The fourth track off of the new Augustus album 'Into Frames'
Return

Augustus-Return

Heat welds gum to the sidewalk, lipstick smeared on chrome,
Marquee grins like bad teeth, silk legs on loan,
He sleeps in his car with a guitar and a rearview shrine,
Maps folded on dead ends and a tape deck coughing time.
Streetlight flickers like breath in a drowning lung,
Agent on the corner saying, Kid, you’re too young.
But the mirror shows every unpaid mile,
And the lines all rehearsed like a man on trial.

Headshots pinned like bugs under glass,
Smiles stapled to a future already past.

Welcome to Palm Row, where your name stains tar,
Gold melted down, pawned for a shot of fame.
Each star chaser, another canceled show
Knees split open in the promise glow —
Palm Row.

Cheap motel halo buzzing red and blue,
Perfume masking sweat and last night’s cue.
She paints her mouth like a wound on fire,
Says Hollywood don’t love, it just hires.
Sirens glow on streets slicked hard with sin,
Couple in the diner trading dimes for skin.
Burnt script ash on cracked tile floors,
Smoke slipping out through the back door.

Billboards mock like a final blow,
Looking down on the broken dreams below.

Welcome to Palm Row, where the night chews shine,
Silver screen lies on dotted lines.
Every heartbeat a debt you owe,
And the rent comes due down Palm Row.

Welcome to Palm Row, where angels learn to rust,
Sequins in the gutter, diamonds in dust.
You chase the light till your ribs go cold,
Left out of breath on Palm Row.


Palm Row (Dead End)

Demo recording of the track Relapse which will be the title track from our forthcoming album due out in 2926

Relapse demo

Love Needs No Words

Written and performed by Eric Unger. Eric plays guitar and sings.
Recorded and engineered by John Abbey at Kingsize Sound Labs.
Mastered by Shelly Steffens at Chicago Mastering Service.

Scar

Instagram @patrickjamesmusic
Written by Patrick James and Gordon Mills Jr
Recorded and produced by Gordon Mills Jr
Tickets: London https://goo.gl/GbyjqB

Desert Eyes (DEMO)

07 Keep It On The Inside

02 Poisoning the Well

Crutch

Just Fine

New Indie Folk Update - September 30, 2020

You’re listening to Indie Folk Central’s New Indie Folk Update, don’t forget to subscribe to discover the best new Indie Folk: https://goo.gl/58cjHJ | acoustic, singer-songwriter, americana | September 30, 2020 | Featured artists: Colin Rowland, Mackenzie Shrieve, COMPANION, Jakob Leventhal and Looking For Alaska ⬇️ read more ⬇️

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Indie Folk Central was founded by Rufus, an avid music fan who wants to see indie folk artists get the attention and airtime they deserve. He started working with artists back in 2012, creating and sharing playlists that resonated with other music lovers. In February 2016 his love for music has switched platforms to YouTube and SoundCloud under the name Indie Feed. In January 2018 Indie Feed became known as Indie Folk Central and through this channel he hopes to provide people like you with the best, hand-picked, indie folk music. Read more about our story on: https://www.patreon.com/indiefolkcentral

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0:10	Colin Rowland - Basket Of Clementines
🗓️ September 18, 2020
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2:33	Mackenzie Shrieve - In The Before
🗓️ September 10, 2020
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5:36 COMPANION - Simpler Times
🗓️ September 25, 2020
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9:11 Jakob Leventhal - Purple Everywhere
🗓️ September 25, 2020
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12:26 Looking For Alaska - Home
🗓️ September 4, 2020
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New Indie Folk Update - September 30, 2020

Land of the Living Official Release- May 29th. 

There comes a time in every man’s life when he must question the principles of his culture, his community, and his ancestors. Some may ignore the questions, while others, particularly artists, wrestle with them until something new and lasting is formed from the struggle. Shortly written after the death of his father, Matthew Perryman Jones’ latest record, Land of the Living is a courageous personal Odyessey through life’s most troubled waters of love and loss, and communicates the process by which we grieve, and the fight to find restored hope.The writing process of Land of the Living was an intense wringing of words, emotions, and melody from the rags of Jones’ solitude, but are an account of his truth found in the pain.

His first full length album since 2008, Land of the Living was produced by Cason Cooley (Katie Herzig) and is set to be released on May 29th. The record could not have found a better birthplace than the elusive bohemian studio in Round Top, Texas, where it was recorded. The studio itself was made from a 1700’s Amish farmhouse, is surrounded by vast land and skies, and haunted by a woman the band came to call Sarah.  Matthew slept in a teepee outside the studio for the week the band recorded.  The short time span forced them to “trust our gut and bring our very best to the table.” 

For this record, Matthew decided to entrust the fate of his musings to the ones most likely to connect with it: his fans. In just thirty days Matthew’s “tribe” contributed $26,000 to fund the creation of the album. “Going into making this record supported by fans inspired me in a whole new way. It really awakened the sense of why I went into music in the first place-creating a meaningful connection with people through music.”

Inspiration also came in the form of the writings of Rumi, the letters of Vincent Van Gogh to his brother Theo (from which the title Land of the Living was taken), and Federico Garcia Lorca, who wrote about the idea of Duende—loosely translated as a heightened sense of emotion, expression, and authenticity in art, and particularly, in music.

In each song there is a sense of wandering in the desert and wrestling with the angels.  “Waking up the Dead” conveys the transition from mourning to once again feeling passionate about life. “I want to dance on fire and be born again” is Jones’ earnest mantra. Matthew mirrors the poetry of Leonard Cohen when he sings, “You stand in the water with your arms crossed, groaning hallelujah.”  In “Oh Theo,” he grasps Van Gogh’s artistic and spiritual struggle saying, “My heart was still unknown, I was drunk and full of sorrows. I was longing for a home with nowhere to go.” 

Perhaps the crux of the record’s struggle can be heard on “Cancion de la Noche”, or “Song of the Night.”  Echoes of Daniel Lanois’ mysticism float in the mournful guitars and full, round drums. He sings, “I was alone in the water, deep in the water, where did you go? Oh the light is in disguise, breaking slowly, pull me close and I will push you away.”

A response to “Cancion de la Noche”, is the song “The Angels Were Singing”, which delves into Jones’ grief over the recent loss of his father.  As if in a Flannery O’ Connor short story, he says, “I started running to feel more alive, to wake up my senses that slowly had died . . . each tear was a chorus, a sacred reprise, and I finally was grieving that long goodbye.”  

Is the pain we encounter in loss worth living and loving to the fullest?  In no way a trite answer to the question, the title and last track on Matthew Perryman Jones’ philosophical record gives us a resounding yes.  “You cannot love in moderation, you’re dancing with a dead man’s bones.  Lay your soul on the threshing floor. . . I am coming home.”  And as Rumi said, and Jones has shown us to be true through the journey of Land of the Living, “A thousand half-loves must be forsaken to take one whole heart home.”



02 Poisoning the Well

smolderingwick