New Music Friday — August 7, 2020

August 7, 2020

THE WILDMANS | The Wildmans

Americana, bluegrass; Travianna Records – STREAM / BUY album

Travianna Records announces the all new self-titled album by The Wildmans releasing worldwide today! Guest musician and friend Nick Falk shares, “The Wildmans have been wrangling tunes and dialing in their sound at countless fiddler’s conventions and jams for nearly a decade. But some still don’t know their talent. Now the wait is over, it’s time we fill our cups and let them overflow with this self-titled debut of fiddle tunes and sing songs that burn brighter than any accolades. This album draws on the quartet’s deep groove, vocal blend, and instrumental virtuosity, all of which combine to create one of the freshest sounds in American roots music today. The Wildmans are a true family band that is bound more by spirit than blood, sitting squarely at the crossroads of past and future and poised for greatness.”



We hope you’ll listen and let the music speak for itself. The Wildmans are: Aila Wildman (fiddle and lead vocal); Eli Wildman (mandolin and harmony vocal); Victor Furtado (banjo and harmony vocal); Sean Newman (bass and harmony vocal)

Guest artists: Nick Falk (Percussion, harmony vocal); Nate Leath (additional fiddle); Dori Freeman (harmony vocal, guitar on “Rid My Mind”)


CHRIS JONES & THE NIGHT DRIVERS | “Leave it at the Gate”

Bluegrass; Mountain Home Music Company — STREAM / BUY single

Chris Jones is a storyteller who has long used acoustic music—mostly bluegrass, mostly original—as his medium. But whether it’s a wistful country ballad or a banjo-driven groove, one of his own or from the pen of a Music Row legend, the honesty and authenticity in his musical voice are—just like his warm, nuanced baritone itself—unmistakable. So, too, are the honesty and authenticity of the stories he tells, and the latest release from Chris Jones & The Night Drivers, “Leave it at the Gate,” is also the latest illustration of the way that his music is rooted in real life.

“This is a song that sings the praises of the kind of job you can put behind you at the end of the day,” Jones notes. “I’ve had a variety of jobs, from cow milker and delivery driver to baker and disc jockey, and while being a self-employed band leader and recording artist is very rewarding, and I’d never trade it, there are times when the kind of job that has an end point every day—one you can ‘leave at the gate’—has a lot to be said for it.”



The song’s insistent message—“I don’t have to let my job define me / Because I get to leave it at the gate”—has a timeliness the writers couldn’t have intended when the song was recorded, but stands out nonetheless as a kind of anthem for those whose lives have meaning beyond the daily work routine. The sound, too, matches the sentiment of the single, the latest in a string of hits penned by Jones and one-time Night Driver, Jon Weisberger. “It was nice to reunite with Jon as co-writer on this one, even if he’s no longer a member of the band,” Jones says. “This one spotlights Grace van’t Hof’s driving banjo work and her and Mark Stoffel’s harmony vocals.” And with award-winning bassist, Marshall Wilborn, joining the group at the same time as van’t Hof, the Night Drivers present a lineup second to none.

“I don’t feel the need for second-guessing / I’m glad for the choices that I’ve made,” Jones sings as the song nears its end, sounding a note that mixes acceptance and confidence in a way that surely echoes many listeners’ own thoughts, and makes “Leave it at the Gate” a likely candidate for the next Chris Jones & the Night Drivers #1.

ESS BE | The Other Side of Tomorrow”

Hip hop/rap; Illect Recordings — STREAM / BUY single

Tomorrow is that place and time that seems so far away and yet so much easier to say. The fear of “doing it now” can pale in comparison to the uncertainty of what lies ahead. The inquisitive producer, Ess Be, is intrigued by this ambivalence and dares to explore the untold depths on The Other Side of Tomorrow.

The beginning of this entirely Ess Be-produced experience is both seductive and mysterious almost immediately. On “Rise,” we are tenderly shifted into a sense of security and awe. The lavish and serene strokes will inevitably boost your state of zen. Swiftly following this opening is, “It’s Alright,” with its infectious Berocca type bounce. This pick is the jolt of get-up-and-go needed to start any day. The two-piece meets the two-step on “The Vibe is Real.” Ess Be employs a cheeky and sneaky tint of sax over chunky drums which sounds like a mix of George Coleman and George Jetson. Other highlights include “Lucid Dreams” and “Voyage”—both of which are first-class trips aboard the Scrunchface Enterprise. Whatever your bag is, this ten-track offering is Ess Be’s most sonically expansive foray to date. The other side of tomorrow doesn’t seem so bad after all. It definitely sounds great, that’s for sure.



Ess Be is a hip hop beatmaker and selector based out of Lansing, MI. Through his music you’ll hear a variety of inspirations from R&B, LoFi, Experimental, House, Soul, Funk, Future Bass, Chill, to Trap, and the list goes on. Ess Be operates by the motto “No Sound Left Behind” as it relates to how he artfully bends and blends different genres to create something unique, yet familiar.

LINDLEY CREEK | Freedom, Love, & the Open Road

Bluegrass; Pinecastle Records — STREAM / BUY album

The wait is finally over as rising bluegrass group Lindley Creek releases their highly-anticipated debut album Freedom, Love, & the Open Road. The Jim VanCleve produced record includes 11 new recordings, each highlighting the band’s unique sound, which is heavily inspired by their roots in the scenic Missouri Ozarks.

Following the release of their debut national single “I Gotta Go” earlier this spring, Lindley Creek has quickly become one of the fastest rising acts in the genre. To date, the Ashby Frank-written hit has struck a chord with music enthusiasts, peaking at No. 2 on the main Bluegrass Today Weekly Airplay Chart. The publication praised the band saying to “Look for big things from this bunch.” The second taste from the record came in the form of the softer second release “The Mockingbird’s Voice,” which premiered on The Bluegrass Situation. To celebrate the new project, the band just unveiled a brand new behind-the-scenes video on Vents Magazine highlighting the entire album process (watch below).



The band’s free-spirit and unique sound are on full display throughout the record—featuring a combination of roots music and gospel influences—Lindley Creek’s one-of-a-kind style is highlighted on all 11 recordings. But, there is a rare level of maturity, emotional depth, production value, and artistic integrity achieved on this debut recording. Due in part to the inclusion of several songs penned by Songwriting Hall of Famers such as Pat Alger, Mike Reid, and Tony Arata (to name but a few), the caliber of artistry is truly top notch.

While Lindley Creek is somewhat new to the national bluegrass scene, they’ve already been touring for years, creating a loyal fanbase. Hailing from the Ozark Mountains and the prairie lands of Missouri, Lindley Creek is made up of daughter Katie Greer on mandolin, songwriting and lead vocals; son Jase Greer on fiddle, songwriting and vocals; mother Kathie Greer on guitar, songwriting and vocals and father John Greer on bass.

With the full record officially released, the band looks to continue building upon their momentum. Freedom, Love, & the Open Road also hasn’t wasted any time hitting the charts as well, with the record currently sitting at No. 12 on the Roots Music Report ‘Contemporary Bluegrass Album Chart’ even prior to its official release. Fans can keep up with all things Lindley Creek by visiting their official website

Freedom, Love, & the Open Road track listing:
1. I Gotta Go
2. The Mockingbird’s Voice
3. Right Back Where I Started
4. Words Last Forever
5. Four Men Walkin’ Around
6. Home To You
7. I’m Gonna Take That Mountain
8. Old Soul
9. Forever Young
10. Grounded
11. Sunshine Song



VP of Communications and Marketing at Syntax Creative.