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Indie-Folk Explorer Sage of New England Releases Mesmerising New EP, ‘Encounter’

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Matthew Hayes Jacobs, the creative mind behind indie-folk project Sage of New England, is back with an enchanting and emotive EP titled ‘Encounter.’ Collaborating with producer Justin Tracy, the EP showcases a captivating blend of sonic textures and rich production, crafting a multifaceted and organic sound that delves deep into the realms of melancholy and human experience.

The EP’s five tracks weave an intricate tapestry of acoustic guitars, subtle synths, strings, grounding bass, and shuffling drums, creating a pillowy and mesmerizing musical backdrop. This lush soundscape perfectly complements Jacobs’ silky, melancholic vocals, occasionally contrasted with lo-fi boxy production, adding a cinematic touch to the music.

At the core of ‘Encounter’ is a focus on themes of transformation and compassion. Sage of New England’s music leads listeners on an immersive and introspective journey, reflecting the artist’s spiritual and mental health journey. Through his songs, Jacobs aims to convey meaningful and authentic messages, offering comfort and upliftment to a world in need.

The EP opens with the whimsical track ‘Encounter with a Guide,’ a wondrous journey guided by Jacobs’ delicate falsetto vocals. This song captures the essence of the entire EP, enveloping listeners in dreamy, breezy musical interludes that spellbind the senses.

Matthew Hayes Jacobs shares his thoughts on the EP and the lead single, stating, “Encounter EP is an exploration of transformation, compassion, adventure, and walking the path of a mystic. It’s heavily influenced by my spiritual and mental health journey. I want to convey to the listeners what I have learned in my life. My intention with the music and lyrics is to do something that is meaningful, authentic, genuine, and truthful, something our world needs. This EP aims to uplift and comfort while exploring these themes of wisdom.”

The inspiration for ‘Encounter with a Guide’ came from a personal meeting with a guru, and the song’s lyrics deliver a powerful reminder that it’s never too late to transform and follow one’s passions. The track encourages listeners to embrace life’s encounters and seek wisdom in unexpected places.

The name “Sage of New England” originates from an upcoming song, scheduled for release in the fall of 2023. This composition narrates the story of a disillusioned woman finding inner peace through the guidance of an unlikely companion – a farmer she meets after relocating to New England. The song beautifully illustrates the transformative power of life’s encounters, urging listeners to embrace personal growth and wisdom.

Sage of New England’s music is a soul-stirring and introspective experience, inviting audiences on an ethereal journey through Jacobs’ restless musical ideas and otherworldly songwriting. With ‘Encounter,’ this talented indie-folk artist once again solidifies his place in the genre, leaving listeners mesmerized and inspired by his profound creations.

Whether you’re a long-time fan of Sage of New England or a newcomer to his music, ‘Encounter’ promises to be a compelling addition to the artist’s ever-growing alt-folk catalogue. So, mark your calendars for the EP’s release and prepare to be immersed in a world of musical wonder and contemplation.

The post Indie-Folk Explorer Sage of New England Releases Mesmerising New EP, ‘Encounter’ appeared first on Turtle Tempo.

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[UPDATED] David Gilmour Guitar Auction – today’s the day!

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Good morning! It’s the day that many Pink Floyd fans have been waiting for – today, at 10am EST (3pm UK/BST) at Christie’s in New York City, over 120 of David Gilmour’s guitars are up for auction, raising money for charity (more about that shortly). These range from his most iconic and best known instruments, through to ones that he has accumulated over the years and have less sparkling CVs. The day, the event, seems to have polarised a significant amount of the Pink Floyd community. There’s those who are excited, and have mentally committed a certain amount of money so they can place a few bids, with the hopes of getting their hands on one of David’s instruments, whatever it might be. There are also those who are sad (some, desperately) about his selling of the bulk of his collection. Those people should rest assured – he stated recently that he was keeping at least 20 guitars, including a replica Black Strat that is seemingly incredibly close in sound and feel to the original. In a recent fan Q A, he said: Don’t fret too much. I still have a few lovely guitars that I couldn’t let go. A 1945 Martin D18, my Fender Esquire nicknamed The Workmate and a Black Gretsch Duo-Jet to name but three. On being asked what it is about the Workmate that led to him keeping it over 0001 and the Black Strat, he responded: I’m just too fond of the Workmate. He has also made it clear that he isn’t finishing with the creation and performance of music ( No, no. It does not mean retirement ), and on being asked Have you retained sufficient guitars to make another album, and play more live shows? Do you have any such plans? he gave a simple Yes and yes . Great news for all those concerned that this auction was seeing David conclude this element of his life. Last night, David revealed where the money raised today would be going: As things happen today, we will endeavour to keep this page up to date with all the latest occurrences, sale prices of items, and such like, shown below. Stay on this page and refresh it for all the latest information on what’s taking place! The latest items will be at the top, so scroll down to see older updates. By the way, please let us know if any of you are lucky winners of any of the guitars/cases on offer today…

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UK’s Prog Magazine celebrates 40th anniversary of Pink Floyd’s The Wall

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available worldwide online (https://www.myfavouritemagazines.co.uk/Prog-Print-Back-Issues/prog-issue-105/?listtype=list searchparam=prog) is the new issue (issue 105, January 2020) of the UK’s Prog Magazine. Always a decent read, this month’s issue has three features in particular of interest to Pink Floyd fans. First, there’s a two-page look at Nick Mason’s Saucerful of Secrets, and in particular, the band’s UK and Ireland tour this year. With comments from Nick and guitarist Lee Harris, it finds the band missing the stage, and looking forward to being back on it in the spring when the dates resume. The main feature is a celebration of the 40th anniversary of Pink Floyd’s epic double album The Wall in a ten-page feature. They talked to Nick Mason, Bob Ezrin, Gerald Scarfe, and Bob Geldof about how the album evolved into a live extravaganza, a movie and how it pretty much broke the band. It’s a lively, and fascinating, look at this wide-ranging project. The Wall feature is followed by a two-page interview with the Floyd’s Creative Director Aubrey ‘Po’ Powell, and Andy Jackson, long-time collaborator with the band who mixed and produced much of the music on The Later Years. There’s also brand new and exclusive interviews with Jethro Tull, Gentle Giant, Marillion, Sons Of Apollo, The Flower Kings, Edison’s Children, Kaprekar’s Constant, Nightmare Scenario, The Blackheart Orchestra, American Tears, Field Music, Lee Abraham Music and more… Plus there’s the results of the 2019 Readers’ Poll (with Nick Mason in the top ten drummers, and the Saucers in the top ten event category), and a look at 50 years of the legendary Friars Aylesbury venue. And music from Oak, The Dave Foster Band, Stuckfish, Moonshot Band and more on the CD. If your local store doesn’t stock this magazine, you can get a copy, shipped anywhere in the world, through this direct link (https://www.myfavouritemagazines.co.uk/Prog-Print-Back-Issues/prog-issue-105/?listtype=list searchparam=prog).

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Roger Waters: The Dark Side Of The Moon Redux

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Time for another guest contribution: Adamo Prina, who has made a couple of contributions to the site in the past, has been considering the new Redux version of The Dark Side Of The Moon, by Roger Waters (https://www.brain-damage.co.uk/latest/roger-waters-the-dark-side-of-the-moon-redux-album-annou.html). As you will know by now, it’s a new take on the classic, not a cover, or a re-recording, but Waters as a 79-year-old mulling over the themes and ideas within the 1973 classic, and realising that much of it holds true today, some 50 years later. Adamo has done his own mulling over of the album, and shares his thoughts below. Our thanks to him, and of course we always welcome contributions from any of you who wish to add their views or analysis of things – if you want to do so, please contact us through the normal address (matt@brain-damage.co.uk). The Prism Glass of an Aged Man’s Memories During the recording of The Dark Side of The Moon in 1972/73, Roger Waters came up with the idea of interviewing the studio staff using flash cards. Some were trivial questions, like “What’s your favourite colour?”, while others probed deeper into the album’s themes, such as “Are you afraid of death?” or “When was the last time you were violent?”. Waters aimed to elicit spontaneous and non-preconceived responses, and integrate them as sound elements in the recording, alongside heartbeats, ticking clocks, and jingling coins. In certain tracks, the voice is clearly audible, such as the words that mark the opening of The Great Gig in the Sky: “I am not frightened of dying, any time will do, I don’t mind. Why should I be frightened of dying? There’s no reason for it, you’ve got to go sometime”. In others, the voices overlap chaotically, as happens at the end of Money, where all answers to the question “were you right the last time you were violent?” blend into an indistinct chatter of mingled voices. Often, these voices are crucial to the musical dynamics, like the words “I’ve been mad for fucking years – absolutely years” that open the album, or the laughter interspersed in the song Eclipse. Though this method might seem marginal, it is indicative of how Waters approached a music album: not just a collection of songs but a cohesive piece, both thematically and musically. With his interviews, Waters wasn’t merely seeking answers but also unifying elements and textures, sounds, and voices to bridge the gaps between songs or to inject unforeseen pathos or evocative content. Consider the words whispered at the album’s end by Gerry O’Driscoll, the doorman at Abbey Road Studios in 1973: “there is no dark side in the moon, really. As a matter of fact, it’s all dark. The only thing that makes it look light is the sun.” When I played the new “REDUX” version, my curiosity led me to immediately drop the needle on the record’s end to see how that iconic voice was replicated. To my surprise, the voice was missing. In his place was Roger Waters responding directly: “I’ll tell you one thing, Jerry, me old mucker. It’s not all dark, is it?”.

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