Maybe Means No by Jill Whit

Lyrics:
Let me know when you go
Let me know when you go

I’ve got a mouthful of glass and no one to ask
I’ve got a mouthful of glass and no one to tell about it

There’s something here


Credits:
Music and Lyrics by Macie Stewart
Engineered by Macie Stewart at home
Additional engineering by Dorian Gehring at FoxHall

Mouthful Of Glass by Macie Stewart

From the album Mouth Full of Glass, out Sept 24, 2021 on Orindal Records.
Pre-order: https://orindal.limitedrun.com/products/705926-macie-stewart-mouth-full-of-glass

Lyrics:
Sold Saturday’s blues for a Sunday hue
Maybe a moment too soon
Now: new, alone, and awake,
I am a garter snake blending my color with you

Fortune favors my weakness I was never a fake
But almost halfway there
Moving myself along and knowing that I’m wrong
Eating my dining room chair 

I am addicted to indecision
I am addicted and I feel wicked

Does history repeat? 
It could be sweet but not a weekend repair
The crime is knowing nothing at all 
And standing 7 feet tall
Trapped in the mirror again

I’m fucking no one at all and staring straight at the wall
Its something I used to do
What pleasure I choose to keep after I buried it deep
Try to uncover it all

I am addicted to indecision
I am addicted and I feel wicked

New, alone, and awake, I am a garter snake
New, alone, and awake, I am a garter snake


Credits:
Music and Lyrics by Macie Stewart
Saxophone arrangement/performance- Sen Morimoto
Engineered by Dorian Gehring at Foxhall
Additional engineering by Macie Stewart at home
Additional engineering by Sen Morimoto at home

Garter Snake by Macie Stewart

Mouth Full of Glass pre-order: https://orindal.limitedrun.com/products/705926

Music and Lyrics by Macie Stewart
Cello- Lia Kohl
Engineered by Dave Vettraino at Search and Research
Additional engineering by Dorian Gehring at FoxHall
Additional engineering by Lia Kohl at home

Lyrics:
I’m wrong and I know it
But not willing to show it
‘Til finally, finally I break the string

Which one way was better?
See neither, know never?
Tied twice to be tethered in two?

Finally
Finally I learn to tell the truth to myself

I wrote every letter
but sung them much better
But when will I learn to make you sing?

Finally 
Finally I learn to tell the truth to you

Finally, finally
Finally, finally
Finally I learn to tell the truth


Credits:
Music and Lyrics by Macie Stewart
Cello- Lia Kohl
Engineered by Dave Vettraino at Search and Research 
Additional engineering by Dorian Gehring at FoxHall
Additional engineering by Lia Kohl at home

Finally by Macie Stewart

Taken from the Robert Stillman album What Does It Mean to Be American? out January 21, 2022.

https://archaicfuturerecordings.bandcamp.com/album/what-does-it-mean-to-be-american

It's All Is by Robert Stillman

"Prism Song" taken from the album <b><i>Rooms With Walls and Windows</i></b>
Limited edition colored vinyl LP, compact disc & digital out now on Orindal Records

Pre-order at <a href="http://orindal.limitedrun.com/products/520228">orindal.com</a>

BUY LPs, CDs + DIGITAL

Prism Song by Julie Byrne

Take On Thee

"Deep Ecology" taken from the Young Moon album Triggered by Sunsets, out June 30, 2023 on Orindal Records
https://youngmoonmusic.bandcamp.com/

Deep Ecology

A camera zooms in without crowding its subject. A song about someone else’s damage helps you understand your own, & puts you on to new mysteries. Stars look like grains of sand. On Little Kid’s new album & Orindal Records debut A Million Easy Payments, the urgency in Kenny Boothby’s voice matches the stakes of his lyrics, epic ballads & reveries that come at life from all angles & exposures, driving at & a little over the limits of self-reflection. The band’s lilting folk rock arrangements carry Boothby’s stories, occasionally lifting them skyward with flurries of cello samples, pedal steel, flute, & electric piano. It’s a record of depression & frustration that doesn’t stew in piety or aestheticize pain, that also explodes with life. Fragile & abundant. It’s a record with blood in its veins.

Little Kid is a Toronto-based collaborative project that has existed in some form since 2009, & is currently comprised of Brodie Germain (drums, guitar), Paul Vroom (bass), Megan Lunn (vocals, banjo, keyboard), Liam Cole (drums, percussion), & Kenny Boothby (vocals, guitar, piano, keyboards). A Million Easy Payments, like the three Little Kid releases before it, was tracked, engineered, & mastered by Vroom. Vroom’s work renders a portrait of Little Kid’s twin musical strengths — as a live act, a straight-ahead folk rock outfit, & as a group of creative, independent producers who want to mess things up. To that end, the record features several guest instruments: Eliza Niemi’s cello, Anh Phung’s flute, Seth Engel’s percussion, Peter Gill’s pedal steel, & Aaron Powell’s voice. Every so often, the boundaries fray. Chaotic flute layers transport the outro to “Beside Myself.” Banjo careens off the edge of “Something to Say.” The kick drum in “Bad Energy” is more than a heartbeat. 

Like a minimalist composition, an Emily Dickinson poem, a Frankenthaler painting, early Sufjan Stevens, or the songs of many of Little Kid’s new labelmates at Orindal, A Million Easy Payments is brilliant insofar as it teems with texture & meaning under an outward image of simplicity. A peacock in sheep’s clothing. Its lyrical & musical density never comes at the expense of clarity or striking melodies. Like your favorite movie or novel, you come back to A Million Easy Payments again & again for the pleasure of its beauty, but also because it reveals something new every time.

Little Kid has always centered around Boothby’s songwriting, & A Million Easy Payments proves his enormous skill many times over. He tackles the extended ballad tradition, zooming in and out with mind-bending control on “Bad Energy”:

And now your engine burns remains of ancient birds
Go into town to drive around and then leave
You tore a gash right clear through the atmosphere
And now there’s nothing that can buffer the heat
But the sun is shining and your love is smiling
In a moment getting warmed by a beam
Of bad energy

Boothby’s writing is charged with love, absence, stagnation & change, often refracted through the lens of Christian thought, experienced by friends, exes, everyday people & Biblical characters. Later on in “Bad Energy,” Boothby jokes “if you’re only friendly with a dozen men/ one might still kill you with a kiss on the cheek.” In “Eggshell,” a ghost reflects on his own death to his widow, a story based on the death of Boothby’s father: “ambulances came/ weaving a whining siren down the highway/ leaving a smiling silence in your life, babe.” The “I” sound woven in descending melodies. Two lanes of Boothby’s airy tenor. Two lanes of guitar.

Across A Million Easy Payments, Boothby’s dexterity, rhythm, internal rhyming prowess, & ear for poetic sound are matched only by the pathos of his stories. The words are crafted deliberately, not to show off mastery, but to share hard-earned findings. To try & see the self in context & up close, & to prove the inquiry to be both futile & crucial. To dig around for God. The pool is murky. Not as reflective as we’d hoped.

"Bad Energy" by Little Kid

"Something to Say" is the first single & leadoff track from A Million Easy Payments, the quietly masterful new album by Toronto, ON indie folk/alt-country band Little Kid.

"Something to Say" single is out November 28, 2023
A Million Easy Payments album is out February 23, 2024 
Released by Orindal Records (US) & Gold Day Recordings (UK)

https://littlekidmusic.com
https://orindal.com
https://golddayrecs.com


From A Million Easy Payments album bio by Dan Wriggins:

A camera zooms in without crowding its subject. A song about someone else’s damage helps you understand your own, & puts you on to new mysteries. Stars look like grains of sand. On Little Kid’s new album & Orindal Records debut A Million Easy Payments, the urgency in Kenny Boothby’s voice matches the stakes of his lyrics, epic ballads & reveries that come at life from all angles & exposures, driving at & a little over the limits of self-reflection. The band’s lilting folk rock arrangements carry Boothby’s stories, occasionally lifting them skyward with flurries of cello samples, pedal steel, flute, & electric piano. It’s a record of depression & frustration that doesn’t stew in piety or aestheticize pain, that also explodes with life. Fragile & abundant. It’s a record with blood in its veins.

"Something To Say" by Little Kid

"Seventeen" taken from the herbal tea album Hear as the Mirror Echoes, out August 29, 2025 on Orindal (US) & Gold Day (UK)

Vinyl, cassette & digital pre-order:
https://herbaltea.bandcamp.com/album/hear-as-the-mirror-echoes

herbal tea- Seventeen

Deserts of Youth by Lisa/Liza is out now!
https://orindalrecords.bandcamp.com/album/deserts-of-youth

Deserts Of Youth

"The Lonesome Border, Pt 1" is taken from the Dear Nora album Mountain Rock

Vinyl LP out January 13, 2017 on Orindal Records

Pre-order: http://orindal.limitedrun.com/products/575638

Dear Nora live dates:
1/13 - Olympia, WA @ Obsidian ^
1/14 - Seattle, WA @ Black Lodge ^
1/15 - Portland, OR @ Turn! Turn! Turn! ^
1/16 - Portland, OR @ Reed College ^
1/18 - Oakland, CA @ The Night Light ^
1/19 - Los Angeles, CA @ Bootleg Theater ^
1/21 - Las Vegas, NV @ 11th Street Records ^
1/22 - Flagstaff, AZ @ Firecreek Coffee ^
1/23 - Phoenix, AZ @ Trunk Space ^
1/25 - San Diego, CA @ Soda Bar ^
1/26 - Tijuana, MX @ Mous Tache ^
1/28 - San Francisco, CA @ Makeout Room ^

^ w/ Stephen Steinbrink

Dear Nora- The Lonesome Border, Pt 1

Dear Nora - White Fur

There's Always Glimmer

Smoke by Gia Margaret

"Birthday" is the first single from Gia Margaret's debut album, THERE'S ALWAYS GLIMMER, out 7/27/18 on Orindal Records.

Pre-order vinyl + digital now at http://orindal.com

Chicago singer/songwriter/producer Gia Margaret describes her music as “sleep rock.” It’s a genre all her own, combining elements of folk, shoegaze, slowcore, ambient electronica and trip hop. For her self-produced debut album, There’s Always Glimmer (out July 27, 2018 on Orindal Records), Gia Margaret crafted twelve gorgeously melancholic lullabies to combat her own insomnia, and to salvage some beauty from the brighter and darker moments of her life.

There’s Always Glimmer explores relationships between friends, family members and significant others, often in past tense. Sparse verses isolate mundane moments of domestic and urban life, and choruses ache with earnest expressions of yearning and loss. The disarmingly simple language of Gia Margaret’s lyrics, when carried by the melodic sparkle of her singing voice, have the power to elevate an ordinary moment into something supremely nostalgic and sentimental. A ride on a train, a hand on a shoulder, a dog in a yard, the light of the moon through an apartment window are each made significant and sacred, worthy of examination and preservation.

As much as it addresses the unease in our lives, each song on There’s Always Glimmer is steeped in loving comfort, awash with gentle sounds to usher the still minutes before dreams come, when we’re left alone amidst the shadows and the echoes of our memory. There’s Always Glimmer exists to fill the darkness and the quiet.

Birthday by Gia Margaret

Groceries by Gia Margaret

"Wolfman" is the second single from Claire Cronin's forthcoming album, Big Dread Moon, out June 14, 2019 on Orindal Records.

orindal.com

Wolfman by Claire Cronin

https://moon-racer.bandcamp.com/track/you-can-feel-bad

"You Can Feel Bad" written by Matraca Berg & Tim Krekel
Published by EMI Longitude Music, Mighty Nice Music, Songs of Universal Inc (BMI)

MOON RACER ON TOUR
June 14 Winston Salem, NC @ Monstercade (w/ Jaguardini & Transport 77)
June 15 Athens, GA @ Georgia Theatre Rooftop (w/ Eureka California)
June 17 Cincinnati, OH @ The Listing Loon (w/ Brooklynn Rae)
June 19 Louisville, KY @ Saint Cat’s - Our Lady of the Good Couch (w/ Emily Yacina & R.L. Kelly)
June 21 Chicago, IL @ The Hungry Brain (w/ Claire Cronin & Advance Base)
June 24 Ypsilanti, MI @ Ziggy's (w/ Claire Cronin & Advance Base)
June 25 Youngstown, OH @ House Show
June 28 Providence, RI @ AS220 Psychic Readings (w/ Christians and Lions & Lady Queen Paradise)
June 29 Cambridge, MA @ Lilypad (w/ Christians and Lions & Kathy Snax)
June 30 Brooklyn, NY @ Baby's All Right (w/ Advance Base, Matt Bachmann & Claire Cronin) 
Original recording by Patty Loveless

You Can Feel Bad by Moon Racer

Clairvoyant by Friendship

The final single from Gia Margaret's forthcoming ambient album, Mia Gargaret (out June 12 on Orindal Records in North America & Dalliance Recordings everywhere else).

https://giamargaret.bandcamp.com/album/mia-gargaret

barely there by Gia Margaret

Pre-order Mia Gargaret by Gia Margaret: http://smarturl.it/miagargaret

Mia Gargaret is an ambient, (mostly) instrumental album by Chicago, IL singer, songwriter, multi-instrumentalist & producer Gia Margaret.

Mia Gargaret was not the follow-up album that Gia intended to release after the critical success of her 2018 debut, There’s Always Glimmer. But after she suddenly found herself without use of her primary instrument, she had to rethink her methods, at least temporarily.

Gia explains:

“After having to cancel tours because of illness, I was unable to sing for nearly half of the year. This left me feeling like a shell of myself, so I turned to my synthesizer for comfort. These compositions helped me hold onto my identity as a music maker. At times this music helped soothe my anxiety more than therapy or anything else could.”

Without singing or lyrics to steal the focus, the instrumental tracks on Mia Gargaret shine a light on Gia Margaret’s skills as a musician, composer & producer. Spare but immersive arrangements of synthesizer, piano & acoustic guitar simultaneously ache & soothe, building emotional landscapes that rise & recede like scenery through a train window.

“I wanted to make something that sounded hopeful, which is a little ironic because I felt essentially hopeless during the entire process. I was making music to self-soothe. I had synth loops going while I walked around my apartment, forming my own daily soundtrack.”

Mia Gargaret documents Gia Margaret’s self-healing. Album opener “apathy” includes an excerpt from her actual vocal therapy exercises. “body” samples a lecture from British philosopher Alan Watts, a continuous source of comfort & perspective for Gia in times of confusion. (Permission to use the sample was personally granted by Mark Watts, son of the late lecturer, in exchange for the use of “body” in his documentary film about his father.) Other tracks feature the sounds of footsteps, church bells, crackling fires, lake waves & other field recordings from Gia’s day-to-day.

“I wanted to capture the feeling of a truly strange time in my life, even though I would prefer to forget it altogether. This process helped me understand something about myself, & hopefully it can help others, too.”

Mia Gargaret ends with “lesson,” the album’s only track to feature Gia’s singing voice. The short song teases at what we can expect from the next Gia Margaret album, a return to more traditional forms of songwriting, due in 2021. In the meantime, Mia Gargaret stands as a gorgeous experiment & a memorable meditation on the healing power of music.

Mia Gargaret was composed, performed & recorded at home by Gia Margaret during the summer & fall of 2019, with guest performances by Emily Cross (clarinet on “ash”), Stephen Steinbrink (vocals, organ & guitar on “lesson”) & There’s Always Glimmer collaborator Doug Saltzman (electronic drum production to on “body” & “lesson”).

body by Gia Margaret

apathy by Gia Margaret

Tucson, Arizona interdisciplinary artist Karima Walker walks a line between two worlds. Aside from her long resume of collaborative work with artists in the diverse fields of dance, sculpture, film, photography & creative non-fiction, Walker has long nurtured a duality within her solo work as a musician, developing her own sonic language as a sound designer in tandem with her craft as a singer/songwriter. The ongoing conversation within her music has never been so articulately explored, or imbued with as much intention, as it is on her new album, Waking the Dreaming Body.

With the exception of C.J. Boyd’s bass on “Window I,” Waking the Dreaming Body was written, performed & engineered entirely by Walker. Harmonic layers of guitar, piano, synthesizer, percussion, field recordings, tape loops & Walker’s own dulcet singing voice form a 40-minute dream-narrative of her conscious & subconscious minds, deftly moving between the rich textures of her ambient work & the melody & poetry of her Americana-tinged songwriting. The album’s more conventional, lyrics-focused tracks (“Reconstellated” & “Waking the Dreaming Body”) are punctuated by psychedelic instrumentals (“Horizon, Harbor Resonance,” “For Heddi”), their ebb & flow mirroring those waking moments where images & emotions are recalled & forecasted by the previous night's dreams. Night falls in regular intervals throughout the album, forming a natural dialogue between waking & dreaming.

Unlike her previous album (2017’s Hands in Our Names), where many of the tracks blended together as a continuously flowing narrative, Walker had a different intention for the eight stand-alone tracks that make up Waking the Dreaming Body. Walker explains:

“I wanted these songs to have more lyrical structure, to stand alone as more complete worlds, & this required a shift in my usual way of writing. I found myself trying to escape from an excess of interiority by exploring outward, by thinking about the mirroring & projecting that happens when you seek connection to others & to the natural world—when you try to bring the outside in. I sought to make arrangements that swell at certain moments & barely hold together at others, moving with my breath & other rhythms connecting my body to the natural world. Ultimately, I was seeking to draw myself out, to reconstruct my personal narrative with nature as my guide.”

Waking the Dreaming Body is out February 26, 2021 on Keeled Scales / Orindal Records.

keeledscales.com
orindal.limitedrun.com
karimawalker.com

Waking The Dreaming Body

Horizon, Harbor Resonance

Reconstellated

Dan Wriggins is a Philadelphia-based songwriter, musician, and poet. He grew up in the town of Yarmouth, Maine, and on Islesford, a small island community near Bar Harbor. In High School, he started playing piano and guitar, and met bandmates Michael Cormier and Peter Gill. He worked on lobster fishing boats before moving to Philadelphia and starting the alt-country band Friendship in 2015, with whom he has toured the US and Canada extensively. He lives and sometimes tours with his dog, Roy.

"The Diner" and "Dent" are Wriggins' first songs released under his own name. They were recorded in an October 2020 session with Michael Cormier and Lina Tullgren at Big Nice Studio in Lincoln, RI. 

Wriggins explains:

"Writing songs for Friendship, I would sometimes come up with one that felt more like a solo song and less like a band song. The distinction is blurry. I wrote 'The Diner' a couple years ago, and 'Dent' this summer. They are companions insofar as they both feature violin parts from the amazing Lina Tullgren, and they share three title letters.

"The All Night Diner was a basement venue in Philly active around 2016-17 that my friends and I used to hang out at a lot. It was a special place. There was a nice porch and backyard, friendly people, and a lot of great shows. I don't know whether I "took it for granted" or not. It probably helped me understand that a supportive scene and community doesn't just happen, and I was lucky to be a part of that one. The song could also be about actual diners. My favorite is Annie's in Worcester, MA.

"I'm not sure where 'Dent' came from. I may have had Willie Nelson's 'Last Thing I Needed, First Thing This Morning' on the brain. Most of the song is typical blues about work sucking and feeling like a zombie. But the punchline is 'oh and by the way, you leaving didn't help.' Peter Gill recorded the guitar part through his boombox, and gave me a tape with very loud hiss. He assured me it would sound good, and that 'Keith Richards did it this way all the time.'"

Orindal

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