Another great song! Love everything you put out and hope to hear your songs for the rest of my life :)

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Creature Canyon's debut album 'Remarks' seeks to capture the emotional conflicts of love and loss through a journey of self-discovery. A dynamic portrayal of personal growth and reflection in the modern age. Dive into a colorful and nuanced experience that traverses through organic and synthetic soundscapes both familiar and new. The album highlights lyrics that encompass uncertainty and moments of realization; moving through a dysfunctional relationship and emerging on the other side with a newfound perspective. Set to arrive in the Summer of 2022, the debut album 'Remarks' is produced by Private Island frontman Christian Lum, engineered by Mike Schuppan (Foster The People, Young The Giant, Wolf Alice), mixed by Jordon Silva (Vance Joy, The Avett Brothers), and mastered by Brian Lucey (Cage The Elephant, Arctic Monkeys, The Black Keys).

Sleepwalking

Atlanta Alive

Atlanta Alive (feat. RARE Sound)

How To Quit You

How Good

A Word Of Advice

Hey if you could do me a favor and follow me on spotify or any other streaming serves it would really do me some good! Please and thank you :)

https://linktr.ee/Konjure92

Products used:
Software -FL Studio
Hardware - Scarlett 6i6
Hardware - Yamaha HS8S
Hardware - Yamaha HSS5

Medieval Eternity

Murk The Beat

Murk A Beat

Dance With Me

Too Close To The Heat

Neurotic

Time

Our Time

The Airborne Toxic Event - Wishing Well [mp3clan.com]

A bit of Indie with Folk and Pop Rolled into one...

In Willow Glen

'Big Hurt Boy' is out now: https://linktr.ee/donovanwoods

Donovan Woods was in on the joke when he named his latest release. Riffing on a lyric from a Martin Simpson song (“Never Any Good”), Big Hurt Boy is a six-song exploration of how our failures — and our fixations on them — not only shape but enlighten us.

“I write about them again and again, just hoping people will still be interested,” the acclaimed Canadian singer-songwriter says. “So the title is poking fun of myself, that I’m theoretically this big sad guy who keeps getting dumped and writing fucking songs about it.”

Or you could think of it this way: Woods’ deep curiosity about the human condition is why we so clearly hear our own stories in his. The details differ, the characters change, but at their core, Donovan Woods songs are for and about everyone.

That’s particularly apparent on his new EP, which will be released March 18, 2022. Trying to capture more of an “undone” quality, Woods wanted his latest songs to “get back to the feeling that my early recordings had.” You hear that in the spare, subtle ache of “No Time Soon,” an acoustic monologue Woods describes as “the story of my whole life.”

“These are smaller, less polished songs than the ones I’ve been putting out recently,” says Woods, winner of the 2019 Juno Award for contemporary roots album (for Both Ways) and whose global streams have surpassed 210 million.

Still, Big Hurt Boy brims with some of the luminous production touches Woods has been adding to this repertoire lately. He wrote the album opener, “I Won’t Mention It Again,” on banjo, which fades into a spectral backdrop of electronic textures and layers of lush harmonies. 

A co-write with Peter Groenwald, “Leave When You Go” simmers with an R&B vibe backed by sensuous vocals from indie-pop artist Ralph. “A Picture of Us Smiling at a Party Five Years Ago,” which reunites Woods with Katie Pruitt (who co-wrote and sang on Woods’ “She Waits for Me to Come Back Down”), untangles how our memories are often preserved by photos. “It’s about nostalgia, which is just a memory that doesn’t have any of the stress or dread or anxiety that the real-time experience had,” Woods says.

“I Hope You Change Your Mind,” co-written with David Hodges, is such an understated tearjerker that you don’t even realize the relationship is over until the last line. “That song is about that back-end portion of a relationship when everyone knows the score but no one wants to say it,” Woods says. “It’s loving someone so much that you’re not sure how to be mad at them, so you twist yourself into knots.” 

Big Hurt Boy is the follow-up to 2020’s Without People, Woods’ celebrated album he made in isolation at the height of the pandemic. Whereas those songs were recorded in a makeshift studio at his Toronto home, with collaborators working remotely, his latest release harnesses the electricity of a roomful of musicians laying down tracks live in the studio, a first for Woods.

As an in-demand songwriter whose work has been recorded by the likes of Tim McGraw (“Portland, Maine”) and Lady A’s Charles Kelley (“Leaving Nashville”), Woods has been venturing beyond the singer-songwriter scene where he first cut his teeth. Equally at home in folk and country, he has worked with songwriters such as Tom Douglas, Lori McKenna, Brandy Clark, Ashley Monroe, Dustin Christensen, Femke Weidema, Steve Robson, and Ed Robertson (Barenaked Ladies).

Each of these collaborations has highlighted a budding truth about Woods: As respected as he is as a solo artist, he’s evolving and upending our expectations of how his music sounds. His songs have grown more dimensional, emboldened by new sonic landscapes, reminding us that classic songwriting transcends genre.

How Good

DonovanWoods

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