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Wild Pink - The Shining but Tropical
Wild Pink - The Shining but Tropical

Wild Pink - The Shining but Tropical


Treefort Music Fest is making its long-awaited return to Boise from September 22-26. All month long, we'll be featuring our favorite tracks by artists from the 400+ lineup, which includes Wild Honey Pie favorites like Japanese Breakfast, Tennis and The Marías.

The festival, originally scheduled for March 2020, was postponed due to COVID-19. To ensure the safety of attendees, Treefort will be requiring proof of vaccination or a negative COVID-19 test result, as well as encouraging festivalgoers to have masks on hand, as various forts will be mask-only. According to Festival Director Eric Gilbert, “This unique September version of Treefort is shaping up to be one of our best yet and we are looking forward to bringing the Treefort family back together to share and discover great music.”

With each record, Wild Pink has elaborated on their sound through the addition of layered synths and slide-guitar. The introduction to 2021’s A Billion Little Lights, “The Shining but Tropical” is the amalgamation of the band’s move to maximalism with Springsteen flare. With the band’s masterful use of expressive dynamics, the track opens with a high but still leaves room for John Ross’s tender vocals. Dan Keegan and K.C. Brownell’s rhythm section propels the song with a hypnotic groove that allows the tranquil vocal melody to shine (no pun intended). Three albums in, Ross’s abstract but confessional songwriting continues to be a hallmark of Wild Pink’s allure. Reminiscing about watching a loved one’s emotional wonder at the connection between all things through a drug-induced trip, the chorus soars with the loving lyrics “You wanted peace / You wanted love / You deserve that much.” Paired with a music video starring Annie Murphy, “The Shining but Tropical” is an anthem of humanism. Photo by Hayden Sitomer

Sofia Soriano on September 9, 2021
Samia - Elephant

Samia - Elephant


What does it mean to be “too much?" Does it somehow, ironically, mean we’re not enough for someone? It can feel that way when we try hard to please everyone, yet somehow fall short of their expectations. On “Elephant,” Samia laments on this burden with arresting honesty and candid stream-of-consciousness thoughts about the cycle of disappointing others, then reconciling with oneself. Over distorted synths and lo-fi guitar, she sings, “I brought an elephant / To the most delicate place.” When we fail to please people, it can be difficult to avoid placing blame on ourselves. But, it takes a hard-earned, emotionally resilient and self-assured mindset to realize that your expectations of yourself are the only thing that matters at the end of the day—that sometimes, you can only do your best to be a good person and bow out to preserve your energy when it isn’t enough for someone else (“I reset my tolerance / Now it’s easier to fail the audience”). Samia has learned one of the most important lessons in life, which she offers listeners in the most poignant lines of the song: “You cannot make everyone happy / But you can force a smile on their face / Just place your fingers / On each side of their mouths / And pull towards heaven / Until their teeth peak out.” You can hear the track on her new EP Scout, out now via Grandy Jury Music. Photo by Sophia Matinazad.

Heddy Edwards on August 5, 2021
Caroline Loveglow - Patience Etc...

Caroline Loveglow - Patience Etc...


With her debut single, LA singer-songwriter Caroline Loveglow creates an indie-pop dreamscape with swelling synthesized pads, a tight drum groove and her silvery vocals. Produced by Loveglow herself, the song’s use of hypnotic minimal instrumentation and a generous dose of reverb allows for her vocals to shine through. The melody is infectious and the hook will leave you singing along in your head long after the song is over. Euphonious, the track features lyrics that tell the story of laborious love and the slow and cautious attempts to make it work. Loveglow’s songwriting is precise and punctilious, painting a clear image with few words and the poetic nature of the lyrics radiate with the line “if you don’t mind, I want to see daylight through your eyes.” “Patience Etc…” is a track that is sure to be enjoyed by fans of dreamy pop melodies and clever songwriting. Photo by Arianna

Sofia Soriano on August 4, 2021
CARR - Loser

CARR - Loser


The latest single from New Jersey-born, Los Angeles-based musician CARR is the cathartic alt-pop breakup song we all need to hear at some point in our lives. Breakups are almost never easy, but it helps when you have a song like this one reminding you that you can do so much better, that you don’t settle for less, and that you don’t need to waste any more of your time on anyone who’s dishonest or unworthy. The lyrics are brutal, deadpan in their delivery, the percussive beat heavily syncopated over the occasional high-pitched echo of a dreamy synth that lightens the song’s tone and hints at optimism. Tight, muted vocals over pop-punk guitar riffs drag the song’s subject mercilessly, as CARR repeats what feel like mantras, among them, “I’m glad you’re gone, I’m glad I left,” building towards the antithesis of the song’s title. The last line of the song is a conclusive and undeniable takeaway we can all apply to ourselves in our relationships, romantic and otherwise: “Gotta be a winner if you’re getting with me.” Photo by CJ Harvey.

Maya Bouvier-Lyons on August 4, 2021
Zach Wood and Hollan - Water

Zach Wood and Hollan - Water


The folk track "Water" finds its author caught in an undertow of their own invention. Neither belonging here nor there, the subject of "Water" is a victim to the formidable, pulsing current of indecision that plagues so many young people. This track is a gorgeous representation of that distinct, transient turbulence that meets every 20-something. Your 20s is truly the first period in one's life where they're confronted with societal expectations, but the way those expectations are handled is contingent on personality or circumstance. While some dive in full force and prosper, the nuances of self-actualization can leave some flailing for a time, struggling to keep plants alive. And others still, like our troubadour in "Water," would rather muse with wonder on future prospects and possibilities instead of hating or fearing them. But that doesn't leave our speaker free of tension: with the lyric "I have always been this way," as dreamy and endearing as it is indicative of its author, it's clear that the onus is on the speaker to balance the delicate push and pull of obligation/reality vs. freedom/dreaming. Bringing these themes to the forefront is an interesting and engaging songwriting method from Zach Wood and Hollan that has us looking forward to their collaborative EP Cowgirland, due out August 6. Photo by Anna Manotti.

Hannah Lupas on August 3, 2021
Thomas LaVine - Open Sea

Thomas LaVine - Open Sea


The last thing he wanted to do was leave her, but the water cried for him in all of its stupid thundering pale blue. He was comfortable; his bare ass in the sand, her bare ass in the sand, their hands interlocked. Her tears were saltier than the sea’s. She wasn’t much of a swimmer, but the boy practically grew up with gills for skin. He drove her crazy, and she drove him home. But their car was as foreign a mode of transportation to them as a watery wooly mammoth or a Bowhead whale. They were young—young as they would ever be, and they were white—white as porcelain or milk. The sun shone hard on the nude beach. He cupped her miniature face in his large palms and, thirsting, slurped up her tears, his moppy black hair tickled her forehead. She wasn’t scared anymore. They weren’t going home. They were going into the open sea, she knew now, she could tell by the lighthouses in his eyes. He stood first, naked as he was on the day he was born—a day she would come to celebrate—and took off running, splashing, shouting, sensing, sending. She laughed, and she followed.

Thomas LaVine lifts listeners into the sentimental Wedding Crashers scene when Owen Wilson and Rachel McAdams have a heart-to-heart on the beach. That’s how good of a job the indie-folk artist from North Carolina carries out on “Open Sea,” a song that reads like a moment, dedicated to lovely decisions and the best of both worlds.

Mustafa Abubaker on August 3, 2021
Clairo - Reaper

Clairo - Reaper


There are moments in Sling, Clairo's newly released sophomore LP, that feel so eloquent and personal, I have to remind myself that I haven't accidentally accessed someone's private voice memos. "Reaper" is one of these transcendent, mature and especially affecting moments on the record. A love letter to her mother (and the prospect of motherhood in and of itself), "Reaper" was the first track Claire Cottrill penned for the album. I'll refrain from over-explaining that this album is musically distinct from its predecessor Immunity—I'll let you have the pleasure of delving into it yourself. But it's worth mentioning, for this song in particular, that Clairo is emerging as an excellent folk writer. She's clearly drawing inspiration from some of the best Americana acts of the last century, emulating everyone from Joni Mitchell or Crosby, Stills and Nash to Fleet Foxes. But don't misunderstand: Cottrill is hardly a copycat. She's carving out a sound and a voice that is entirely her own.

I, like a lot of young people during the pandemic, had the opportunity to be home with my parents for a while. Reacquainting myself with them as an adult was inspiring and hard, and most frequently filled me with a sense of hope. It is this broken hope, a hope that comes from deep, empathetic understanding, that Cottrill communicates so effectively in "Reaper." This is why it resonates so deeply with listeners. This shattered but aspirational reaching toward life reverberates through the entire record and is punctuated in the frail, little pockets of her expertly sewn lyricism. "I'm born to be somebody, then somebody comes from me / I'll tell you about the Rabbit Moon and when to keep walking" are some of my favorite lines from this track, and are all the more permeating through Cottrill's signature soft vocals.

Clairo's ability to empathize so specifically with the speakers of her songs makes her one of the wisest and most interesting young performers right now. Sling was well worth the wait. It's a clear reflection of the hard work and thoughtfulness of an expert writer honing her craft. Photo by Adrian Nieto.

Hannah Lupas on July 29, 2021
Nathan Bajar - Big Body

Nathan Bajar - Big Body


Summer 2021 is ripe for nostalgic indulgence as the vaccinated emerge, unblinking into the sun after more than a year of darkness. Enter interdisciplinary artist Nathan Bajar, whose Bandcamp profile description reads humbly, “i take pictures & make music :~)”—an oversimplification of his accomplishments in both fields. The emoticon at the end is just one of the many analog touches that frame Bajar’s overarching aesthetic. A quick glance at his past album artwork, all awash in wistful pastels, reveals faded family photo collages and handwritten titles scrawled across college-ruled paper. It seems the entirety of Bajar’s work is an ode to his family life and upbringing, and his latest release, “Big Body,” is no exception. While the track’s inviting lo-fi quality, soulful vocals and summery bassline will pull you in immediately, the lyrics reveal Bajar’s fondness for his old “beater.” As portrayed in the accompanying (and equally nostalgic) music video, the beater in question is none other than his beloved Yukon XL, a “beautiful wreck of gray” whose “days have been better,” especially now, with memories of “twenty in a ten-seater” more than a year behind her. Bajar chooses to indulge in nostalgia’s warm glow by taking the old girl out for “one more joy ride.” Take a cue from him and let “Big Body” and its dizzying background harmonies, swimmy guitar and retro beats be the soundtrack to your summertime indulgence of choice. Photo by Kirsten David

Karyna Micaela on July 29, 2021
Runnner - Monochrome

Runnner - Monochrome


The project of LA-based multi-instrumentalist and singer/songwriter Noah Weinman, Runnner has been steadily growing a fanbase since the release of their first single in 2019. Now, two years and a global pandemic later, they are releasing their anticipated debut album Always Repeating with Run for Cover Records. The opening track “Monochrome” has all the hallmarks of the magical sound of Runnner: raw and clever songwriting, heart-tightening vocals and dynamic acoustic instrumentation. The soft picked banjo and acoustic guitar create a perfect synthesis for Weinman’s emotive vocals and lyrics to flow through, while the tight drums accentuate the changing movements of the song. A meditation on a past relationship, the lyrics follow through a tapestry of memories, in black and white like an old film. As Weinman reaches the end of his memories, he reminds us that they are often warped by our emotions and nostalgia as he sings, “I’ve been trying to draw you with my eyes closed, you’re not gonna like how it turned out.” Photo by Silken Weinberg

Sofia Soriano on July 29, 2021
Half Waif - Fortress

Half Waif - Fortress


Singer and producer Nandi Rose has been releasing music under Half Waif since 2014. Her latest album Mythopoetics takes a mythological view of events from her life and her family, like a potpourri of stories passed down through generations. The fourth track “Fortress” centers around the anxiety of a loved one leaving, however inevitable it may seem. Produced alongside Zubin Hensler, the song is a luxuriantly layered gem of synth-pop. Rose’s siren-like vocals sit atop the garden oasis of synthesizers, ethereal and honeyed. The song’s bridge is a grand explosion, like fireworks of sound as the chorus repeats like a plea for life. As the last flare of the instrumental fades out, Rose’s vocals are left with the sound of an acoustic piano and swelling pads as she sings two simple phrases that manage to evoke so much: “I guess this is all for you / My bet is, it's all for you.” Photo by Ali Kate Cherkis.

Sofia Soriano on July 28, 2021
Frank Mighty's Hotline - Rakefire

Frank Mighty's Hotline - Rakefire


Hailing from Toronto, Canada, Frank Mighty’s Hotline makes neo-psychedelic earworms. With a choppy lo-fi piano intro making way to a 2-beat pattern grove and falsetto vocals, “Rakefire” is quick to grab your attention. An Old English insult, a rakefire is defined as a person who overstays their welcome, something this song will never do. Frank Mighty’s Hotline’s soulful voice pairs beautifully with the verse’s minimal melancholic instrumentation, while acoustic instruments usher in the song’s triumphant chorus. The song’s lyrics deal with the fear of not wanting to become a rakefire, like the people you’ve distanced yourself from. “I like the stuff you do just to stay relevant” sums up the song’s look at those who are unable to let go of the spotlight in today’s media and popular culture landscape. While the chorus, “I don’t want another rakefire in the house that I built with my own two hands,” is a self-reflective look at the rakefire in ourselves. Photo by Jenn Stevens.

Sofia Soriano on July 28, 2021

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