Splitsville #3 ft. Astronomers & Shagwüf

About Astronomers: Astronomers are a rock band from Charlottesville, Virginia. They write progressive pop songs with guitars and bass and drums and sweet melodies. They blend the dynamic, orchestral and epic with the toe-tapping and booty-shaking of dance-rock. Top it off with a heaping helping of a cerebral and celestially poetic theme. Garnish with some sing-along.

About Shagwüf: "Shagwüf isn't reinventing the wheel, just putting a cool spin on a tried and true concept.. Stylistically they are reminiscent of LA's 'X', with a little nod to 'the Pixies' while leaning a little more towards the punk end of the hard rock spectrum with just the right amount of hard blues and psychedelia to invoke early metal pioneers like 'Black Sabbath', all wrapped up in a slightly twangy, swampy package that is sure to keep your head banging. Sally Rose steps out of her role as Charlottesville's Folk Rock Princess and straps on a bass to lend the driving low end of the band, along with her sultry vocals and song writing prowess. Sweet Pete Stallings (Lost Indian, Sally Rose Band, Secret Ninja) lends his quirky songwriting chops along with his signature riffy guitar style. The two of them provide the vocals for the band, and anyone who has seen the Sally Rose Band knows these two sing well together. Drummer Pablo Oliveri (Pablo & the Dregs, The Murder Bros, Book of Kills, The Findells) attacks the drums like a man on a mission while still finding time to be one of the most tasteful players in the area. Pablo is always a solid part of whatever band he is in, and he is the perfect drummer for this project. The band has found early success due to their solid musicianship, musical reputation. Their debut EP 'Heavy Petting' is infectious. Although it's hard to pick from an EP full of great tunes, highlights include 'Swamp D' and the slinky rocker 'Cassolette'. This band isn't reinventing rock, just keeping it cool!"
~ Bill Howard (The Judy Chops)

About The Secret Storm: At first listen, The Secret Storm seems to contain multitudes. The music itself seesaws between airtight pop melodies and a kind of brooding Americana—a landscape where winsome string sections sections and plaintive piano chords move easily alongside narratives about doomed romance and obsessive, occasionally all-encompassing, love. The music is both honest, sexy and, at various turns, both deeply intimate and amazingly huge-sounding. Lauren Hoffman—the singer, songwriter, and general force of nature behind The Secret Storm—has lived many musical lives. Her new musical nom de plume marks a sharp left turn in what has already been a remarkable career defined by unusual twist and turns. First signed to Virgin records back in 1997, Hoffman has gone on to release four full-length albums of knotty indie-pop before deciding to shift gears entirely and ultimately redefine herself as The Secret Storm.

“I found myself giving advice to a young musician and saying ‘Pick a name that is not your own name…and stick with it,” explains Hoffman. “As someone who has suffered from something of an identity crisis throughout my career, it struck me that it wasn’t too late to take my own advice. I’ve never felt good about recording under my own name. The ‘Lauren Hoffman’ that shows up on the credit card receipt at the grocery store and the ‘Lauren Hoffman’ who shows up on Spotify just felt like two very different things. I’ve also never really identified with ‘singer/songwriter’ as a genre, even though I am technically a singer and a songwriter. There is this folky connotation that never quite sat right with me. But the main reason for the change is that working under the name The Secret Storm creates this a psychological distinction between me as a person and the work itself. It’s liberating.”

The first tracks to emerge as The Secret Storm reflect Hoffman’s newfound sense of liberation. Recorded at Sound of Music studios with longtime co-producer John Morand, the new songs bear a kinship to Hoffman’s atmospheric 2006 effort, Choreography. Characterized by a crystalline clarity of vision and emotional directness, tracks like “Family Ghost” and “Til It Lasts” rank among the most sharply rendered songs Hoffman has ever recorded. The latter track – a rumination on love and loss—showcases Hoffman’s knack for writing songs that are, on first listen, deceptively breezy, with lyrics that turn on dime. “ You’d die for their love / or die of it “ she sings, backed up by a plaintive piano and subtle strings, “I keep hoping love will come fix me.” Elsewhere in the same song Hoffman cleverly elucidates another side effect of complicated contemporary relationships: “And I’m calloused from bodies colliding with mine.”

“I’ve taken a few different turns over the course of my career, for sure,” says Hoffman, “It feels like there is a through line from my first record (1997’s Megiddo) to Choreography to these songs that I’m working on as The Secret Storm. Some of the other records I made were more experimental, but this is much more what I feel is truly ‘me’. Actually, some of these songs are old.  After Choreography I had a batch of songs but I put them aside because I was so sick of hearing myself complain about being in love with a certain guy. However, they seem to fit in with the songs I have written more recently. I had put a band together in order to play songs from Choreography live and they are backing me up on these recordings too, so that’s another bridge between the Choreography vibe and the new songs. One of the reasons that I like the name The Secret Storm is that it represents this private emotional life we carry around inside of us. As a fairly rational, reasonable person, the way I talk about my life out loud to a casual friend is not necessarily the same way that my feelings might speak. Songwriting is this amazing place where you can let your feelings talk, you can express things that you have to keep hidden in your day to day life.”

Tapping into hidden emotional undercurrents seems to be a theme with The Secret Storm, but nowhere more so than on “In the Sun”—the first proper single. “So bright, so right, the way you shine, it burns me from the inside,” sings Hoffman, “Please don’t be done with me / I’m not finished with / The way you make me feel like I could live forever in the sun.” The song is equal parts celebration and warning, a treatise on the inner battle between desire and rationality. “It’s definitely about feelings you can’t control, “she explains, “Which is actually true of all feelings. We like to think we are in control, but maybe we never actually are.”

For Hoffman—an artist with a long and storied history of being swept along by the complicated and often mercurial nature of the music business—assuming control of her career, her music, and her name has proven to be a watershed experience. The Secret Storm will be an ongoing project in which songs are rolled out in small batches, each accompanied by their own specific visuals. She also assembled a band for The Secret Storm, which not only opens up the ways in which the songs can be played, but also alleviates some of the doldrums that come with touring as a solo act. The freedom to write and record of her own volition, to celebrate her own wily set of influences (“I probably have more in common with goths than other singer/songwriters,” she says, “My favorite band is The Cure.”), is something Hoffman has spent the better part of the last decade dreaming about.

“There were definitely times when I wanted to be done with the music business,” she says, “Times when the business of music became so frustrating, so divorced from the artistic process and such a popularity contest, that I would lose touch with my inspiration. And without that - If the songs don’t come, if I feel cut off from inspiration - what’s the point? But what does give me energy is genuine connection. A couple of years ago I discovered that people – young girls mostly – are tweeting my lyrics from “Broken”, like every day. (“You’re a little bit damaged/I’m a sucker for that”). Knowing that my music has gone out into the world and connected, that my music is the soundtrack to someone’s private life – in their bedroom, their car, their earbuds – that is profoundly gratifying.”

For Hoffman, The Secret Storm represents a full-circle creative moment. By creating a project outside of her own name, she has created the kind of musical vehicle capable of channeling and containing all of her influences: from gloomy post-punk to buzzing grunge era alt-rock to quiet, acoustic-driven folk. The Secret Storm offers a vessel in which all of these aesthetics somehow make sense, in which Hoffman’s narratives of love and light and loss make their own very particular and truly wonderful kind of sense.