deliver subtly funky, yet Mutemath-esque energy. The dynamics, evident between the smooth organ sections and sophisticated drum lines of “Cool My Mind | Reverie,” are impossible to ignore.




>> What is consistent throughout the album is the punch that the rhythm section brings: Tight and driving, the intricate arrangements carry many of the tunes, and I often found myself lost in their grooves rather than looking for vocal hooks to latch on to. Don’t forget to crank up the bass when you check out the album.

>> However complex, the arrangements do allow space for the vocals. Too many alternative artists choose to neglect harmonies and layers of vocals, but Rare Futures takes advantage of lead vocalist Matt Fazzi’s skill to add a signature to their sound.

>> Sensible without selling-out, Rare Futures' latest release can be found on rarefuturesmusic.com.

- Written by Haley Gowland




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Tuesday, March 8, 2016

Nick Thompson Talks Thief Club, Hit The Lights, and Supporting The Arts

>> Pop punk played a vital role in shaping how I view musicians and the art of touring. The "anyone can do this" attitude reinforced the fact that these incredibly talented people that I looked up to were, in fact, just people. Musicians aren't superheroes although their music can be powerful - they're people who need the same basic things to get by as the rest of us. Always keeping that in the back of my mind, actually buying CDs and later vinyl was the norm, as was the habit of chatting with artists after performances to show that their efforts were appreciated. 

>> I was first introduced to a band called Hit The Lights in middle school, but didn't see them live until several years later. When I finally got to catch a show, the band had been largely inactive and was just returning to the scene. They played a one-off on Long Island in 2011 where they performed a new song called "Gravity" and it was incredible. I spoke with HTL frontman Nick Thompson after that show and he was genuinely hyped on the band's new songs. The next album would be different and he was looking forward to changing things up a bit. "Gravity" was fantastic and the record that came the next year, Invicta, became one of my favorites. Other longtime fans of the band didn't seem to appreciate this different sonic direction in the same way, and the momentum of Hit The Lights dwindled once again. The band came back with a fresh album in 2015 that sounded more like the original, more strictly pop-punk sound they had been known for. It went over well, as it should have, but seeing a band I've listened to for so long try something new only to immediately return to the beaten path was disheartening. Why should artists have to stay in one lane?

>> After Invicta, Nick started a side project called Thief Club. An EP was eventually released under that moniker, but not enough people were paying attention. While still working on the most recent HTL record and planning subsequent tours, Nick has also been pouring everything he has into his solo tunes. I spoke with him recently about the upcoming Thief Club album and what this project means to him as a musician, as well as why it's important to support independent artists as much as possible. 

Photo courtesy of Bayly

How long have you been operating as Thief Club? What led you to start this side project?
Thief Club started as a means to keep writing songs and making music. While in Hit The Lights, we had a lot of down time, I had all of these song ideas that either weren't selected to be worked on as HTL songs, or needed more development. There was a period in between when I had kind of given up writing music all together, and after realizing that there was still that drive to create, I dusted off some old ideas, threw myself into a studio and hashed them out. It was something that I just needed to do, and once I tackled it, it was like a weigh off my chest.

How did you decide on what this side project would sound like? Did this sound come naturally or were you aiming for something specific?
There really wasn't a decision on a specific style. I just had these songs, I knew how I heard them in my head, and I wanted to bring them to life. A lot of people make comments on why TC sounds like it could be HTL, and that's easy - because I like to write that kind of music. There's always the freedom with TC to tackle another type of song, and that will always be there. If I write a song for HTL, and the dudes aren't into it, it's cool. If I feel strongly enough about it, I can just release it on my own time, and that takes away a lot of pressure/pride/animosity in my writing process. Don't like this song? Cool, I'll put it to the side and start a new one.

Have you ever felt pressure to make music that sounds a certain way? If so, is Thief Club your way of defying or rejecting those expectations?
While in HTL we dealt with a lot people telling us what to do and what not to sound like. With HTL, I worry more about direction and what the next step is for us. With TC it doesn't matter. I can do whatever, it's much looser. No expectations aside from the fact that I'm still actively creating music.

In my opinion, Invicta is a fantastic record and I don't think it was properly appreciated.
I'm glad you like it! I understand why people do, and I understand why people don't. I still think there are some of the best HTL songs we've ever written on that album, and that's what's important to me.

What would you say are the main pros and cons of a solo project as opposed to being part of a full band?
The pros are certainly that I don't have to worry about everybody being happy, less cooks in the kitchen make decision making and vision a breeze. It's easier to set up studio time, go to whatever producer I want and try new things. I have the freedom to do whatever I want. The cons are that it's all me, and I think that some of my best writing comes from working with other people who are coming at you with ideas that you may never have thought of. When we're bouncing ideas off each other in HTL, it can be harder to write with everyone throwing in their opinions and ideas, but we get some fantastic stuff out of that. I certainly have a comfort zone when I'm writing and recording, and it's good to step out of that zone sometimes and push yourself to try things you might not have ever wanted to do originally.

With your upcoming album Just Give Up, what went into deciding to include both old and new songs?
Greg from We Are Triumphant and I had talked about releasing the new EP, and he had asked me about just putting together everything I'd done onto one record. I don't believe that I've given the songs on "My Heavy" a proper release, very few people know about TC, and I've never ever tried to play out anything live. It just felt that the songs deserved to be exposed to more people, and Greg was someone that wanted to do that. I like that we can release it all on one record and new listeners don't have to buy multiple LP's and EP's to support me. They get a record with 16 tracks for 10 bucks, and I feel that's a great deal, and everyone is all caught up on TC right away.

The song "Talk About Me" features vocals from Matty from A Loss For Words. How did that collaboration come about? What was the writing / recording process like for this song in particular?
I've had a few of my favorite vocalists on TC tracks already (Will Pugh and Shane Henderson) and Matty has definitely been a great friend and an amazing vocalist, so it just felt right to ask him to be a part of it. The song itself is just about me questioning my musical mortality I guess. I don't feel that people take me seriously, no matter what I do and that leads to those internal questions about if I should even be doing this anymore. Honestly, I don't know why I keep going, all I know is there's something inside me that tells me to keep going, so I do. The song is just about confronting that honesty of how people see me and how easy it easy to succumb to that self deprecating thought process.


How did you choose which covers to record and include on Just Give Up? Which one(s) did you have the most fun with? 
I'm a huge fan of cheesy 80's ballads, and "Waiting for a Star to Fall" was always one of those songs that I loved and thought it would be awesome to cover. With the Jimmy Eat World cover, we had rocked it out a couple times live with HTL, and I felt it was something I could tackle while paying homage to a band that means so much to me. It was a song I felt I couldn't butcher TOO bad, and would love to play live. The "Jealous" cover came about just from sitting around with Danny and Rick at King Sound Studio and talking about how sweet it would be to cover it. Then, we just did the dang thing!

A few months back, your song "The First Place" was included on the Music Gives Hope compilation celebrating the 15th Anniversary of Keep A Breast. How did you get involved with that compilation, and what did being included on that track listing mean to you as an artist?
It was an opportunity to help out with a song that means a lot to me, so it was kind of a no brainer. I was contacted by Jen, who was helping with the PR for the compilation, and I said "sure!" It literally took no work for me, and goes to a great cause, there was really no reason for me to say no. Cancer is pretty terrible, and something that most people are going to have to deal with in one way or another during their lifetime.

Could you see yourself taking part in similar endeavors, whether they be other compilations or charity work, in the future?
You have to be careful about which charities you work with anymore. Check where the profits REALLY go, etc. If it's helping something, yes. But there's a lot of profiteering going on in guise of helping, and I'm not ignorant to that fact. That being said, I certainly don't feel I do enough to truly help people, and I'm hoping I can get better at that in the next few years of my life.

How do you plan to balance Thief Club with Hit The Lights, especially since you'll be out on the Pure Noise Tour when Just Give Up is released?
Right now we'll gauge the response of the release and how well it does. If there's a demand for TC, I would love to play some shows and get a chance to bring these songs to a live experience. Right now, touring just doesn't make sense, but I am very open minded and I'll stay positive about it. If people keep passing my music along, hopefully that will help to make it possible. For right now, HTL has the Pure Noise Tour and then I'd really love us to start writing a new record. So I'm sure with all the song writing that's going to happen, I'll get a couple TC tracks out of it as well!

Photo courtesy of Aud Lew Photography

What's next for Thief Club - More shows? World domination? Cat memes?
We shall see! All positive!

Anything else you'd like readers to know about you or Thief Club?
If you like what you hear, please pass it on! It's always a beautiful thing when people enjoy something I've created, that's the only reason I release it!

Anything happening in the scene today you'd like to comment on?
I have noticed, especially in the last couple years, people's attitudes towards artists and their music have become incredibly flawed. I notice it now more than ever, and I think it's because a newer generation of listeners has come up with the expectation that music isn't something you pay for, just something to keep them occupied for a few moments before they're on to the next thing. I can't tell you how many people would complain about my music not being on Spotify, when they could have just bought it for 9 bucks and had it forever. They don't view music as something worth paying for, and I don't think they realize that streaming a song from an artist on Spotify, even 50 times, doesn't even give that artist the $1.29 that they could've given to actually PURCHASE the song and have forever. I am not saying that I don't have Spotify, or that I haven't illegally downloaded albums, but there is a serious disconnect in listener logic and the reality of supporting an artist you like. People spend 10 bucks at chipotle no problem, but don't want to pay to own an album and support someone they like, while at the same time, having this entitlement to have your music for free. It took me forever securing a release for Just Give Up, and I've had these amazing funders that have been SO patient waiting almost a year to get there packages and haven't said a mean word to me except "All good man, happy to support you!" Then I get comments from people who, even thought they could've paid 9 bucks for the record for the past 2 years, are mad at me because I took down My Heavy from Spotify and iTunes for the re-release. Like, they never even THOUGHT about purchasing it. So I see both sides of the spectrum, and if it weren't for the few that have supported me through this entire thing, it would feel pretty hopeless. Either way, that's the reality of it and it's the worst for smaller, struggling artists that need it the most. I think people just need to be exposed to how much it really does MEAN to buy records from artists you love, now more than ever, because there's a very poisonous mindset that is helping to kill music that people love, and the excuse that the internet is giving an artist more exposure than ever, doesn't mean an artist is actually benefitting from it. That's my rant, I feel like an old man yelling at kids to get off the lawn. Thanks for everyone who supports TC, and I look forward to everything coming with this release!




>> Thief Club will release Just Give Up on April 29th, 2016. Pre-order the album now via We Are Triumphant here, or on iTunes here


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Tuesday, February 23, 2016

PVRIS Unveil Video For New Song, "You and I"



>> Knowing their loyal fans have been hungry for something fresh, PVRIS have unveiled a brand new track titled "You and I." Directed by Raul Gonzo, the visuals for "You and I" are moody, monochromatic, and essentially everything PVRIS is known for creating. Watch the video below and be sure to catch the band on tour with Fall Out Boy through the end of March.




>> "You and I" is part of the band's deluxe edition of their album, White Noise, due out April 22nd, 2016.  You can download the song on iTunes now, with a stripped down version set to be released in April. There are a ton of pre-order options for White Noise Deluxe, including some sweet vinyl variants, so weigh your options and pick your favorite here


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Sunday, February 14, 2016

Celebrate Young Love With Annalie Prime

>> Happy Valentine's Day, everyone! Love is in the air - for some the freezing cold air - and that feeling is something to be celebrated. In the spirit of young love and warming hearts, the charming singer-songwriter Annalie Prime has unveiled her latest tune. The bright artist has put her signature tropical spin on The Outfield's classic "Your Love," and it's the perfect soundtrack for today's holiday. Hit play, hold your loved ones close, and celebrate with this lovely tune.




>> Forget about the holiday? Annalie's sweet and soulful reworking of Justin Bieber's "Sorry" might be a little more useful. Check that out here - and good luck!



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Friday, January 29, 2016

The Energy Talks Brooklyn, DIY, & More

>> It goes without saying that pursuing a career as a musician is no easy task. Staying true to yourself and your fans on top of maintaining some sort of hype can be overwhelming, and not every band is meant to last. Brooklyn-based rockers The Energy definitely break that mold through channeling the true spirit of rock 'n' roll. The group has been together for nearly a decade and they're gearing up to release their 5th studio album, titled When We Were Young, later this year. A lot has changed since the band first formed and things haven't always been simple, but these four musicians are determined to keep making the music they truly care about.

>> Guitarist Ian VanderMeulen recently shared the band's history as well as his thoughts on how things have shifted in the industry while the group has been active. Read about their New York roots, the significance behind When We Were Young, and goals for the future below.


How did The Energy come together? What led to pursuing music as more than a hobby?
The band indeed started as a cover band roughly ten years ago, but quickly turned to writing originals, recording records, and touring to promote them, the real bread and butter of any original band. So the band was already a pretty serious project—much more than a hobby—before I joined, about eight years ago. I had come from a conservatory background but had also been writing a lot of music that fit stylistically with what the guys had been doing—guitar-driven, commercially viable rock but with depth, with soul. When I joined, the fit was glove tight, personally and musically. We shared a diverse set of musical tastes, from classic acts like Led Zeppelin and U2 to the grunge era to more contemporary stuff. And we also shared a seriousness about what we were doing—a desire to “make it” in a pretty fickle industry while also remaining dedicated to the artistry of what we do. I think that led to a lot of experimentation on Realize Your Sin, my first album with the band, and more self-consciously commercial approach on Streets of In-Between, the album that came after. It feels in many ways like we’ve come full circle on When We Were Young—the songs are heavier and more experimental again, but still catchy.

How would you describe your local music scene? Do you think being based in Brooklyn has influenced your sound and style?
The music scene in Brooklyn is incredibly diverse, but indie rock and hip-hop are probably two that come to most peoples’ minds when they think of the borough. I think the indie rock scene in Brooklyn is internally quite diverse, and we take maybe an “older school” approach, really relying on a core guitar-bass-drums setup, with very little in the way of synthesizer or special effects. We also have our own fist pump to the hip-hop scene by having the up-and-coming MC Kid G4shi on the new album. That collaboration grew fairly naturally out of having him sit in on a couple of our big headline shows. Beyond that, though, historically Brooklyn has more of a “working class” reputation, and I think that’s been an subtle influence too. Our approach has always been centered on performing—hitting the road, playing shows, and connecting with fans directly. At our peak we’ve done 100 shows a year. And when we’re not out on the road we’re always writing, always working on our craft. So I’d like to think we embody that Brooklyn work ethic. But I moved to Queens about a year ago, so we’ll see, I hope that doesn’t change!

What major changes have you experienced in the industry throughout your near decade as a band?
The music scene has certainly changed a lot, in both global and local senses. One of the big local changes a while back that hit really close to home was the Knitting Factory’s move from the West Village out to Brooklyn. You might think we’d be psyched, as a Brooklyn based band. But the Manhattan location was really the New York venue where The Energy grew the most, both before and immediately after I joined. Selling out that room became an important stepping-stone to headlining bigger New York venues like Gramercy, Highline Ballroom, and Irving Plaza. So it was kind of a shock when it closed. Social media has of course been huge as well. We’ve also certainly followed the shift away from MySpace—which used to be a huge part of our media game—toward more emphasis on Facebook and now SoundCloud as ways to connect with fans.

How have those changes influenced the way you operate as a group?
Although we certainly continue to play sort of traditional club shows, we have tried to mix things up with more DIY kinds of productions as well. One thing we’ve done a lot of is smaller acoustic shows, sometimes in an art gallery or similar space, with catering and cash bar that we organize. It brings us closer our most loyal fans and it’s also a contrast to the bigger electric shows—which we also love—so it stretches us as musicians and performers. We’ve also done some private parties. Obviously, seeking out these kinds of opportunities often requires making connections beyond the normal or established “music industry” networks, which is perhaps another way the industry has changed. Even our headline club shows we often put together the entire bill, and choose the other acts not just based on style or genre but who we like working with. That more personalized approach may seem counterintuitive in such a social media-driven age, but maybe that’s just how we stay rebellious!



How did you do things differently with your upcoming album, When We Were Young? What made writing and recording this release stand out for you?
As I said, the finished product feels like we’ve come full circle, and I think a lot of that has to do with the process. The songs were written and recorded over a longer period of time than on the previous two albums, so I think there was more opportunity to polish them, or even test them out live during our shows. We’ve always been independent, never on a record label, but I think in the past we’ve operated like we were—deadlines, get the product finished, out the door, etc. It really is rewarding to take our time with a project like this. Looking back, its amazing how cohesive this group of songs turned out, and I think that’s a result of sort of finding “our sound,” even though it’s still someone eclectic. In that sense it’s interesting that we decided to call the album When We Were Young—and feature pictures of our younger selves in the album artwork—even though the album feels like our most “mature” effort yet.

What is the main goal with this new album? What do you hope listeners will get from these tunes?
This is not just hyperbole—there really is something for everyone on this album. Unless you just don’t like rock n’ roll, which is your own problem. A bunch of the songs are just heavy—big guitars, big choruses. I think “California Sun” is the only time we’ve ever had a “shout” chorus with a bunch of people in the studio all singing. I also get to wail a bit more—longer solos and more of them. So that’s fun. The title track starts out all smoky and mysterious but the chorus is just bursting with heat. I remember I wasn’t crazy about Adam’s lyrics when we first wrote the song, and then when he sang it in the studio they were totally different and just hit me right in the gut. It’s really kind of a desperate plea for a more direct and honest type of relation—so incredibly personal and political at the same time. And as an antidote to all the riffage we close with “Little Man,” which is kind of Adam’s lullaby to his first-born son. Every rocker has to have one of those, don’t you agree?

What's next for The Energy?
We’ve kind of slowed down our pace during the process of recording this album, at least in terms of touring. So I think we’re eager to start playing out a more again, connecting with audiences directly, the best way we know how. We’re also hoping to snag some higher profile placements in other entertainment media—film, TV, etc. This is one aspect of our game plan that’s been a bit lacking. I think the depth and diversity of our sound is a double-edged sword in that kind of market. We have a lot of different sounding songs that would work in a variety of settings, but that also makes it more difficult to pigeonhole us—to say, “The Energy sounds like X, so let’s use them for Y.” 

Is there anything else you'd like to say? 
Just that we all hope the new album turns you on in some way. And if you do find yourself at an Energy show for the first time (or the many-eth time) in the coming months, don’t be a stranger. We’re all approachable dudes and love to connect with fans directly.

- Kate Russell



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Monday, January 25, 2016

Rare Futures (formerly Happy Body Slow Brain) Announce New Album



>> Let's open with a brief timeline, shall we? After being a member of Taking Back Sunday for the band's New Again album cycle, Matt Fazzi left (for one reason or another) and went on to pursue numerous other projects. While he played with Atlas Genius, A Great Big Pile of Leaves, NK, and others, his own project always had his heart. That project was Happy Body Slow Brain, and their 2010 album Dreams of Water went over swimmingly (pun intended). HBSB teased a follow-up album for over a year without an official release date in sight. Then, last month, fans were surprised with an announcement. Going forward, HBSB would be known as Rare Futures, and today we discovered that the mysterious and highly anticipated album will finally see the light of day.

>> Rare Futures will release their new album, titled This Is Your Brain On Love, on March 4th, 2016. The album features fellow TBS alum Matt Rubano who plays bass on a handful of tracks as well as guest vocals from Gavin Castleton. The band just unveiled a fresh teaser video for the album as well as the lead single, "The Pressure." Pre-orders are available now via rarefuturesmusic.com and each option includes the enchanting single as an instant download. Watch the teaser, stream the song, and stay tuned for more.




This Is Your Brain On Love Track listing:
1. ////ove
2. Reminding Me To Live
3. Ride The Snake
4. Mercury [And Opposite Planets]
5. The Pressure
6. Cool My Mind | Reverie
7. Worst Thing I've Ever Done
8. This Is Your Future [Lost In A Black Hole]
9. Your Past
10. Hope [Feat. Gavin Castleton]
11. You're An Island
12. Standing On The Precipice
13. Not Giving Up Yet



- Kate Russell

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