I met this band’s leader, Andi Scher, on the recommendation of her guitarist who’s played in other acts I’ve worked with, including the fabulous Halley Greg. This artist does have some good stuff in common with that one – PNW-based; strong lady-fronted, feminist perspective – but they’ve definitely got their own sound, which has a lot of range. There are some rip-roaring rock ‘n’ roll songs in the vein of Alabama Shakes or even Janis Joplin, as well as some calmer, Americana-esque introspective moments (one DJ brought up a comparison to Ellen McIlwaine, for example). I can’t wait for you to dig in and discover it all for yourself!! I had more CDs than I usually get to send out for this most recent mailing, so I was able to reach a bunch of stations I’m not normally able to hit up with hard copies (yay) – thanks so much to those of you who have already reached out to let me know you got it & love it!

HER MOUNTAIN MAJESTY

ABOVE THE WATER

Self-Released

There’s a wilderness at the heart of Her Mountain Majesty, the soul-baring project of singer-songwriter Andi Lee Scher. The genre-bending Pacific Northwest band merges the stormy soul of Southern rock with the intimate storytelling of folk revival, with a result that is as emotionally charged as it is sonically expansive. Reflecting the natural tension in life, the music ebbs and flows between different sonic landscapes—equal parts rock catharsis and folk confessional, a portrait reflecting both bustling city life and the quiet solitude of the forest. If Janis Joplin, Brandi Carlile, and Florence Welch had a sonic granddaughter who read Mary Oliver, journaled under cedar trees, and formed a rock band, Her Mountain Majesty would be it.

Above the Water is a raw, emotionally unflinching album that traverses the wreckage of grief, the ache of self-doubt, and the slow, stubborn climb toward self-reclamation. The album moves through the carnage of heartbreak, crippling anxiety and self-doubt, bouts of dissociation, and a lifetime of silencing one’s needs for the sake of others. It finds respite in the trees, grounding in the mountains, and despite its moments of deep grief and sadness, it finds light and resilience from within. This is not a record that simply asks to be heard—it demands to be witnessed. It’s a triumphant celebration of life at its messiest, when uncertainty forces us to be our most resilient. This album is for anyone wading through the murky middle, just trying to keep their head above the water. Just as Scher sings in “Made Up My Mind”, an unwavering dedication to her journey back into music: “I ain’t wasting no more time.” 

RIYL: Alabama Shakes, Janis Joplin, Brandi Carlile, Hurray for the Riff Raff, Halley Greg, Grace Potter & the Nocturnals, Nathaniel Rateliff & the Night Sweats

Start With: 4, 2, 3  

FCC: 7 (CLEAN EDIT INCLUDED IN DOWNLOAD)
*2 says “hell” (only)

CLEAN

Contact me for a download link if you’re a radio rep!

https://www.hermountainmajesty.com/
https://www.instagram.com/hermountainmajesty/
https://www.facebook.com/hermountainmajesty/
https://www.tiktok.com/@hermountainmajesty
https://hermountainmajesty.bandcamp.com/
https://soundcloud.com/hermountainmajesty

This new album rules. You’ll probably remember this fella from the last record of his I worked (which was a double album that only came out this past September!!), but this is ALREADY a BRAND NEW FULL LENGTH ALBUM!! Wha?!? And honestly, I think I dig it even more?! It has a more cohesive vibe and some really catchy jams and well as some interesting experimentation type stuff. A recap about who this sweetie is, you’ll remember this part from last time: I looooove this guy and this record – Joey is an old pal of mine, from back in the days when he fronted the magically wonderful indie-pop band Pomegranates. (Remember them?? They used to sleep on my floor in NYC all the time, ahh very fond memories!!) Well, Poms parted ways a few years ago, but Joey’s never stopped making music – lately he’s been doing it under this moniker with an intentional misspelling (that does NOT say “Joseph”, it’s “Joesph” – don’t let autocorrect tell you otherwise!! BUT, it is still pronounced like the regular “Joseph” would be – thanks to Matt from WLFR for bringing that up!) Once again, this album brings together a pretty wide variety of influences combining into something I just know you’re gonna love! If you’re still playing the album from last fall, that is SO GREAT and thank you so much(!!!), but consider switching over to this one now!

JOEY JOESPH

THE LITTLE PRINCE OF ROCK N ROLL

Eyebrow Palace

On Joey Joesph’s eleventh album, he’s working through some things. His frustration with the state of the music industry, his relationship with his dad (or lack of one), fear of rejection, being driven by creativity in a capitalist world… but it’s not all bad. The Little Prince of Rock n Roll is also a celebration of the joy of making art, whether with collaborators or alone.
 
The narrator of “Creature Feature” delights in ridiculous 80s horror tropes as he sings about finding a camcorder and making a movie with his friends. And that is a fair summation of the spirit of the new record from Joey Joesph. It is possible for many things to be true at once. We can be hurting, angry, and conflicted, and still have a lot of fun.
 
Multi-instrumentalist, home-recording enthusiast, public access personality, DIY dreamboat… Joey Joesph wears many hats and looks pretty good in all of them. He’s been releasing self-produced records, often in the form of concept albums ranging from dark disco to Cronenbergian post-punk, since 2014 to consistent critical acclaim. Joey was named Cincinnati’s “New Artist of the Year” of 2017, and in August 2020 he released his entirely self-recorded cover of the legendary Beach Boys album, Smile.
 
In 2006 he co-founded the indie psych-pop quartet, Pomegranates, who released 3 EPs and 5 full-lengths before their retirement in 2015. More recently, Joey has started a new project with long time friend and illustrator, Jack Sjogren, called JJ & The Mood (Trailing Twelve Records). Their first single, “How Many Times,” was played heavily on KCRW, and was dubbed their “Today’s Top Tune” of June 3, 2022.
 
In September 2023, Joey released Triple Fantasy and Taking It Easy, his 9th and 10th solo albums respectively, together as a double LP on 180g gold vinyl via his own Eyebrow Palace Records. This album comes close on its heels, a follow-up that stands as its own celebration of, and wrestling match with, the indomitable spirit of creativity.
 
**note the intentional misspelling: second word is JOESPH, not JOSEPH!**

RIYL: Pomegranates, David Bowie, Brian Wilson, Todd Rundgren, The B-52’s, MGMT, Dandy Warhols, Psychedelic Furs, Devo

Start With: 4, 7, 9   

FCC CLEAN (track 1 is ALREADY a CLEAN EDIT)

Contact me for a download link if you’re a radio rep!

https://www.instagram.com/joesph_sounds/
https://www.youtube.com/@eyebrowpalacetv
https://joey-joesph.bandcamp.com/

You may remember this New Zealander from the last album of his I worked back in 2020, or from his viral hit, “You’re So Cool“, or as the head of influential NZ indie pop label Lil Chief Records, or even from back in the day (the “aughts”) when he fronted the Sub Pop band The Brunettes. (That’s when I first met him, what a true thrill it is to get to work with him now!!).  He’s also the male voice on “The Cigarette Duet” by his partner Princess Chelsea, which I keep seeing show up in TikToks lol. His newest album, Pre-Code Hollywood, is packed full of what have appropriately been called “sad bangers“. Dark brooding electro pop with some great hooks. Can’t wait to hear what you think!! 

JONATHAN BREE

PRE-CODE HOLLYWOOD

Lil Chief

The celestial opening notes of Pre-Code Hollywood transport listeners to a complex sonic world that celebrates classic pop of a bygone era, while experimenting with the avant-garde in a way that is distinctly modern. The fifth studio album from New Zealand-based artist Jonathan Bree, Pre-Code Hollywood exudes a nostalgic charm reminiscent of a John Hughes movie soundtrack. A producer and musician best known for his cinematic brand of orchestral pop, Bree’s deep baritone and musical arrangements—which often feature sliding strings and chamber instruments such as the celeste, harp and timpani—draw inspiration from classic artists like Lee Hazlewood and Serge Gainsbourg, but are reborn as something entirely his own. A “dark disco album full of sad bangers,” Pre-Code Hollywood synthesizes Bree’s years of experience and craftsmanship into a refined, focused, and bold collection. It’s his most pop-forward and exciting work to date.

While working on the album’s demos, Bree noticed a certain 1980’s aesthetic about them and sent a brave email to “The Hitmaker” Nile Rodgers, who produced David Bowie’s “Let’s Dance” and “China Girl.” Whether through good fortune, fate, or sheer luck, the two ended up collaborating on the album’s title track, as well as the standout single “Miss You” (with Rodgers producing and performing guitar on both tracks). Rodgers’ touch elevates the recordings to ambitious, scorching dance floor heaters. “Miss You,” an aching yet groovy duet with longtime collaborator Princess Chelsea, also serves as the thematic core of the album: a tale of longing, separation, and the road back to connection.

Bree is also well-known for his carefully crafted visual style; he and his band are never seen without their masks, an aesthetic on full display in the video for his breakthrough 2017 hit “You’re So Cool,” which has amassed over 28 million views on YouTube and was voted Time Out New York’s music video of the year. Gaining a cult following through extensive touring across the globe, this anonymous, masked persona also extends to his live shows, where he and his band play against a backdrop of cinematic projections created specifically for each song, as two dancers perform otherworldly choreography. The title track of Pre-Code Hollywood is a theme song for this masked anti-hero, and references The Hays Code: a set of industry guidelines enforced in Hollywood between 1934 and 1968 that censored what ideals in art should be championed, and what should be driven underground, rather than accepting the nuance in creation. Bree presents himself to the listener as both a refugee and a freak.

Across the album, Bree explores complicated, often poignant relationship dynamics with winking wisdom, all set to the stirring sounds of driving synths, bendy strings, and dark, orchestral electro. “When We Met” laments the arc of a relationship in which young love turns to old love—or worse. It mourns the loss of both early infatuation and, more cuttingly, the loss of who you once were in someone else’s eyes. “We’ll All Be Forgotten” is a warning to other artists, or anyone career-focused, against working beyond their mental/physical capacity in effort to achieve—or create—something that will outlive them. While many believe doing this will bring happiness, the opposite is often true. “Epicurean” is an unashamed song about sex, sexuality, and not holding back—a celebration of the pursuits of sensual pleasure, even if they are perilous. “Politics” cherishes the simple relationship we share with canine companions, a sweet refuge when the noise of the world becomes too overwhelming.

Several tracks have double meanings: “You Are The Man” works as both a positive affirmation mantra to the stud getting ready to go out on a Friday night, or as a negative confirmation mantra to those that believe they’re held back by ‘The Man.’ “City Baby” could be a celebration of independence, or an outsider’s mournful observation of perceived loneliness.

Bree began his musical career at age 12 as the drummer in his adult cousin’s goth band. This was cut short when his mother sent him to live in Australia with his father, an aspiring cult leader. Bree subsequently left home at 14 and independently navigated his teenage years, eventually forming The Brunettes (Sub Pop) with partner Heather Mansfield, and touring relentlessly for much of the early aughts. Eventually, the frustrations of pursuing a traditional route to success pushed Bree to take a long break from releasing his own music, and focus instead on expanding his Auckland-based record label (Lil’ Chief Records), and producing/collaborating with other artists like Princess Chelsea. Bree returned to releasing music as a solo artist in 2013. Now with his latest entry in a line of impressive solo work, Bree and his artistry are even more striking and fully realized than ever on Pre-Code Hollywood.

RIYL: Princess Chelsea, The Brunettes, Lawrence Arabia, Anthonie Tonnon, Fever Ray, Lee Hazlewood, Serge Gainsbourg, Scott Walker, The Magnetic Fields, Casket Girls

Start With: 2, 3, 4, 9

FCC CLEAN

Contact me for a download link if you’re a radio rep!

https://www.instagram.com/jonathanbree666/
https://jonathanbree.bandcamp.com/
https://www.jonathanbreemusic.com/
http://www.lilchiefrecords.com/

Diehard Band Mom fans will remember Hillary Susz from the last record of hers I worked, waaaay back in 2016. This artist, now based in Kansas City, is a special lady. She’s known for her distinctive alto vocals and effects-laden guitar work layered into unconventional song structures. The Wild Honey Pie has called her “the love child between Sharon Van Etten and Angel Olsen“, which is super apt. I really love this new record, sexy as loss (title stylized in all lower case) – and can’t wait to hear what you think!! There are no hard copies of this one at all, so don’t wait for one of those, but please do grab the download if you’re at all able (if you’re a radio station rep, it should be there in your inbox)!

HILLARY SUSZ

SEXY AS LOSS

Self-Released

Hillary Susz is an independent artist based in Kansas City. Her distinctive alto vocals and effects-laden guitar work bypass conventional structure to deliver a truly unique narrative. The Wild Honey Pie calls her “the love child between Sharon Van Etten and Angel Olsen.”
 
sexy as loss is about, you guessed it, loss. Within one year, Hillary Susz was dumped, suffered a traumatic brain injury, and received a chronic illness diagnosis. Then the pandemic. When it rains it pours.
 
But sexy as loss is not a monotone blue chord. It’s not a triumph story, either.
 
At the same time Susz was recording sexy as loss, she was also reading about quantum theories– Einstein, black holes, time, deep space, entanglement. Atoms are entangled when information about one improves the knowledge of the other. It’s unknown if the information exchange occurs faster than the speed of light. It may occur instantly.
 
Of all the songs, stories, myths, and hymns that ask the ether in place of the other: Do you feel this too? Susz believes, yes. We’re all entangled. We aren’t made from nothing… but from centuries of biology and people and sensations and experiences.
 
There’s a preference for darkness and speed in our lives, which consequently fuels an addiction to hope, a faith that circumstances will improve. The truth is we never know. There is no cure for this diagnosis—and so what? Why fight pain when you can, instead, harmonize it… with everything?
 
This is sexy as loss.

RIYL: Angel Olsen, Jeff Buckley, Weyes Blood, Big Thief, Phoebe Bridgers, Sharon Van Etten, Julia Jacklin

Start With: 4, 5, 6

FCC CLEAN

Contact me for a download link if you’re a radio rep!

https://hillarysusz.bandcamp.com/
Instagram: @hillsusz
available on all streaming platforms