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Chris Shiflett Fuses Honky Tonk With Rock On Upcoming Album
For the past few months, veteran rocker and Foo Fighters six-stringer Chris Shiflett has been sharing new tastes of his signature honky-tonk-meets-rock-and-roll sound.
“Dead and Gone” found the Southern Californian trading licks with Nashville pickers like Tom Bukovac and Charlie Worsham and “Black Top White Lines” put a rocking spin on the classic “murder ballad” format. All of that bridge-building between Music City and his native California will come to fruition on October 20th with the release of Lost at Sea—Shiflett’s new Jaren Johnston-produced album on Blue Élan Records.
Lost at Sea finds Shiflett blurring the lines between his last two albums: West Coast Town’s (2017) honky-tonk homage and Hard Lessons’ (2019) overdriven crunch. Shiflett recorded the majority of the new album in Nashville, working with his aforementioned producer and collaborator Jaren Johnston—frontman of the Cadillac Three, as well as the songwriter behind nearly a dozen Number 1 country hits—and a small cast of Americana all-stars. Among them were fellow guitar slingers Worsham, Bukovac, and Nathan Keeterle, all three of whom laced the record with fiery fretwork. He also teamed up with a number of co-writers, partnering with Kendell Marvel, Cody Jinks, and others to fill Lost at Sea with storylines that pack as hefty a punch as the music itself.
“We wrote a lot of these songs during the lockdown,” recalls Shiflett, who spent much of the pandemic at home in Southern California. “Then I began making trips to Nashville to work with Jaren. He and I have a lot of overlap, in terms of the music we like. We made a guitar-centric record that encapsulates everything I’ve been listening to over the years, from the most country songs I’ve ever recorded to punk rock and even songs that sound like a California version of The Clash.”
“Damage Control” is the track he’s referencing, and it happens to be the next single from Lost at Sea. Straying further from the country influence than most of the album, “Damage Control” is the only “old” tune that Johnston and Shiflett included on Lost at Sea. “All the other tunes were written in the months leading up to recording, but when Jaren and I were sorting out which songs to do he mentioned something about The Clash and I remembered this old one I’d demoed about 15 years prior,” remembers Shiflett. With its layers of reverb, pulsing percussion, and Echoplex tape delay, “Damage Control” went through a number of versions before reaching its final form in the studio with Johnston. “I love that the musical inspiration on this one was late-stage Clash but we wound up layering it with banjos and what-not. Definitely takes it somewhere else. Ska-mericana?” Shiflett laughs. “There’s nothing better than when influences converge taking you places you never expected.”
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Lyn Bowtell Unveils New Single “Paper Cut” as a Tribute to Women Supporting Women
Acclaimed Australian singer-songwriter Lyn Bowtell has once again captured the hearts of listeners with her latest single, Paper Cut. The emotionally charged track, released on January 17, is a poignant exploration of resilience and the enduring impact of emotional wounds.
At its core, Paper Cut is more than just a song; it serves as a cornerstone for Bowtell’s forthcoming album, which celebrates the strength of women supporting women. The single’s origin story is as personal as it is relatable. Inspired by the sharp yet fleeting pain of an actual paper cut, Bowtell connected the experience to the lingering ache of relationship breakdowns. She describes the song as one of those rare creations that “arrive swiftly, almost fully formed.”
The track features the distinctive backing vocals of Kasey Chambers, a long-time admirer of Bowtell’s work. Chambers first heard Paper Cut during one of Bowtell’s transformative SHE Songwriting Retreats and was moved to collaborate. The retreats, founded by Bowtell, provide a haven for female songwriters to come together, share stories, and foster creativity in safe and supportive environments. With mentors like Chambers, Ashleigh Dallas, and Felicity Urquhart, the retreats have become a beacon of empowerment and healing for women in the music industry.
Produced by Bowtell and her partner Damon Morton, Paper Cut is a masterful blend of heartfelt lyrics and classic country instrumentation, with Bill Chambers lending his signature slide guitar. Bowtell’s roots in country music shine through, drawing inspiration from legends like Emmylou Harris and Patsy Cline while offering a modern perspective on heartbreak and healing.
Bowtell’s passion for advocating for women extends beyond her music. Through her SHE retreats, she continues to inspire women to care for themselves and each other, creating a ripple effect of empowerment in the industry and beyond.
With Paper Cut, Lyn Bowtell not only delivers a powerful anthem of resilience but also reaffirms her commitment to uplifting women through art and community. This release promises to resonate deeply with listeners and set the stage for an album that celebrates connection, healing, and solidarity.
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Queensland Songstress Katelann Maree Celebrates Australia with New Single
Katelann Maree, a singer-songwriter hailing from the rural town of Miles in Queensland’s Western Downs, is set to captivate audiences with her heartfelt new single, Australia My Home. Set for release on 24th January, this vibrant track is a love letter to the essence of Australian life, blending nostalgia with pride for our unique culture, landscapes, and traditions.
“With backyard BBQs, singing along to old Slim’s tunes
It’s barefoot footy and cricket on Australia Day
Where the beer tastes different in the land down under
The Milky Way… This is Australia, my home,”
Katelann beautifully captures the soul of the Australian way of life, from iconic backyard barbecues to the wonders of the Milky Way stretching across our skies.
The single marks the first of four original tracks to be released throughout 2025 under the Western Downs Regional Arts Development Fund grant, supported by the Queensland Government through Arts Queensland. This initiative showcases Katelann’s connection to her roots and her talent as a storyteller.
A lifelong Western Downs resident, Katelann’s musical journey is deeply personal. Her debut single, Grandad’s Guitar (2020), paid tribute to her grandfather, Jimmy Grealy, known as “Chinchilla Slim,” whose fingerpicking guitar style inspired her artistry. Her debut EP, A Different Kind of High, brought her songwriting to life under the mentorship of country music icons Catherine Britt and Melody Moko at the CMAA Academy.
In addition to her flourishing music career, Katelann is a dedicated music teacher, fitness trainer, and mother of three, with her youngest born on New Year’s Day 2025. Despite her busy life, her passion for storytelling through song remains her guiding force.
Australia My Home is not just a song; it’s a celebration of identity, history, and belonging. Katelann Maree invites listeners to join her on a journey through the heart of Australia, where every melody and lyric serves as a reminder of the beauty and resilience of our homeland.
Stay tuned for more releases in 2025 as this talented artist continues to share her story and celebrate the country she calls home.
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REVIEW: Healing Descent – Van Walker
Van Walker’s latest album, Healing Descent, is a testament to his lyrical brilliance and emotional depth. Recorded in just four days during a break in his Canadian tour, the album reunites Van with long-time collaborator Chris Altmann and introduces Carl Jennings as part of the creative force behind its production. Together, they’ve crafted a collection of ten tracks that are as musically diverse as they are thematically profound.
Drawing inspiration from the first spring of lockdown in 2020, Van captures a delicate balance between optimism and reflection. Tracks like “Persephone’s Return” and “Her Gentleness” sparkle with hope, celebrating renewal and the unstoppable resilience of nature. Yet, the album doesn’t shy away from darker undertones, with songs like “Certainty of Sand” exploring themes of loss and uncertainty.
Healing Descent also showcases a subtle yet powerful interplay of seasons, with tracks such as “Summer Thunder” and “Winter’s Last Words” adding a cyclical, almost poetic, narrative. This undercurrent of “Ruin & Refuge” and “Death & Reanimation” ties the album together, making it more than just a collection of songs—it’s a cohesive journey through life’s tumultuous moments and the promise of renewal.
Van’s vocal and lyrical artistry are perfectly complemented by Altmann’s production expertise and Jennings’ studio mastery, breathing life into the album’s earthy yet intricate soundscapes. With Healing Descent, Van Walker proves once again why his music resonates deeply, offering listeners an album that is both profoundly personal and universally relatable. This is an artist at the peak of his craft, reminding us of the beauty and resilience found in both music and life itself.
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