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Strand of Oaks returns with a vibrant new chapter, Miracle Focus. This album marks a bold departure from Tim's previous introspective work, embracing a sound that's uplifting, diverse, and deeply personal.

Tim spent three years crafting Miracle Focus, a period that saw him explore new creative avenues through painting and acting. This artistic expansion fueled a journey of liberation, and a fresh approach to songwriting.

Gone are the days of grappling with trauma, replaced by a desire to "make people feel good." Influences like Ram Dass, yoga, Freddie Mercury, Alice Coltrane, and the Beastie Boys weave through the album, creating a joyful soundscape rich with synth layers and mantra-like lyrics.

Miracle Focus is a collaborative effort, with producer Kevin Ratterman (Ray LaMontagne, Heartless Bastards, Joan Shelley) returning as a key partner. Together, they achieved a seamless creative flow in the studio, further invigorated by the presence of Lacey Guthrie on vocals.

The album title, Miracle Focus, embodies the collective energy that emerges when individuals come together with purpose and passion. It's a celebration of bliss and the simple beauty of existence.

Each song on Miracle Focus offers a unique sonic and lyrical experience:
"More You" sets the stage, urging listeners to embrace a spirit of love and letting go.
"Communication" invites connection through movement and joyful expression.
"Ananda" delves into the sensuality of connection and spiritual practice.
"Future Temple" is an uplifting call to build a personal temple of purpose and love.
"Party at Monster Lake" welcomes the misfits, celebrating community and acceptance.
"Switched On" promotes letting go of the weight of experience and embracing the present moment.
"Navigator" encourages meditation and self-discovery.
"Ascend You" marks a personal transformation fueled by creative exploration.
"Fantasy Wranglers" celebrates the joyful moments that make life special.
"Miracle Focus" serves as a reminder to appreciate the beauty and wonder of existence.

With every listen, Miracle Focus uplifts, inspires, and invites listeners to embrace the miracles within themselves and the world around them. It's a testament to the power of music to connect, heal, and bring joy.

Miracle Focus

Drifts and Surfaces is a three-piece set, with each work originating from commissions, and unified by shared themes: the flux between ephemeral movement and everyday stasis, the paradox of extraordinary and mundane beauty, and the ambition and idleness, that defines living in the 21st century. Saxl continues to utilize chamber-music ensemble alongside analog synth and digital experimentation, deeply tuning into textural emotion and the vivid details of small actions. While her 2021 breakthrough LP, The Blue of Distance, processed recordings from the Adirondacks and Lake Superior, Saxl's source material here comes primarily from live percussion and other instrumentation. 

The project started in 2018 in Brooklyn's Red Hook neighborhood at the practice space that Saxl's band shares with the percussion trio Tigue. Later that year, they performed a residency together and captured the piece before the pandemic set in. In 2021, she began a new commission with Chicago's Third Coast Percussion.

Drifts shares it's title with Kate Zambreno's 2020 novel, where the protagonist becomes entranced by the work of Chantal Ackerman, which presents the typically female invisible forms of domestic labor as equally valuable to activities more commonly seen as productive. Saxl posits Drifts in the spirit of that feminist thesis: "It feels like there's a little lineage here of women exploring this idea and celebrating small action that I hope I am continuing the work of."

The final piece, "Surfaces," was commissioned by the Guggenheim Museum in conjunction with the Alex Katz retrospective in 2022. The group - comprised of Henry Solomon on baritone saxophone, Robby Bowen on glass marimba, and Saxl - leans into light, ruminative tones inspired by the pioneering painter's present-minded approach. Katz's work deals with the optical perception of "quick things passing," like the liminality of dusk when an object's outlines start to become unclear. "The ways in which our perception of things change not because they change but because we change," explains Saxl. "I wanted to have these really minor changes feel dramatic, to mirror the imagined movement in his paintings."

Stepping back to view "Surfaces" within the set, Saxl finds the stream that runs throughout, the concept of the self as part of something greater. "Katz's depiction of multiple generations of New York City artists inspired me to think about how there is no individual 'me' as an artist without both the artists who came before me and the community of artists I've grown alongside. The delineation between us blurs, and I feel as though I am carried on an interwoven surface formed by the community around me. At the same time, I know that eventually, I have to turn inwards and swim out alone.

Drifts and Surfaces

Kaitlyn Aurelia Smith Euclid CD. Audio Mixer: Kaitlyn Aurelia Smith.

Kaitlyn Aurelia Smith Euclid CD

With Drifts and Surfaces, American experimental electronic composer Elori Saxl flourishes quietly in present-tense synthesis. The three-piece set originates from three different commissions, each influenced by her experience of living on Madeline Island, a small island in Lake Superior, and unified by shared themes that explore how technology has come to define our daily life: the blurring of physical and digital worlds, the compression and datafication of human experience, and the paradox of everyday stasis and constant change. Saxl continues to utilize chamber-music ensemble alongside digital experimentation, deeply tuning into textural emotion. Madeline Island marks the last land mass before the frigid, all-consuming waters of Lake Superior. "I was trying to capture the sense of disappearing horizon, lostness, awe, and dark power that feels really innate to Lake Superior," says Saxl." It is also constantly changing-drifts change directions, water becomes ice, ice breaks apart and becomes waves. There is constant movement from drifts to surfaces, surfaces to drifts." While her 2021 breakthrough LP, The Blue of Distance, worked with recordings from the lake itself, Saxl's source material here comes primarily from live percussion and other live instrumentation. In "Drifts I" and "Drifts II," commissioned by Chicago's Third Coast Percussion and Brooklyn's Tigue, percussion parts intertwine like shifting bodies of water with Saxl transforming drum rolls into expansive chords. "Surfaces," commissioned by the Guggenheim Museum for the 2022 Alex Katz retrospective, features strings, saxophone, and glass marimba. Saxl processes acoustic instruments through various forms of digital manipulation that cause distortion and deterioration, mirroring the pixelated and lossy experience of life in the digital age. Drifts and Surfaces offers a snapshot of an artist in constant evolution, absorbing life's impressions with mesmeric, visceral, and nearly tangible minimalist sound.

VOIDS (2LP)

Ex-Here We Go Magic frontman Luke Temple emerges with a new project, Luke Temple and The Cascading Moms. Debut album, Certain Limitations.

Lauded for his contributions to Here We Go Magic and Art Feynman, Luke Temple brings his signature off-kilter grooves and melodies to his new project's debut album Certain Limitations. The trio's sound takes influence from the likes of Dire Straits and The Velvet Underground, weaving together intricate guitar work, and a propulsive rhythm section, with a touch of jazz sensibility that recalls the ECM catalog.

A product of serendipity, The Cascading Moms were formed when in need of a band for an upcoming show, Temple brought together Kosta Galanopolous, a collaborator from his Art Feynman project, and Stuart, a musician he already knew in LA. When these three came together to rehearse, a spark ignited, revealing a creative connection that transcended that first show that brought them together.

The album's lead single, "I Can Dream," originally appeared on Art Feynman's Half Price At 3:30. However, after reworking it with the Cascading Moms, the song took on a new life. This reinvention exemplifies Certain Limitations' core concept: a collection of songs honed and reshaped through the improvisations and collaborative spirit of three musicians creating and exploring a new sonic world.

Certain Limitations

Format: Vinyl (1 Disc)Country: USAStudio/Live: LiveRelease Date: 16 September, 2016Label: WESTERN VINYLDimensions: 32 x 2.5 x 30.5 centimeters (0.48 kg)

Along a Vanishing Plane

On his acclaimed LPs with his experimental rock band Wilder Maker, Brooklyn singer-songwriter Gabriel Birnbaum's animus has been breaking molds. Records like 2018's sprawling concept album Zion and last year's guest-lead-singer-filled treasure trove Male Models highlighted the 37-year-old musician's penchant for formal adventurousness, stylistic pivots, and lyrical verbosity-the kind that mirrors the flow of a warm and spirited conversation, betraying a fascination with influences from Bob Dylan to Billy Woods. On his albums billed to Gabriel Birnbaum, he focuses on economy and direct emotional resonance, bending classic American songforms to his will. Following 2019's Not Alone-and coming after a busy period of production and arranging work for artists like Mutual Benefit and Katie Von Schleicher-his stunning new solo album Patron Saint of Tireless Losers is the most immediate and narratively kaleidoscopic collection of songs of his career-both deeply personal and enigmatic in a way that encourages serial relistens. With sensitivity and patience, Birnbaum cuts straight to the spiritual essence of the characters he inhabits, painting affecting and lovingly drawn scenes bolstered by cathartic hooks.

Recorded in the winter of 2019, Patron Saint-like Not Alone-channels the production methodology of Neil Young and Crazy Horse: made in a few days with none of the players having heard the material ahead of time. Birnbaum-an accomplished saxophonist as well as guitarist and singer-has one foot in the world of NYC jazz and avant-garde music, and works with players who mix indie rock and Americana bonafides with free-improv instincts: Will Graefe (guitar/bass), Adam Brisbin (guitar/bass), and Jason Nazary (drums). The spontaneity of the playing shapes the dramatic situation in each track; at turns, they build to the point of obscuring the chord structure and exploding the tempo-see Nazary mimicking the turbulent thought process of the narrator in "Same As You." Elsewhere, they assume a more atmospheric role, stripping back to evoke the story's mise-en-scene, as in the gorgeous, gently restless "A Drunk." Elsewhere, the songs and arrangements adopt a more restrained presentation, based on striking melodic counterpoint, recalling Wilco or Elliott Smith at their most baroque.


Anyone who has followed any part of Gabriel Birnbaum's diverse and inevitably compelling musical exploits over the past couple of decades knows that his governing impulse has always been to avoid stock perspectives and familiar platitudes. Like one of his own espoused patron saints-Paul Simon-Birnbaum sets new challenges for himself with each recording, honing the nuts and bolts of his songcraft and pinpointing unexpected new aesthetic contexts for it. (He's proved his ability with hooky AM-rock earworms, long-form blues exegeses, infectious riff-rock, au courante R&B, and more.) The lush and psychedelic folk-rock songs on Patron Saint of Tireless Losers confidently cut to the essence of his artistry, highlighting a mature narrative voice and always surprising musical syntax. As much as anything Birmbaum has put into the world, it is a tour de force that thrives on both self-assuredness and restlessness-marks of a crucial and constantly evolving artist whose work it's impossible to turn away from once you tap into it's frequency.

Patron Saint of Tireless Losers

Chuck Johnson is a California-based composer, producer, and musician. He approaches his work with an ear towards finding faults and instabilities that might reveal latent beauty, with a focus on pedal steel guitar, experimental electronics, alternate tuning systems, and composing for film and television. Recordings of his work have been published by Thrill Jockey, Temporary Residence, Kompakt, Ghostly, and Three Lobed, among others. Between 2011 and 2015 Johnson released a triptych of solo guitar LP's - A Struggle Not A Thought, Crows in the Basilica, and Blood Moon Boulder - that have become touchstones of 21st Century acoustic guitar. Balsams, his first album to platform pedal steel guitar, was described by Pitchfork as "singular," and "a mournful hymn built out of layers of sliding strings, cascading with a zenlike stateliness." In 2019 he collaborated with Marielle V. Jakobsons to release their debut LP as Saariselka for Temporary Residence Ltd. The follow-up to Johnson's acclaimed Balsams LP, The Cinder Grove delves further into the compositional possibilities of the pedal steel guitar in the context of chamber ensemble arrangements for strings, organ, and piano. Johnson's credits as a film composer include scores for the HBO series Burden of Proof and the popular PBS shows Somewhere South and A Chef's Life. In 2009 he received an MFA in Electronic Music and Intermedia Art from Mills College, where he studied composition and electronic music with Pauline Oliveros, Maggi Payne, Chris Brown, John Bischoff, Laetita Sonami, and James Fei. His work as a mixing and mastering engineer includes releases by Room40 records, No Quarter, Three Lobed Recordings, Temporary Residence, Bill Orcutt, Allison Russell, Nathan Salsburg, claire rousay, Daniel Bachman, Body/Head, and more.

Sun Glories

The Anne, EP is the afterword to Joseph Shabason's acclaimed 2018 harmonic suite Anne, through which he examined and processed his mother's struggle with Parkinson's disease. Employing a small supporting cast that includes vocalist Dan Bejar (Destroyer) and guitarist Thomas Gill (Owen Pallett), Anne, EP spotlights the Toronto saxophonist as he builds empathic tropospheres of woodwinds and synthesizers, deepening the sentiment established by the EP's companion album. In doing so, Shabason further cements jazz, ambient sound design, and new age revivalism into a timely new genre all his own.

Anne Ep

In the sway of a rural breeze, Hatcher-Williams' vocals soothe and enchant the listener on his self-titled debut, which recounts his odyssey from a child raised in a Virginia cult, to a burned out tech worker in New York, and then back to Virginia, happily married to his childhood friend. Throughout the album, he explores identity as it relates to where a person is from and evolves with where they live, and how that facet of self is further compounded by the amount of agency one has over where they call home. To some extent, Lamplight is about learning when to take the reins, and when to let go-discovering what parts of yourself should be pruned, so new branches can grow. 

Hatcher-Williams, born into a New Age community headquartered in southwest Virginia, spent his early years entrenched in art studies and playing in various bands, before studying design and programming at a local community college. A job opportunity led him to relocate to New York with his wife, where he would soon co-found a digital design agency, and his musical ambitions fell to the wayside. The stress of this demanding career and city life began to take a severe toll on his mental and physical health, as well as his marriage; he started dreaming of a simpler life with his partner and eventually parted ways with the company. It was a chance encounter with an old farmhouse in rural Virginia that instantly provided a much-needed sense of home, and led the unmoored pair to return to their native state. In the year between deciding he needed to move back and realizing it, Hatcher-Williams wrote and recorded what would become Lamplight, attempting to process and distill some of his experiences into songs.

Though the album has moments that hint at the antique lace and creaking floorboards of traditional folk, Lamplight skews modern, in part thanks to Copeland's deft production. Hatcher-Williams met Copeland while living in Brooklyn, and as they got to know each other, he revealed that he'd spent years playing in bands before his career took over his life. Copeland's encouragement, in tandem with the concurrent changes in Hatcher-Williams' career and domestic life, gave him the confidence to revisit this part of himself that felt unfinished.

The dreamlike Lamplight feels at once familiar and new; it's a room you recognize but can't quite place, the fragment of a memory that you can't pin down. There's love but also panic attacks, realizations and reckonings, questionings alongside resignations, and confrontation as well as avoidance. By the end of the album, you get the sense that Ian Hatcher-Williams has learned that he's not the dogma that over-promised and under-delivered, and he's not the youthful ambition that led him to the brink of self-destruction. He's a soft machine with limitations, improvising and adapting, seeking balance and a sense of place, just like everyone else.

Western Vinyl(13)

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