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A marvel of interwoven musicianship and testament to the duo's singular camaraderie, the album encapsulates the two veteran guitarist-songwriters' mutual admiration and effortless compatibility as they swap and share nine new songs of dazzling dexterity and grace recorded almost entirely on acoustic guitars. Though their initial objective had been all instrumental, the natural flow of the sessions led the duo to begin incorporating vocal tracks. Stark yet intricately arranged songs such as the cinematic tracks \"Nevermind\" and \"Flying Things\" (featuring additional vocals from GRAMMYr Award-nominated singing siblings The Secret Sisters), and an incandescent version of Neil Young's \"Sail Away\" are rich with dazzling dexterity and grace, Ramsey's nimble fingerstyle picking and Broemel's classically trained virtuosity aligning to create a predominantly instrumental song cycle of rustic beauty and atmospheric power. Music at it's most elemental, Celestun sees Carl Broemel and Tyler Ramsey stripping away artifice to unlock and explore deeply personal themes of wanderlust and familial love, of fellowship and communal adventure.Previously, Louisville, KY's Carl Broemel released a series of solo recordings over the past two decades, including 2019's Brokenhearted Jubilee EP in collaboration with drummer Eric Hopper, and recent collaborations with The Futurebirds. 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They were the first commercial recordings ever made in Appalachia and included several influential \"old-time\" musicians (Wade Ward, Ernest V. Stoneman, Bascom Lamar Lunsford, Kelly Harrell, and Henry Whitter) alongside regional prize-winning fiddlers, banjo players, harmonica soloists, and even visiting vaudeville and pop performers like Emmett Miller and the Carolina Club Orchestra. The immensely entertaining and historically important records they produced include mountain ballads, folk tunes, ragtime instrumentals, novelties, and more; and yet, these recordings have been overlooked for a century because of their extreme rarity and technological limitations. Peer would go on to direct the famed 1927 Bristol Sessions, widely considered the \"Big Bang of Country Music\" - but these 1925 Asheville recordings lit the fuse. The long-play 84-minute CD includes 28 complete selections, meticulously restored from the original discs with no artificial enhancements, and a 128-page hardback book by renowned scholars Ted Olson and Tony Russell, telling in detail the fascinating story of the 1925 Asheville Sessions with dozens of rare photographs, a complete discography, song lyrics, color reproductions of all original labels, and biographies of all session participants. 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His 2022 debut Guard Dog was written, recorded and self-produced in Duckart’s Portland home and independently released with little expectation as to how it would be received. 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She's toured with the likes of Sara Bareillesand Kishi Bash i ; collaborated with with Esperanza Spalding, Gillian Welch, Blake Mills and Ben Folds; scored, with Paul Brill; and her songs have been featured innational television campaigns for Google, Amazon, Sky TV, and So You Think You Can Dance.Responsible Friend is an album about the ways in which we show up for one another. What does it mean to be a responsible friend - to be there for someone you lovewithout trying to save them? \"The first lesson I learned about caregiving,\" says Elizabeth, \"is that I need to put on my own oxygen mask before I can help anyoneelse. The next lesson (and the one you won't find in an airline seat-back) was that no matter how much I wanted to, I couldn't take away anyone's pain. I wasn'tthere to fix anyone. 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An \"Emerging Act of the Year\" nominee from the Americana Music Association and a John Prine Songwriters Fellowship honoree, Riccio first broke through with her 2023 debut Whiplash, a coming-of-age record rooted in folk and country traditions. On Face The Feeling, she pushes far beyond those foundations, embracing a bolder, electric, indie-rock-driven sound that mirrors the album's emotional depth. Where Whiplash captured the restless search for escape, Face The Feeling finds Riccio choosing to stay, confronting grief, rage, self-doubt, desire, and devotion head-on. Written between Colorado and Nashville and co-produced with longtime collaborators Isaiah Beard and Jesse Timm, the album balances light and dark, restraint and release, as Riccio leans into discomfort as a path toward growth. Songs like \"Pilar, NM,\" \"Wildfire Season,\" and \"Doesn't Matter\" reveal an artist willing to sit inside complicated feelings rather than outrun them. Having performed at the Grand Ole Opry, made her national television debut on CBS Saturday Morning, and toured with Lucius, Jason Isbell, and Iron \u0026amp; Wine, Riccio arrives at Face The Feeling with clarity and confidence. 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Musically, Lapell was looking for a stark, acoustic sound, as opposed to 2024's Juno Award-nominated Anniversary (recorded in Niagara with Great Lake Swimmers' Tony Dekker) and 2022's acclaimed Stolen Time (recorded in Montreal with Howard Bilerman, featuring E Street Band saxophonist Jake Clemons).Lapell's road to motherhood was fraught, involving years of IVF and a 2023 miscarriage \" that she experienced on stage while on tour. (She finished her set.) Her son was born in November 2024. The song cycle of Shadow Child covers joy and loss, using metaphors from Maritime tragedy, little cannibals,? reproductive health, acquiring language, and lives altered by the arrival of a newborn. The title track refers to ultrasound imaging of a liminal person that doesn't quite exist yet,? says Lapell. Their status is ontologically blurry.?Shadow Child arrives May 8 \" Mother's Day weekend - on CD, Digital, and Lavender vinyl LP. Singles Hazel,? 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The topography of her work interrogates the intersections of artistry and expression with form and tradition. Anderson crafts pieces bursting with equal parts reverence and curiosity, contouring familiar shapes into work that is wholly her own. Anderson has spent decades mining the veins of the complicated, interconnected American folk traditions she was steeped in from a young age, stretching beyond those traditions and incorporating the vocabulary and techniques of vernacular folk music from around the world into her work. Eschewing replication or revival, Anderson's music lives in conversation with tradition. \"My approach to tradition is with the hands that I have and the history that I have,\" notes Anderson. \"In that way it's a collaboration-you don't go into collaboration trying to play like the other person, you go in trying to find out how to play together.\"The Anthology of UnAmerican Folk Music is drawn from nearly one thousand songs culled from the private record collection of the late Harry Smith. For this record, Anderson works on music from places that the United States has been in conflict with since 1970: Southeast Asia, the USSR and the Arabic and Islamic regions of the world. In Volume 1 Anderson presents her own deeply personal iterations of nine songs from the Anthology. Composed, transcribed and arranged through a process of trial and error, deep listening and research, Anderson charts a musical course across the globe. 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