Heather Fay

“A breath of fresh air” is the best way to describe this week’s #OneToWatch artist Heather Fay. The Connecticut based singer/songwriter takes a more traditional approach to her country music sound by sticking to more folk and bluegrass when it comes to her slower more chill songs, but still knows how to beef it up every now and then giving that bluegrass sound a little groove and edge.

Heather sings from her heart and pours her real life experiences into her lyrics, and you can definitely hear it in her music and in the way she delivers a song. Her music is just as catchy as her melodies which allows her to engage the listener into making them really want to hear what she has to say.

You can hear all of what I’m talking about in her second full length album, “Cherish The Broken”, which was released in early October. The album was funded completely by fan crowdsourcing has received positive reviews.

“The response has been great,” Fay tells #CMchat. “It makes me incredibly happy to know that people are loving the album!”

Heather has taken a different approach to getting her name out there. She’s done so by utilizing Google On-Air Hangouts for connecting with and playing live sets for her fans and followers. And the best part is that she can perform straight from her home.

Fay says, “I’m also really proud of how I’ve used social media, Google+ in particular, to build a global audience.”

“I was the first person to use G+ Hangouts to host a weekly global Open-Mic Hangout which brought musicians from around the world together in one “virtual” room to share their songs. Social media is such an important tool for independent musician these days and I’m amazed at how many doors have opened and how many opportunities have come my way because people found me via my social media,” she adds.

And she’s clearly onto something, since she’s built her Google+ following to over 800,000.

Most recently, Fay was asked by Bono’s One.org to join U2, Mumford & Sons, Sting, Ed Sheeran, Green Day, Elvis Costello and others to be part of their Agit8 campaign which is focused on bringing back the spirit of the protest song.

“I’m also 1 of ONLY 5 independent artists who will be joining these well-known artists on the One.org and Spotify “Ultimate Protest Song” Album. It was an incredible honor to be invited to be part of this amazing campaign and to be able to use my voice to help make positive change in the world!”

http://www.heatherfay.com

http://www.google.com/+heatherfay

http://www.twitter.com/heatherfaymusic - Country Music Chat

Heather Fay writes from the heart and the mind, blending the two into a coherent read on humanity and her life experiences. Fay’s distinctive storytelling mien integrates factual and emotional styles akin to artists such as Tom Waits, Carole King and Fiona Apple. Fay is a regular in Connecticut and New York City (The Living Room, Rockwood Hall), but also performs regularly online via Google Hangout. Fay’s latest album, Cherish The Broken, is a dynamic collection of songs spanning the genres of folk, pop, country, bluegrass and Americana. Fay’s style is unadorned and straight from the heart, but shows real intellect and understanding of the world.

Cherish The Broken features stripped down arrangements that allow Fay’s songwriting and voice to shine. Leading with “Drive You Out Of My Mind”, Fay begins a cycle of emotional breakdowns and breakthroughs. Here she is trying to move on after a heart break. She keeps things simple here with a stripped down arrangement and a sweet, unaffected voice. “Autumns Chill” is lovely still life in song, carved from the bedrock of folk tradition. “Breaking My Heart” moves back to a country sound with an ironic monologue to the man who is breaking her heart telling him just how good he is at it. “Scrape Knee’d Girl” is a holdover from Fay’s first album. It’s offered here in a gorgeous, stripped down arrangement. A song of insecurity that grows into strength, this is one of Fay’s finest songs. The autobiographical number is a gorgeous, plain-spoken piece of poetry about being yourself no matter what, told in the parallel story of a mother who set on making life better for her daughter than she had herself.

“I Would For You” is a speculative, questing love song. The organic arrangement is decorated by the occasional flourish, highlighting the simple and elegant beauty of the songwriting. It’s easy to imagine this song covered in a fuller arrangement and turning into a radio hit. “Stay” is a mellow love song with outstanding instrumentation including strings, guitar and mandolin. The song is utterly gorgeous; lush in spite of its simplicity. “I’ve Been Known” is a song full of resignation, delivered in a counterintuitive snappy rock arrangement. The song is extremely catchy yet understated, building into a solid chorus with a memorable melody.

“Life Is Beautiful” finds just Fay and guitar waxing eloquent on the important things in life. This is the artist at her most heartfelt and real, and sounds like it was cut live in the studio in a single take. “Where We’ll Meet Again” is sad yet hopeful, a sweet remembrance with hope for reuniting one day. The song is pretty, simple and sweet. Fay closes with a surprising cover of Michael Jackson’s “Thriller”, a unique folk/country ballad. It works better than you might expect, due in large part to Fay’s unpretentious approach.

Heather Fay turns in an incredibly nuanced and artful performance with Cherish The Broken. With simple adornment and an utter lack of calculation, Fay’s songwriting and earthy voice carry the day. Fay uses modern technology to continue to create music and delivery live performances while keeping family as the center of her life. It’s a laudable approach. It’s also easy to see how Fay could be a huge star one day. Fay is one of the leaders of the new model for delivering music to the masses. She’s successful because she’s real, honest, true and talented. Cherish The Broken is brilliant.

Rating: 5 Stars (Out of 5)

Learn more at www.heatherfay.com - No Depresssion

As music continues its evolution from melody to rhythm and from organic instruments to computer performance, Heather Fay is at once a revisionist and a visionary. Fay writes and plays a style of folk music that is progressive enough to defy the Americana label but not so experimental as to be truly alternative. She writes about relationships and parenthood with a raw honesty that embraces melancholy over euphoria without sacrificing optimism.

Heather Fay’s second album is “Cherish the Broken.” Photo courtesy Kevan Christine
Heather Fay’s second album is “Cherish the Broken.” Photo courtesy Kevan Christine

Her latest album, “Cherish the Broken,” provides a snapshot of modern woman at her most conflicted and determined. Vulnerable but not weak, hesitant but not confused, Fay uses her music to examine the crossroads faced by many people who strive to have it all, even as they deal with the dawning suspicion that something important lingers just out of reach.

During a recent telephone interview, Fay discussed her converging roles as mom and artist with the good humor and honesty one might expect from a woman who wrote the lyrics, “If I were to wear my heart on my sleeve, would you say it looks pretty and that it suits me? / Or would you roll your eyes like those other guys do, and tell me to take it off because it embarrasses you?”

Toledo Free Press: Is this the first batch of songs that you’ve written since you became a mom? That has to have a major impact on how you approach your music and your lyrics.

Heather Fay: Yes, it definitely has changed. The first song I wrote on my first album was basically when I was becoming a mom; I was pregnant with my daughter, Ruby. Songs started pouring out of me when I was pregnant with her, so one or two of the songs went on my first album. And then I found when I was pregnant, all this creativity and everything was coming out. It was amazing.

I don’t know — hormones or something — whatever it was, it was such a simple process. And then I had her and became a mom and there were so many different feelings that came into that. And then I had my son and during that time it was like I couldn’t write. I think I was just so enmeshed in being a mom and being present. I was living in every moment as opposed to reflecting on every moment in songwriting.

And more recently, I’d say it was probably not that long ago, when my son had his 1-year birthday and I started getting the itch to write again and perform again and I had come across Google+ and Hangouts, ways to kind of get my music out there without having to leave home and kind of sacrifice being a mom.

I was kind of struggling with, “How do I, now that I’m a mom, am I still a singer-songwriter, am I still a musician? Can I still do this?” Because I don’t want to sacrifice one for the other, I can’t. I’m not gonna leave my kids and just go [laughs]. So I think I was struggling with that a lot and it may have been getting in the way of my songwriting.

TFP: Some of the songs, like “Breaking My Heart” and “I Would For You,” are about vulnerability. Is that something that just came about from being a mom? Talk about the vulnerability that weaves itself through some of the new songs.

Fay: I’m already a sensitive person and I don’t know what it is, I always say I feel things so much more than the average bear, or maybe I show it more. Everyone feels it; I just wear my heart on my sleeve. But definitely (since) becoming a mom, everything is more heightened, more sensitive and I definitely felt more vulnerable. I also think that I found a lot of strength in becoming a mom, a lot of my purpose. Like OK, I get it now. My songwriting was previously all about me, me, me; this is much more about, “God, I’m scared I’m not gonna be there for them or I’m gonna get heartbroken and lose my way.” It all became very much more rooted in vulnerability.

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TFP: “Autumn’s Chill” really catches that. You talk about slides and butterflies and grass stains, but you also talk about aches and pains and hide-and-seek from reality.

Fay: As we grow older, we kind of get jaded and lose the wonder of the world, and as children we kind of see the world as amazing and magical and everything is new, bright and colorful. And as we get older everything dampens, gets darker and a little less vibrant. And falling in love with anybody, whether it be a spouse, friend, partner, whatever, can bring me back to that place of just, “Oh my God, everything’s magical.” They say love is a drug and it’s true, and it just heightens everything. I felt that with my children, but I know they’re gonna grow up and I wanna protect that wonder in their eyes. But I know I can’t get lost in that because I have to guide them. Things are gonna happen, life is gonna be hard, they’re gonna scrape their knees.

TFP: When you sit down to write songs, are you writing a poem that’s set to music, or music you match words to?

Fay: I usually just have a phrase that will pop into my mind and that usually sits with me for a little bit. The funny thing is, these phrases usually come to me in the shower. I’ve heard that that’s the thing that happens with writers. For some reason that’s the place where these ideas come. It can come anywhere but that seems to be the place where it comes. And then I sit down with my guitar and kind of just strum out a few chords and see where the story goes from there.

I write with my guitar. I know a lot of people journal and turn their journal into song and add a melody. I can’t do that; the two go together when I write.

TFP: Your lyrics are very literary, unlike the average modern song where a dozen words are repeated over and over. You’re telling little stories and going through a whole different structure of songwriting, going against the moment.

Fay: A majority of it is just who I am and the music I grew up listening to and my inspirations …

TFP: Who are some of those?

Fay: Tom Waits is probably my No. 1 songwriter. He’s a master songwriter and creates such beautiful music and I love his voice against these beautiful stories, it’s such an amazing thing to me. I grew up with my mom listening to James Taylor and Carole King and I love Jeff Tweedy, Simon and Garfunkel. Colin Hay (from Men at Work) is another one of my favorite songwriters who’s underappreciated.

TFP: I wouldn’t have put Colin Hay anywhere near Tom Waits. The other artists you mentioned are connected; Hay kind of goes against the other ones you mentioned.

Fay: Not so much the Men at Work stuff. They’re fun and were a great band, but I saw him at a venue called Largo in Los Angeles, one of my favorite places to see music, and I didn’t really know who he was. I was like, “Oh, the Men at Work guy,” and he was unbelievable. His songwriting is amazing, his voice is beautiful. Listen to his solo stuff, it’s very poignant.

Another is Elvis Costello. A lot of my therapy when I was young was music, so I really ingested what they were saying. It was the most important thing to me.

TFP: I’m playing your album and all of a sudden, out of nowhere, I hear Michael Jackson’s “Thriller.” It’s an incredibly creepy version because it’s slow and deliberate compared to the original, which is a campy thing.

Fay: I had been asked to do a Hangout concert for Halloween, and I was like “Oh, I’ve gotta throw a creepy song in there,” so I was like, what song do I wanna do? I wanted to do something unexpected and it just came to me, I’ve gotta do “Thriller.”

I love Michael Jackson, early Michael Jackson was — as much as I say pop wasn’t an influence on me, Madonna, Michael Jackson, all that early pop stuff was an influence and part of my growing up. I picked up my guitar and I just started slowly kind of finger-picking it and I was like, “Oh, this could totally be cool. I play with my bandmates; I play with an upright bassist and a mandolin player and I knew we could do some really cool stuff if we deconstructed a little bit and then kind of take it to a more haunting place and a spooky place.

TFP: In “Life is Beautiful,” you talk about “No Dolce & Gabbana” and eschewing most of the material things. That goes very much against the grain of most popular music these days, the I need, I want, I gotta have-type themes sort of running through current music. Are you taking a stand against that materialism? Is it a reaction to that or is this one of your lifelong philosophies?

Fay: I feel like such an old lady, “Oh, kids these days, they don’t understand what life was,” … and I get it, growing up in the glitz and the glamour of pop music. I’m not a pop artist, obviously, that’s not where my heart is, but I don’t get it. I don’t get the addiction to things and I think a lot of the problems in our society are because we’re just too materialistic and focused on what we have and what we’re wearing and what we’re driving.

It’s addiction. I could easily get sucked into it; I have to fight it every day, when someone shows up with something blingy it’s hard not to get [sucked in]. I’ve seen myself get pulled and I don’t like where it pulls me because it’s not real. Not that people can’t enjoy it, because everyone should, absolutely 100 percent, but when you think that’s what life is about, it’s scary.

TFP: All things in moderation, correct?

Fay: Exactly.

Learn more about Heather Fay at her website, www.heatherfay.com.


Tags: Autumn’s Chill, Carole King, Cherish the Broken, Colin Hay, Elvis Costello, folk music, Halloween, Hangout concert, Heather Fay, James Taylor, Jeff Tweedy, Largo, los Angeles, lyrics, Men at Work, No Dolce & Gabbana, organic instruments, Simon and Garfunkel, Thriller, Tom Waits - Toledo Free Press

“HEATHER FAY”
SINGER, SONG WRITER & CHAMPION OF GOOGLE HANGOUT CONCERTS
It all started with Rick Goetz’ candid interview with Heather Fay on musiciancoaching.com. That’s how she caught my attention.

Heather Fay has as of 8PM GMT on August 19th, 230,021 followers or “circlers” on Google Plus. That’s amazing! To put that in perspective, taking a look at the Billboard Folk Album’s Charts right now, out of the Top 5, The Lumineers can’t even be found with their own presence on Google+, and only Ed Sheeran comes close, a young and exciting artist with 207,197 circlers, more than 20,000 folks less. That’s a lot of folks, right.

Heather Fay stands in stark contrast to that bossa nova guitarist performing to an apathetic audience. Her audiences, on the other hand, are infectious. She consistently seems to have an appreciative crowd, all willing to listen and watch her perform, publically too.

It’s human nature, to be curious about large crowds huddled together. You walk down the street, see a crowd forming, and two things are possible. Something interesting, or something troublesome is happening. That curiousity makes you want to find out. That attracts more and more people to check out what’s going on. She cleverly uses that to her advantage with one of those Google Hangouts.



In fact, Google+ Hangouts, is one reason why she stands out. Yes, her lyrics touch a chord, like in her song, “Breaking My Heart“. But how many songs have you heard where the words or the music were so beautiful from an artist you’ve never heard of, and they never got that song past you, their friends, their family and their living room.

“Many musicians have kept an eye on Google+ to see if it would be a platform worth utilizing to evangelize and keep fans updated with their latest news. Unfortunately, some new stats may make musicians think twice about spending their time on the new social platform.” - blog.mybandpromotion.com

Heather was one of the first artists to go against the grain and the opinion that Google+ isn’t for musical talent. She uses Google+ Hangouts in new and ingenious ways that the musical, business and digital media all pay attention to. A great by-product of that attention is the spread of her and her music to folk who wouldn’t have discovered all that she’s about, at least so soon.

She was also part of a H.I.R.L. event, “Hangouts In Real Life”, which does sound strange, but it attracted a crowd who had experienced hangouts together online. She was one of the first to hold an open mic session with other musicians from around the world using the Google Hangout technology, that Google asked her to become a beta tester of their Hangouts On Air program.

A good lesson to learn from Heather, is to be the first at something. Like how Michael Jackson was the first urban artist to hit MTV. Heather could have tried to jump on the youtube bandwagon, or myspace, twitter and facebook, but Justin Bieber did it already through his gazillion views already, Soulja Boy was one of the first to leverage twitter to reach fans and create a career for himself in music, and then the Arctic Monkeys became huge through myspace reaching a stratosphere in music that they won’t be coming down from for a long time, even if their sound is getting more alternative. But they’re not the only ones. Look at Karmin with their 70+ million views for their “Look At Me Now” video! Even now it’s getting regular comments after being released on youtube over a year ago. But no one said they were the first to get big on youtube, more like, the first to use youtube to get big with a serious (non-comedy) cover.



But the media love news when it’s “new”, right. When someone comes behind you, unless they do the same thing but with a different angle, it’s no longer news-worthy. You have to come at it with an angle. For example, you can do it by location, by genre, by cause or mission. Let’s take the Google Hangouts thing. It could be, “Mod-Revival Bands Take On Google Hangouts,” and then you’d throw a google hangout party with fellow mod bands, and invite the media to share the good news. Or, it could be, “New York singers stage city love evening on Google Hangouts.” Heather has definitely been helped by her pioneering attitude, being the first one there, and the media have championed her, and will continue to spread her music. - Diroski.com

Today artists are constantly yammering about how new media has created a flux of opportunities to connect with fans, but Twitter and Facebook carry you only so far to engagement, and the opportunity for live connection usually ends with text-based updates. Not so with one ingenious feature of Google+ (the other network), one that this author had not considered significant until witnessing a gathering of believers at The Living Room in New York City, a bunch of strangers attending a show with three musicians they'd never met. But the atmosphere was as if old friends were reconvening to see their favorite band. It's the kind of inspiration that the technological advances we take for granted should be perpetuating in the music industry-- greasing the wheels of collaboration and engagement between artists and fans, not hindering them with pay-walls and barriers.

"Hanging out" is a streamlined version of video chatting that allows multiple people to converse on the online space with their faces and voices. But an alternative purpose of this service is to host a better form of live stream performances-- one where you can hear the audience clapping. Matt Rappaport, a filmmaker/actor, and Tiffany Henry, a student, are a part of a larger circle of Google+ users who swear by the service. To prove the power of the hang-out, the pair organized an event entitled "Hangout In Real Life" or "H.I.R.L." to the initiated, a collection of artists, photographers, creators, and G+ fans from all walks of life, and from all over the world. The group gathered in New York City, took a tour of Google HQ, and came to see a concert by popular Hangout artists Heather Fay, Ryan Van Sickle, and Daria Musk.

I "Hung Out" with Matt, who enthusiastically relayed to me the various doors a Google+ community can open. Entirely from scratch, he and Tiffany (with some help) organized the entire weekend in New York, attracting a significant amount of friends from the network to travel to H.I.R.L. They had zero funding, and yet, the people came. An international couple who had began their relationship on Google+, met for the first time in the same city. People old and young came together to drink and explore Manhattan like they'd been friends for years. And the best part, many attended a show at The Living Room in the Lower East Side, cheering for Heather, Ryan and Daria like they'd been listening their whole lives, because they had already established a relationship with their personalities.

Music is rooted in memory-- favorite songs are rooted in a lifeline location, and replaying a recording is like time-shifting consciousness to these moments. Global recording artists are constantly crammed down the throat via radio, as if to force these moments into existence. But the Internet is breaking down these old structures with sheer volume. In today's saturated music marketplace, there are very few substitutes for the two strongest artist endorsements-- personal contact, and word-of-mouth. Google+ allows for artists like Ryan Van Sickle to connect with his fans on a personal level, creating memories larger than just a cursory glance at his songs, and subsequently engaging an audience of listeners to support his art (and tell their friends), all without even leaving the house. Ryan creates your moment with his music.

Bruce Garber, a frequent participant (and administrator) of streams with Daria Musk, relayed an anecdote about H.I.R.L.ing with Ryan. The group went on several photo tours of New York City (many being from around the country and some from overseas), including a trip to the 9/11 Memorial in the Financial District. Moved by the memorial, Ryan considered writing a song and Bruce shared an idea of how to present it to the crowd in a way that would feel reflective and comfortable without being too heavy. This conversation is the essence of what making music is about, collaboration, sharing emotion, affecting others, saying something-- and who knows what kind of art will emerge from this moment. It's worth noting that Bruce and Ryan would have probably never met, had it not been for Google+.

As Matt admitted during our chat, the technology isn't quite there yet. Streaming video capabilities haven't become ubiquitous. Heather hosts a series of Open Mic hangouts, Ryan makes guest appearances on Matt's show, Daria has a large life-stream following, but no one has truly harnessed the power of the hangout to start a grassroots following, and subsequently take it all the way. No one's even had the time yet. But that's what makes Google+ and the potential of it's tight-knit communities even more exciting for a music lover. The possibility for access and affection, and the idea that a social network should bear more of the interpersonal interactions that mark society-- voices, faces, and a live-stream performance where you can hear the applause from your digital audience. Now that would be a plus.


Read more: Hanging Out With The Band - 3/12/2012 http://www.baeblemusic.com/featuredarticle/Hanging-Out-With-The-Band.html#ixzz2786G6But
Live Music, Right Now - BaebleMusic

Today artists are constantly yammering about how new media has created a flux of opportunities to connect with fans, but Twitter and Facebook carry you only so far to engagement, and the opportunity for live connection usually ends with text-based updates. Not so with one ingenious feature of Google+ (the other network), one that this author had not considered significant until witnessing a gathering of believers at The Living Room in New York City, a bunch of strangers attending a show with three musicians they'd never met. But the atmosphere was as if old friends were reconvening to see their favorite band. It's the kind of inspiration that the technological advances we take for granted should be perpetuating in the music industry-- greasing the wheels of collaboration and engagement between artists and fans, not hindering them with pay-walls and barriers.

"Hanging out" is a streamlined version of video chatting that allows multiple people to converse on the online space with their faces and voices. But an alternative purpose of this service is to host a better form of live stream performances-- one where you can hear the audience clapping. Matt Rappaport, a filmmaker/actor, and Tiffany Henry, a student, are a part of a larger circle of Google+ users who swear by the service. To prove the power of the hang-out, the pair organized an event entitled "Hangout In Real Life" or "H.I.R.L." to the initiated, a collection of artists, photographers, creators, and G+ fans from all walks of life, and from all over the world. The group gathered in New York City, took a tour of Google HQ, and came to see a concert by popular Hangout artists Heather Fay, Ryan Van Sickle, and Daria Musk.

I "Hung Out" with Matt, who enthusiastically relayed to me the various doors a Google+ community can open. Entirely from scratch, he and Tiffany (with some help) organized the entire weekend in New York, attracting a significant amount of friends from the network to travel to H.I.R.L. They had zero funding, and yet, the people came. An international couple who had began their relationship on Google+, met for the first time in the same city. People old and young came together to drink and explore Manhattan like they'd been friends for years. And the best part, many attended a show at The Living Room in the Lower East Side, cheering for Heather, Ryan and Daria like they'd been listening their whole lives, because they had already established a relationship with their personalities.

Music is rooted in memory-- favorite songs are rooted in a lifeline location, and replaying a recording is like time-shifting consciousness to these moments. Global recording artists are constantly crammed down the throat via radio, as if to force these moments into existence. But the Internet is breaking down these old structures with sheer volume. In today's saturated music marketplace, there are very few substitutes for the two strongest artist endorsements-- personal contact, and word-of-mouth. Google+ allows for artists like Ryan Van Sickle to connect with his fans on a personal level, creating memories larger than just a cursory glance at his songs, and subsequently engaging an audience of listeners to support his art (and tell their friends), all without even leaving the house. Ryan creates your moment with his music.

Bruce Garber, a frequent participant (and administrator) of streams with Daria Musk, relayed an anecdote about H.I.R.L.ing with Ryan. The group went on several photo tours of New York City (many being from around the country and some from overseas), including a trip to the 9/11 Memorial in the Financial District. Moved by the memorial, Ryan considered writing a song and Bruce shared an idea of how to present it to the crowd in a way that would feel reflective and comfortable without being too heavy. This conversation is the essence of what making music is about, collaboration, sharing emotion, affecting others, saying something-- and who knows what kind of art will emerge from this moment. It's worth noting that Bruce and Ryan would have probably never met, had it not been for Google+.

As Matt admitted during our chat, the technology isn't quite there yet. Streaming video capabilities haven't become ubiquitous. Heather hosts a series of Open Mic hangouts, Ryan makes guest appearances on Matt's show, Daria has a large life-stream following, but no one has truly harnessed the power of the hangout to start a grassroots following, and subsequently take it all the way. No one's even had the time yet. But that's what makes Google+ and the potential of it's tight-knit communities even more exciting for a music lover. The possibility for access and affection, and the idea that a social network should bear more of the interpersonal interactions that mark society-- voices, faces, and a live-stream performance where you can hear the applause from your digital audience. Now that would be a plus.


Read more: Hanging Out With The Band - 3/12/2012 http://www.baeblemusic.com/featuredarticle/Hanging-Out-With-The-Band.html#ixzz2786G6But
Live Music, Right Now - BaebleMusic

WEST HAVEN — Past the kids’ train set, on the other side of the rocking horse and only a few steps from the washing machine, Heather Fay has built a home concert hall.

From her humble basement command post, she sings and plays for appreciative fans from here to Finland. It’s part of her grand plan to ramp up a career as a singer-songwriter, without sacrificing her time with her husband and two young children.

“I was trying to figure all this out,” says Fay, whose married name is Heather Fay Dawson. “Now, I can put my kids to bed and go play. I don’t have to leave home.”

She says it wouldn’t be possible without the social media platform Google+ and various applications such as Hangouts and Hangouts On Air. A group of up to 10 performers can get together on Hangouts and give a concert, and the concert can go up on YouTube or be presented live via Hangouts On Air.


“It’s a way to reach a global audience. It blows my mind,” Fay says.

Fay’s creative journey has taken her from Connecticut to Hollywood and back.

She grew up in Westport, the youngest of five kids, and her personal soundtrack included everyone from Tom Waits and Wilco to Johnny Cash, James Taylor and Ella Fitzgerald. Waits, she says, inspired her at a young age to tell her own stories.

She started writing songs and playing the guitar in college, although she had no keen interest in performing. “I’d done a lot of acting in school, but the thought of going on stage and being me was terrifying,” she says.

So, Fay tucked away her musical tendencies and instead pursued a career in TV production in Hollywood. She spent several years working on “The Drew Carey Show,” bounced around on a plethora of TV pilots and gradually grew tired of the industry.

“I knew when I started having kids that I would come back home,” she says.
After more than a decade in California, Fay and her husband, Rob Dawson, moved to Connecticut. They now have two kids, daughter Ruby, 5, and son Bodhi, who will be 2 in July.

It’s a typically busy family. Dawson works in information technology, and Fay is in graduate school at Quinnipiac University, working on an advanced degree in interactive media. Ruby is a smiling, twirling whirlwind. Bodhi has just discovered that airplanes are in the sky outside his house.

Fay, who is in her 30s, tried to shoehorn a singer-songwriter persona into all of this.

“I had a lot of guilt,” she says. “How do I justify spending all this time away from my family to follow my dream? How can you be a musician and a mom?

“My husband is my roadie, so even just finding a sitter so I can do a show is very stressful.”

This is not to say Fay hasn’t made great strides with her music.

After summoning the courage to perform two songs at an open-mic night in Bridgeport in 2008, she worked with Eric Lichter of Dirt Floor Studios in Chester on an album of original songs. Named “Scrape Knee’d Girl,” it came out in 2009.

By last year, she was doing one or two gigs a month and working on material for a second album. But guilt kept creeping up on her — until Hangouts came along.

“This kind of thing was bound to happen,” Dawson says. “It was very surreal at first, having concerts downstairs. But it became so natural so quickly, it didn’t have time to ever be awkward.”
Fay describes it as a sort of Skype for musicians. Up to 10 people can join in an online concert, taking turns performing. They need to be Google+ members before they can sign up for the service.

“I did a Hangouts concert for a bunch of people in Finland,” she says. “I did one with someone who was in Japan and someone who was in Australia. I play a song, you play a song and people listen.”

For people who aren’t part of Google+, Fay posts YouTube videos of her concerts.

“You can interact with potential fans all over the world,” she says. “Honestly, before this, I was trying to carve out a path, and I was thinking about giving up.”
- The New Haven Register

Heather Fay is a Connecticut-based singer/songwriter who has gained recognition for being one of the first musicians to use the “Hangouts On Air” platform on Google+ (AKA Google Plus) to build a global audience for her music. In addition to performing Hangout concerts for her nearly 200,000 followers, she hosts a series of open-mic Google Hangouts, which enable her to build an ever-growing network of musicians from around the world. Heather also plays shows in CT and New York City at venues including Rockwood Music Hall and the Living Room.


What have your experiences been with marketing and promotion? It sounds like a majority of your music marketing strategy has been online based.

Social media and online platforms really lend themselves beautifully to someone who is a mother aside from being an artist. I’m not 20-years old and I can’t jump into a van with my band and tour the country for months on end to build an audience. Being a mom and a wife, I’m at a different stage in my life than a lot of musicians who are just coming into their own.
I started by working with MySpace and submitting to internet radio and doing some things with Facebook. I really am not great at Twitter, but I’ve been working on it. And there has definitely been an audience in these places, but it wasn’t until I started using Google+ that it really felt like the right timing, right people and the right phase in my career. That has been the platform for me, especially because of the Hangouts. The Hangouts allow me to play a show face to face.


How many people can see you play through that?

Google+ now has the “On Air” function, so I can hit a button, and I’m broadcasting to anyone on Google+ in the world who has the link and has my page. I think there are a few countries that don’t yet have the On Air capability. But I’m playing to people in Japan, Australia, Europe, India and all over. I can play a show while my kids are napping and reach a global audience.


Many musicians have claimed that Google+ is not necessarily
revolutionary. Why do you think this platform has worked so well for you?

There are a few reasons I think it’s worked well. First of all, people come to Google+ and put their content up, thinking that’s going to be enough. But the communities on Google+ are a little different from how they are on other social media platforms. Because they allow engagement and conversation, you really need to build relationships. So, you have to actually work at it. You have to have conversations with people and spend time in Hangouts meeting new people. You really have to put yourself out there and be involved and interested in what other people are doing. You can’t just sign up like you might on Facebook, put your music up there, sit back and see what happens. The platform just doesn’t work that way.


And Google+ has recognized you as someone who is using it well.

I got on there right when it first started. And I was reluctant at first, because it just felt like one more thing I had to do on top of Facebook and everything else. But within the first week or two, I saw potential with the Hangouts and just really threw myself into it. As they were testing new features, I volunteered to help test them. And I think Google is looking for people who will use this platform in interesting ways, so being one of the first musicians on there, I had an advantage. I think they’ve really recognized how much it has been helping me.
In terms of numbers, I have 155,000 people, and growing in my circles. I know a lot of people say Google+ is a ghost town, but I am continuously reaching new fans from all over the world. It kind of blows my mind. A global audience is not something I ever thought I’d have.
Another thing I did when I first started using Hangouts is connect to other musicians in some meaningful ways. I really wanted to use Google+ to reach out to other musicians, because I just thought it would really be cool to start conversations with them and build a global network of other people like me. So, I started an “open-mic” hangout and invited other musicians so we could share our music. And I broadcast it, so I’m not only showcasing my music but other people’s music. It has built a real community, and I really would refer to that as the biggest mark I’ve made on the platform. I’ve played shows with musicians I’ve never met in person. And now I know that if I ever have the money to do a European or world tour, I have friends to gig swap with.
That’s another thing about being an independent musician: without this, I wouldn’t know where to start when looking for places to play around the world or musicians to play shows with if I were to tour. Now because of this, I have musician friends that can share booking information with me, and I can share my resources with them if they ever come to New York City.


Has your success on Google+ been based entirely on your participation in the different communities, or have you noticed specific things you need to do with details like profile design, etc. to get noticed?

In my opinion, the community scene is very visual. For example, there’s a huge photography and art community, so the whole platform is set up very visually. You open up your stream, and there are a lot of images going by. I’ve noticed that when you write something as an update, if you add a cool photo, people tend to be more interested than if you just put up text.
But also, content is incredibly important. I actually share who I am on Google+. On Facebook, I keep my identities very separate. There’s “HeatherFayMusic,” and then there’s my personal profile. But on Google+, I feel compelled to share who I am with total strangers. I’m of course cautious with what I present. But if I’m having a hard time juggling the kids and my music career on any given day, that is part of my journey as a musician. I am a mom and an artist, and sometimes that is hard. So, that might mean I post a morning photo of cereal spilled all over the kitchen with a comment about not having time to practice.
I think because of the Hangouts platform and that fact that you can build relationships so easily, it’s a really compelling experience. For instance, if I am having a real conversation with someone in Hangouts, they want to know who I am outside of just music. If I am being myself and sharing my story, people in my circles will be that much more invested in my success. I am able to build a stronger connection, because I can actually talk to people one-on-one and build a fan base with real interactions. And I think my fans really become invested in me.


Is there anything you can point to that you did on Google+ consistently that other musicians didn’t do that has made you successful?

I think the “open mic” Hangout was really the unique thing I did that didn’t exist before, but that other people really wanted. I think people enjoy sitting back and seeing who else is out there. I think that particular Hangout was what gave me a name on Google+.


Did that provide you with a good opportunity to market yourself to those other musicians’ fan bases?

I think so, and vice versa. Because, we would feature a musician as well on the open mic. So, we’d give someone more songs than everyone else one night and talk to them a little bit so everyone watching and participating could get to know them. There is a huge crossover of similar fans if you look at the circles of all the people that have participated in the open mics. And it makes you wonder if people feel like they have to ultimately choose their favorite artist – if there would be some sort of rivalry going on. But the community is really supportive of everyone, so there’s no need for anyone to play favorites. It’s really open to all different types of music.

To learn more about Heather Fay and listen to her music, you can visit her official website or check her out on Google+. You can also see her talk about her experiences using Hangouts On Air. Heather is currently in the studio recording songs for her upcoming album, which will be released early 2013.


Read more: Using Google Plus To Build A Global Music Audience and Community http://blog.discmakers.com/2012/09/using-google-plus-to-build-a-global-music-audience-and-community/#ixzz2783SZwbE - Disc Makers

Singer-songwriter Fay delivers a modestly tuneful, smartly-arranged and heartfelt set of 10 songs here. The modesty in question isn’t a comment on her talent — she possesses a strong, clear voice, and can use it to convey a broad range of emotions; and her songs themselves, which fit into the rootsier end of the pop-rock spectrum, are melodically graceful (the middle section of the album is particularly confident and hooky) but her delivery feels subtle and somehow private. Eric Lichter’s analog production gives the songs warmth, and his multi-instrumental contributions create an ebb and flow with plenty of ear-catching passages. Not only is there more going on here than one might first notice, the songs are concise in their composition, even the slower ballads (and the set does tip towards mellow, steady-tempoed songs). One wishes she showed off more, or made all the choruses pop out the way she can. But the private-feeling approach still suits Fay’s direct lyrics and melodies. - The New Haven Advocate

Heather Fay started out with the dream of creating the perfect mix tape. The implausibility of this quest didn't hit her until years later while looking at her Alvarez acoustic and realizing that if she wanted the perfect mix tape she'd have to write some of it herself. Scrape Knee'd Girl is the outgrowth of that realization; an album of songs about the imperfections and wrong turns on life's path and the emotional cost of living through both right and wrong decisions. The title and artwork represent the "perfectly imperfect" state we live in, the bumps and bruises we acquire, and the tales Fay spins on Scrape Knee'd Girl sing to the very part in each of us that crave to be accepted, warts and all. Heather Fay dabbles in the singer/songwriter pastiche of Carly Simon and Joni Mitchell and adds in a twist of Americana, Country Blues and Rock, depending on the song. Her voice is clear and strong and plain-spoken; an every woman's voice that connects to the listener instantly and holds your attention. Scrape Knee'd Girl opens with 515, a musical soliloquy about making choices that are painful but better in the long run. Here she's moving on toward an unknown future away from someone whose decisions will take her down a less desirable path. Don't Cry is a song about waking up to the important things around you. It's a pragmatic tune set to a comfortable Americana arrangement that shows off Fay's easy vocal style and talent for putting emotions and moments into words. The Last Time touches on the distance that grows between two halves of a couple over time, an honest question to the other about how/when things changed. Ruby's Song is a song of love and devotion. The sentiment is beautiful and the arrangement is striking if a bit mundane, yet this serves to help the quiet vocal line soar. California Days is a dreamy memory song; a reverie for a time and place that likely could never be recaptured. Breaking My Heart is an entreaty to a loved one to not hurt her, set to a light Reggae beat. The light, optimist
/hostbaby2/js/tiny_mce/themes/advanced/langs/en.js" type="text/javascript"> ic nature of the arrangement runs at odds with the subject matter here, and Fay's cool, easy delivery makes it all believable. Dukes Up is an optimistic song about overcoming heartbreak; fighting your way through. It's set to a great blues/country arrangement that accentuates the hard-nosed yet vulnerable feel of the narrator. Heather Fay brings a distinctive voice and approach to songwriting on Scrape Knee'd Girl. There's an emotional honesty that is unmistakable, with Fay delving into psychologically intimate subjects and moments from the experience of her protagonist. The music is wonderfully constructed, sticking primarily with a rich Americana sound that could pass for Country or Folk with a sprinkling of Rock thrown in. The album's pacing is a bit slow at times, with a couple of songs just losing me along the way, but Fay recovers well and generally delivers a very strong effort. Make sure you check out Scrape Knee'd Girl. It's worth the time. - Wildy'sWorld.com

Every once in while an album comes along that you like not just because of the production or the voice or the songwriting, which is why I went out of my way to get a copy of Heather Fay's Scrape Knee'd Girl. After sampling a few tracks on her MySpace page, I heard something I could not quite put my finger on, something beneath the music itself. A handful of listens and I knew what it was. Heather Fay is the Scrape Knee'd Girl. No, it's not a teaser for the album. It just is. She sings and writes like a young girl with scraped knees, vulnerable yet trusting. It's that simple. You basically get two Heather Fay's here. One encompasses full band and full sound, a little more sophisticated, if you will. I attribute those mainly to Eric Lichter, who produced the album and plays all instruments (and they are many) with the exception of Heather's guitar. The arrangements are first rate, most notably on the softer ska of Breaking My Heart and the slow rocking 5:15. Layering a slew of instruments, including multiple keyboard and guitar tracks, is never as easy as it sounds and Lichter handles the chores well, keeping the background background and not letting it get in the way of the voice. The other is Heather Fay herself, basic and alone, which is where she shines. Don't Cry and especially California Days stand out, remnants of the late sixties folk sound worked into the fabric. Unplugged and solitary works for her and allows the scraped knees to show. While her voice is, shall we say, a bit untrained, she more than makes up for it in her phrasing. These songs from the heart are sung from the heart and it sounds it. Call her a work in progress, as are most of the musicians working these days. She might have a ways to go, but it will be interesting watching her get there. Scraped knees or not, this is a good start. - www.RockandReprise.net

LONESOME REVIEW: CHIP’S TOP 50 ALBUMS OF 2014
I make no pretense when it comes to writing about music. I don’t ever describe myself as a ‘music journalist’ nor do I pretend to be some all-knowing musical expert. There are certain genres (Metal, for example) where my knowledge excels well above the norm, and others (any type of ‘dance’ music) where my knowledge is seriously lacking, sometimes even non-existent. However, over the course of 2014 I reviewed over 80 albums for various websites and that doesn’t count the hundreds of other new albums I listened to and either didn’t like enough to write about or simply didn’t have the time to. Does that qualify me to tell you what the “best” albums were in 2014? Nope. Because I could count the number of new Hip Hop records or Reggae records, or Jazz records for example, on one hand and other genres were neglected completely. But I probably listened to at least 100 more new albums than the average person in 2014 so when I was asked again by Papa Lonesome Noise to offer up my 50 favorite records of the year I was happy to oblige in the hopes that you, dear reader, would find something you might really dig and hadn’t heard yet. This list was super hard to make. 2014 was a pretty excellent year in music. These were my favorites but getting down to 50 was a pretty brutal process. Here’s to hoping 2015’s list is equally as hard to make!

AgallochAgalloch – The Serpent and The Sphere
One of the more prolific bands to fall under the American black metal umbrella, Portland’s Agalloch released one of their best efforts in 2014. It’s a stark and deep record that flows like the ocean in the dark of night, constantly churning yet layered in unfathomable depths. Agalloch’s sound merges elements of folk and black metal to create an album that seems to commune with the world around it.

BaskBask – American Hollow
The debut from this North Carolina four-piece. Bask are part of a new wave of heavy music artists successfully combining elements of metal and Americana. The difference being they are comfortable enough in their songwriting to lean more heavily on the Americana portion of their sound when the songs call for it. One of the more unique outfits you would ever find nestled on a bill of metal bands.

BlackwolfgoatBlackwolfgoat – Drone Maintenance
A pseudo-concept record about a man in the future who repairs rogue drones (apparently with mixed results). Blackwolfgoat is a one-man, psychedelic drone/stoner rock outfit and this, the third offering, is their strongest effort to date. Filled with exceptional guitar work, often times pasted over looping sonic landscapes, Blackwolfgoat are one of a handful of artists who wrote essential music you could meditate to. Just beware of those rogue drones.

BlodhemnBlodhemn – H7
Norway’s Blodhemn somewhat quietly delivered one of the best black metal releases of the year. The album title comes from the Norwegian symbol of defiance against Hitler’s troops during World War II. H7 would be left behind by freedom fighters as a symbol for their exiled monarch (King Haakon VII), a sign of solidarity against tyranny. This album is the sonic equivalent of scorched earth often left behind after heavy fighting.

BroadsBroads – Broads
One of my favorite albums of the year and Australia’s answer to the question, ‘What’s the sweetest sound in the world?’ The debut EP from one half of The Nymphs sees Kelly Day and Jane Hendry step out of the shadow of their collective successes and spread their wings a bit. The addition of acoustic guitar to their otherwise a capella sound was a welcomed addition. Simply put, the songwriting and vocal performances on these songs are some of the best you’ll hear in 2014.

CanyonCanyon – Half
Debut album from part time CT resident and an amazing singer/songwriter, this is the type of album you digest slowly over multiple listens. It’s not because it’s hard to digest, on the contrary, it’s so entirely filled with memorable moments that one listen simply will not suffice. Lush and emotional vocals combined with sensual lyrics and some mesmerizing compositions make this album one of the better ones released from the CT borders (at least partly) this year.

DerBlaueReiter_LeParadis_CD-CoverDer Blaue Reiter – Le Paradis Funebre II: L’Adieu Du Silence
Self-appointed as “apocalyptic ambient” there may not be a more accurate self-description from any artist you’ll hear this year. Spain’s Der Blaue Reiter write the type of music you’d find as the soundtrack to some very dark, very surreal, and often very depressing films. Yet at the same time there is an elegance and beauty to their music that renders it worthy of multiple listens through a good set of headphones.

Divine CirclesDivine Circles – Oblivion Songs
The brainchild of violinist Meghan Mulhearn (she of U.S. Christmas and Judas Horse among other excellent projects), Divine Circles is a project where Mulhearn takes center stage. Between her virtuoso violin playing and her powerful voice this album was a pleasant surprise upon its release. One part neo-classical expression and one part Appalachia examination, Oblivion Songs is a unique and captivating collection of songs.

DwellersDwellers – Pagan Fruit
Fans of atmospheric rock n’ roll that walks the line between bluesy and psychedelic will find a lot to love about this record from Salt Lake City’s Dwellers. Evoking the essence of the 60’s power trio, Dwellers wrote an album that I’m pretty positive had its fair share of joints lit during multiple listens under black lights.

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Earth – Primitve and Deadly
Seattle’s Earth have become the kings (and queen) of the slow drone. Few bands can do with a handful of notes what this band can. However on this album they reach back to their roots a bit and deliver not only their heaviest album in quite some time but easily their most structured. This is as close to a “rock” record as you’ll probably ever get from Earth, yet the shift in direction was played to ultimate perfection and it has wound up being easily one of the best heavy music releases of 2014.

EuriskoEurisko – Wild Animal
New Haven, CT’s Eurisko delivered an album that easily lived up to its moniker. A rowdy and raucous affair that was played like a bunch of cowboys moonlighting as punk rockers (or vice versa). In our review of this album we said, ” If this album was alcohol it’d be Jim Beam cut with Pabst Blue Ribbon. It’s a musical bar fight between a wandering pack of Hell’s Angels and the biggest dudes in this one-horse town who came to defend their ladies’ honor.” That still sounds about right.

EyehategodEyehategod – Eyehategod
The mighty Eyehategod finally returned with an album’s worth of new material in 2014. It was a long time coming, but completely worth the wait as they regained their rightful throne as the kings of the New Orleans metal scene. With so many metal bands reuniting to release comeback records with very mixed results this year it was nice to see that sonically speaking Eyehategod hadn’t lost a step at all, despite the untimely passing of their drummer. Easily one of the best metal releases of 2014.

Father MurphyFather Murphy – Pain Is On Our Side Now
Another European outfit writing music that stretches the limits and boundaries of what we conceptualize as ‘music’ in 2014 was Italy’s Father Murphy. This prolific group released one of, if not their best, release to date with Pain Is On Our Side Now. It’s a challenging listen for anyone who isn’t ready for it but when in the right frame of mind it’s a shamanistic journey down the rabbit hole of the human psyche.

Heather FayHeather Fay – Cherish The Broken
You’d be hard-pressed to find many voices as sweet as CT’s Heather Fay. Her brand of pop-infused folk is as sweet and refreshing as watermelon on a hot summer afternoon. Fay writes extremely introspective songs delivered with beautiful honesty. Backed by an excellent group of musicians, Fay’s songs are allowed to blossom in a bouquet of heartfelt Americana.

Julia Autumn FordJulia Autumn Ford – Julia Autumn Ford
Our youngest entry on this list is CT’s Julia Autumn Ford, but don’t let the fact that she’s legally not even old enough to drink cloud your judgement before you sit down with this record. Ford is the very definition of an old soul in a young lady’s form and her songwriting shows a depth and perspective that few people her age ever possess. This self-titled debut is a fantastic start to what we think is going to be a very successful music career.

Goodnight Blue MoonGoodnight Blue Moon – A Girl I Never Met
It seems like this gem was released years ago at this point but New Haven’s Goodnight Blue Moon kicked off our year with one of our favorite releases from the Nutmeg State in 2014. Released all the way back in January, this album still sounds as amazing on the 100th listen as it did on the first, a true testament to the amazing songwriting found within. Fans of anything along the Americana pantheon will find a lot to love about this album.

GreenleafGreenleaf – Trails and Passes
With a revolving door of musicians, many of whom have counted Greenleaf as a side project first, and sprinkled across Scandinavia, one would be hesitant to think that Greenleaf could surpass previous efforts. Instead this outfit defied that conventional wisdom to deliver their best effort to date and one of the best rock n’ roll records of 2014. Fans of 70’s proto-metal and 90’s stoner rock need to pay serious attention to this album.

Hanging HillsHanging Hills – The Great Divide
With a healthy admiration for the Civil War and the ability to write poignant and moving indie folk, CT’s Hanging Hills were a force to be reckon with in 2014. Their debut album was one of the best debuts we’ve heard in a long time, especially if you’re a fan indie rock sprinkled amidst country leanings.

Kristian HartingKristian Harting – Float
Released all the way back on January 6, this might be the first album of the year we fell in love with and almost a full year later it’s safe to say that this is still, in this writer’s humble opinion, one of the five or so best albums released all year. Denmark’s Harting writes extremely powerful and emotive music built solely upon his exceptional voice, astute guitar work and various effects which gives this one-man project a huge sound. Every track is memorable in its own way as this is the type of album that lingers with you like the ghosts of loved ones, long after the record has stopped spinning.

ides_cover3Ides of Gemini – Old World New Wave
Now firmly entrenched as one of the gems of the occult rock scene, Ides of Gemini delivered a stellar follow up to their debut album. Somewhat minimalistic in their songwriting, Ides of Gemini still manage to deliver walls of sound featuring dreamlike vocals layered atop rhythmic drumming and hypnotic guitar work. A true masterwork you could hold various seances to.

IndianIndian – From All Purity
Another album which held on for twelve months to remain entrenched on this list, Chicago’s Indian released an absolute beast of a record to kick of 2014. Chicago has become an absolute hotbed of crusty, doom-filled, blackened metal goodness and Indian stands as one of the bands at the forefront of that scene. One part doom metal manifesto, and one part rage-filled gut punch, From All Purity is a nasty record in the best possible way.

LizzienroseLizzienrose – Banner Year
CT singer/songwriter Elizabeth Trojanowski performs under the Lizzienrose moniker and she gifted us her debut album in 2014. With a pixie-like voice which delivers a wide array of styles, Trojanowski gave us one of the most eclectic offerings in 2014. It’s a wholly pop record but sprinkled with everything from the blues to indie rock to new wave and everything in between. Rumor has it that a new album is in the works. Keeping our fingers crossed that this is the case because we can’t wait for the follow-up to this exceptional album.

Lord MantisLord Mantis – Death Mask
When Chicago’s Lord Mantis debuted on the scene a few years ago their debut was a highlight of a year filled with metal highlights. The follow up is just as effective. Lord Mantis write an amazingly abrasive brand of blackened doom metal which has the potential to constantly dip into frightening depths. This album constantly plays with nightmare-inducing themes both lyrically and sonically and is so utterly corrosive at certain points that it’s downright caustic…which is exactly how you want this style of music played.

Muscle and Marrow coverMuscle and Marrow – The Human Cry
I was asked earlier this month to deliver my Top 10 metal albums of 2014 for MetalInsider.net and without hesitation I made this my #1 metal album of the year. It’s a somewhat unconventional pick, especially with heavier albums populating both that list and this one, but at the end of the day few records from 2014 were as captivating and engaging as this one. Filled with depressive doom metal delivered in a ritualistic style, not unlike much of the occult rock flowing through the metal world right now, Portland’s Muscle and Marrow are an absolute force to be reckon with. Such a dark, yet beautiful and passionate groupings of songs.

My Brother The WindMy Brother The Wind – Once There Was A Time When Time And Space Were One
An extremely expansive and entirely improvised take of psych rock, Sweden’s My Brother The Wind delivered an absolute stoner classic with this album. It may have been improvised and done in one take in the studio but there’s zero moments when this album feels like it’s ambling about with no real direction. This is a group of musicians feeling their way through space and time itself.

MyrkurMyrkur – Myrkur
Arguably the best black metal record, not only of this year, but in recent memory. This one-woman project combines frost-bitten black metal played in the lo-fi, cult ways of old, yet combines these icy blasts with absolutely epic, ethereal passages. It’s a striking juxtaposition of styles and influences and it sets Myrkur apart from just about all other bands in the genre. Well worth a listen just to experience even if you aren’t a metal fan, but a required listen if you are one.

Marissa NadlerMarissa Nadler – July
A relatively late addition to this year end list comes from Boston’s Marissa Nadler. Nadler is a fairly prolific singer/songwriter who constantly lives on the fringes of the indie folk/folk/Americana pantheon, but this may be her best album to date. Nadler combines a folk ethos with an amazingly ethereal delivery that is simply haunting, both ghost-like and infectious. Few albums have received as many repeat plays as this album has over the last two months. Literally entire work days have been spent with this album on constant repeat, yet with each listen there are more and more nuances that uncover themselves like lost love letters in the back of an attic.

Willie NelsonWillie Nelson – Band of Brothers
Those who know me would assume that if Willie Nelson puts out a record, I’m probably going to include it on a list like this no matter what. The truth of it is though that this really was an exceptional album and, quite honestly, was one of Willie’s best efforts of the past decade. I’m not the only one who agrees with that sentiment as Band of Brothers became Willie’s first #1 album on the U.S. country charts since 1986. With all the pop rock crap blotting out the mainstream country landscape it’s nice to see a true legend of the genre get his just praise for an album that was simply top-notch.

ObliterationsObliterations – Poison Everything
California has been a hardcore haven for a long, long time and the new kings of the hardcore punk scene are Obliterations. Their Southern Lord Records debut was an absolutely explosive blast of 13 drop kicks to the teeth. Few bands over the last decade have captured the volatile spirit of old school, American hardcore punk the way this band did on this album. Get ready to circle pit your way through this baby.

Oh CassiusOh, Cassius – On Such A Full Sea Are We Now Afloat
We originally wrote about this record when it was still being called “Ides of March”, but a few months and a name change later Bridgeport’s Oh, Cassius delivered their official debut. You’d be hard-pressed to find two voices that intertwine as splendidly as John Torres and Meredith DiMenna do on this album and their blend of folk and indie rock is extremely well done on so many levels.

PallbearerPallbearer – Foundations of Burden
Little Rock, Arkansas’ Pallbearer play doom metal in the ways of the old masters. Clean, soaring vocals, lots of sick riffing, and a thunderous rhythm section all give this album an air of 80’s doom a la Candlemass mixed with Trouble. It’s a monstrous, thunderous record worthy of consideration for doom metal album of the year for sure.

PonybirdPonybird – Modest Quarters
We’ve written at length on this site about our love for this album. Ponybird’s brand of mystical country hearkens back to the days of 70’s desert rock mixed with various elements of psych rock and Outlaw country. It’s a truly exceptional album and one of the finest things you’ll hear from the CT music scene. Period.

Kerri PowersKerri Powers – Kerri Powers
No one coming out of CT (or all of New England for that matter) in 2014 did roots music the way Kerri Powers does roots music. She’s an old soul channeling the Mississippi Delta, the streets of Memphis, and the dust fields of the Midwest all at once. A powerhouse of a songwriter, Powers does more in one tune with just her voice and a guitar than some full bands could pull off in an entire album’s worth of material. Her self-titled album caught a lot of people looking the other way but ensured that heads are fully turned in her direction now for the foreseeable future.

Sabbath AssemblySabbath Assembly – Quaternity
One part doom metal album, one part psych rock, and two parts religious experience, Texas’ Sabbath Assembly gave us a concept record based on the teachings of an apocalyptic religious sect from the 1960’s. It’s a record that needs to be digested from start to finish in one sitting, preferably with headphones on. Beautiful and elegant at certain points and utterly harrowing at others, this is one of the darker albums you’ll come across in 2014, yet also one of the most captivating.

Sarah LeMieuxThe Sarah LeMieux Quintet – Moments Musicaux
There wasn’t a ton of jazz that came across our desks but it wouldn’t matter how much we listened to, this album would remain firmly entrenched in the top spot for Jazz album of the year. LeMieux deftly combines traditional jazz with the blues and even various elements of European folk genres. Her voice is simply angelic and the group of players she culled together for this recording were stellar. An all-around triumph for sure.

The Sea The SeaThe Sea The Sea – Love We Are We Love
The male/female dynamic in the folk/indie folk scene is becoming the next big trend but few artists pull it off as deftly as The Sea The Sea. Exceptional harmonies abound amidst some truly catchy songs as The Sea The Sea run the gamut from indie rock to 60’s folk worship. Listening to this record is one of those musical experiences where no matter what type of day you are having it gives you hope that maybe the world isn’t in as bad of shape as it may seem.

Se DelanSe Delan – The Fall
An amazingly rich and lush album filled with captivating ambiance, multinational outfit, Se Delan, left an indelible mark on the music scene with their debut album. Elements of prog and post rock are seamlessly blended together with a sort of deceptively dark surrealism that gives this album a feeling of spectral elegance. Gorgeous female vocals are delivered over subtle rock played in an almost shoegaze-like manner. It’s an alluring record from start to finish.

Second Hand HeartSecond Hand Heart – Tides
This album shows the power of the internet in delivering little musical presents. Second Hand Heart was a band I accidentally stumbled upon searching for something entirely different on Bandcamp. What’s that line about not getting what you wanted but getting what you needed, again? Australia’s Second Hand Heart offer up ten tracks of potent, and at times breathtaking, alt/post rock. It’s a record that drifts from track to track like a leaf peacefully fluttering to the ground in Autumn. Well worth a full listen from start to finish.

Secret CutterSecret Cutter – Self Titled
Early in the year an unsigned grind/sludge metal band from outside of Philadelphia came out of the woodwork and absolutely melted faces with a debut album that is sure to see them get some serious label love soon enough. Secret Cutter were not just a pleasant surprise, they were a damn revelation. This album is a non-stop barrage of grinding madness cut only by pummeling sludge. Easily one of the Top 15 or 20 metal releases of 2014.

Sturgill SimpsonSturgill Simpson – Metamodern Sounds in Country Music
I purposely put this list together in alphabetical order because a) it would be too difficult to list them in some sort of numerical order and b) I don’t want this list to really have some kind of hierarchy. But I will be very honest in telling you that if I had to absolutely choose my Top 3 albums of 2014, this album would make the cut. I made a comment recently that I thought Sturgill Simpson was the best thing to happen to country music since the original Outlaw country movement of the 1970’s. I stand by that statement and this album is Exhibit A. Hands down the best country record of the year. Hell, best country record of the decade so far.

Staright To VHSStraight To VHS – Weekend Weekend Weekend
Arguably the best punk/garage rock record to come out of CT in 2014 belongs to New London’s Straight To VHS. They play a rambunctious brand of rock n’ roll that will remind you of everything from MC5 to The Stooges to some of the great punk rock of the late 70’s/early 80’s. This is a record that is equally fun to dance to as it is to break shit to.

The Sun ParadeThe Sun Parade – Heart’s Out
One of the most upbeat albums you’ll find on this list comes from Northampton’s The Sun Parade. Their newest album is hands down their best effort to date and included some of the most memorable songs of the year. Highly infectious indie rock dripping with pop influence, this record is a blast of sunshine on a summer morning after a night spent sleeping on a beach after a huge bonfire.

The Tender FruitThe Tender Fruit – The Darkness Comes
One of the most recent additions to this list comes from North Carolina’s The Tender Fruit. It’s an album that has gotten pretty much continual play since its release a few short weeks ago. (See this is why doing a year end list before Thanksgiving is really, really dumb…) The Tender Fruit write folk music seething with Southern Americana. It’s an album that was written on the move and it reflects as much as it gives off this sort of back road elegance with each listen.

Torch RunnerTorch Runner – Endless Nothing
Another North Carolina outfit, only one on the complete opposite of the musical spectrum. Torch Runner play a vitriolic mix of hardcore and crust. It’s the type of album you picture kids going nuts to at some show held in a dingy squat in the worst part of town. Another great Southern Lord Records release and a much welcomed addition to the hardcore/crust scene.

TriptykonTriptykon – Melana Chasmata
Tom G. Warrior was the front man for one of my all-time favorite metal bands, Celtic Frost. After the second implosion of Frost he went on to form a band that was, quite honestly, a direct extension of what Celtic Frost was doing upon their reunion. 2014 gave us the second album from Warrior’s newest project, Triptykon. This album sees Triptykon experimenting with their sound a little more, but not forgoing any of the brutality and heaviness displayed on the first record. Easily one of the ten best metal albums of 2014.

TtotalsTtotals – Let Everything Come Through
Nashville duo, Ttotals (pronounced ‘totals’) released their third album, this time through CT-based label Twin Lakes Records. It may very well be their best album to date as they continued to expand on their experimental and cosmic take on the Blues. This album sounds like a John Spencer offering on Quaalude or some other type of heavy sedative. Definitely one of the more unique albums of 2014.

UsneaUsnea – Random Cosmic Violence
Absolutely crushing blackened doom metal from the wilds of Portland, OR. Usnea’s debut album for Relapse Records was a mighty behemoth of a record that just trampled everything underfoot. Stirring everything from black metal to funeral doom into the pot, Usena spared no expense at finding ways to consistently crush eardrums and melt faces.

The Way To LightThe Way To Light – Cleansing Silence
Atmospheric, dark folk from Texas, one-man project The Way To Light. The Way To Light has issued several releases over the last few years, with this being the most accomplished of the lot thus far. Flowing from utter darkened ambiance to acoustic guitar based funeral folk, The Way To Light are a trip through the deepest recesses of space and the human condition.

Wise Old MoonWise Old Moon – The Patterns
One of the best albums to come out of CT this year was from indie folk outfit Wise Old Moon. Filled with introspective stories played upon an acoustic backdrop this album is comparable to some of the classic albums from the likes of Neil Young, The Byrds, or Crosby, Stills & Nash if each one was recorded on someone’s back porch in the Appalachian foothills.

WormwoodWormwood – Wormwood
Made up of some of the elite of the heavy music scene in Boston, Wormwood unleashed their self-titled, debut album in 2014 and it was an absolute scorcher. Completely oppressive doom metal that’s cut with elements of sludge, crust and hardcore. It’s a pretty scathing record and one that could smash atoms under the weight of its heaviness. - Lonesome Noise