CROWDFUNDING RADAR: Bandcamp Preorders Provide Perks and Artist Support
For most of 2020 and all of 2021, independent artist-oriented site Bandcamp ran its “Bandcamp Fridays,” where they waived their fees on the first Friday of the month, sending approximately 93% of the money spent at the site to artists (payment processors were not on the fee-waiving bandwagon)
JOURNAL EXCERPT: George Harrison’s Legacy of Spirituality, Music, and Activism Carries On
EDITOR’S NOTE: Below is an excerpt from a story in our Winter 2021 journal, “Good News.” You can read the whole story — and much more — in that issue, here. And please consider supporting No Depression with a subscription for more roots music journalism, in print and online, all year
ALBUM REVIEW: Yonder Mountain String Band Prizes Perspective on ‘Get Yourself Outside’
At a glance, the title of Yonder Mountain String Band's new album, Get Yourself Outside, seems like an unambiguous call to action. But it’s not referencing the great outdoors: These songs are meant to encourage reflection and a conscientious shift of one's perspective. Get Yourself
ALBUM REVIEW: Terry Klein Details Life’s Ups and Downs on ‘Good Luck, Take Care’
There’s an edge in Terry Klein’s voice that hovers somewhere between world-weariness and laconic all-knowingness, edging now and then into a studied nod-and-a-wink about human foibles. The title of Klein’s new album — Good Luck, Take Care — pokes a little fun at our
ALBUM REVIEW: On ‘Still Life,’ Carson McHone Paints the Quest for Inner Peace
Still-life paintings portray stasis, but, in Dallas Frazier’s words: “beneath still waters, there’s a strong undertow.” These paintings owe their entrancing beauty to the ambivalent tensions that crack and bubble just below their staid surface. The title track of Carson McHone’s third album, Still Life, evokes
ALBUM REVIEW: Amanda Anne Platt and The Honeycutters Cover Vast Ground on ‘The Devil and The Deep Blue Sea’
They keep saying the age of the full album is nearing its end. But despite releasing two singles a month over the past year, Amanda Anne Platt knew her latest batch of songs belonged together in one place, as one story. The Devil and The Deep Blue Sea, a double