Everybody knows (or must know!) Micah P. Hinson, a cult figure in American alt-folk, born in Memphis, Tennessee and raised in Texas in a religious family of Chickasaw origins. After a difficult adolescence and years of instability, he debuted in 2004 with Micah P. Hinson and the Gospel of Progress, which received critical acclaim, especially in Europe. Since then, Hinson has built a distinctive career marked by raw honesty, literary lyricism, and a timeless blend of folk and country, with a hint of psychedelia. His following records — Micah P. Hinson and the Opera Circuit (2006), Micah P. Hinson and the Red Empire Orchestra (2008), and Micah P. Hinson and the Pioneer Saboteurs (2010) — expanded his sound and deepened his reputation as a singular storyteller with a bruised soul. Later works like Micah P. Hinson and the Nothing (2014), Micah P. Hinson Presents: The Holy Strangers (2017), and When I Shoot at You with Arrows, I Will Shoot to Destroy You (2018) confirmed his status as one of the most authentic voices in contemporary Americana, exploring themes of faith, heartbreak, and redemption with cinematic intensity. After ten albums, including the most recent, I Lie to You (produced in Italy by Asso Stefana), he went through a profound creative crisis in 2020. The turning point came again with Stefana: together they recorded The Tomorrow Man, written between Texas and Spain. Despite personal struggles and periods of silence, Hinson continues to be a restless creative force, a modern troubadour whose songs echo the ghosts and grace of a timeless America.
The Tomorrow Man will be out next October 31st, via Ponderosa Music Records.

In 2016, San Francisco-based Sarah Gagnon formed Hectorine. TEARS, the band’s second album, followed up Hectorine’s 2019 debut with sketches of 70s soft rock production, folk melodies, and deeply lyrical songs that explore love, loss, nature, and the cosmos. For Arrow of Love, her third full-length album, which was released this spring on Take A Turn Records, Sarah Gagnon calls up the spirit of the Sumerian warrior goddess Inanna to explain the tumult that surrounded the making of it. In Mesopotamian myth, the goddess travels to the underworld to learn what there is to know about death and dies there. Though Inanna is rescued and reborn, she is forced to choose someone to take her place, and when she learns her lover Dumuzi has not mourned her, she condemns him. Hectorine’s latest album tells a lower key tale of death and rebirth, encompassing a period in which Gagnon lost a job and ended a relationship under the shadow of a modern plague and raging wildfires, retreating into enforced solitude until it was possible to emerge again. Arrow of Love recounts this process in chronological order, from the marimba-clinking opener “Is Love an Illusion” through the whispery desolation of Joan of Arc-themed “No Hallelujah” to the bubbling, resilient joy of the title track, near the end, as life and love reassert their pull. And yet, though the subject matter is heavy, the music is not. Gagnon’s velvety contralto — if you think she sounds a bit like Christine McVie, you’re not the first — weaves with assurance among trance-like dream pop architectures. For the album she worked with Geoff Saba of East Oakland’s Itinerant Home studio; he co-produced, engineered and mixed the album, while J.J. Golden mastered it. 
Arrow Of Love was out May 23th on Take A Turn Records.