New Music Now 005
Jeremy Glazier with Chelsey Coy and Gary Knight of Single Girl Married Girl
by Ian Koss
We have an earthy, folky, and sometimes fuzzy show for you on New Music Now. Ink 19’s Jeremy Glazier talks with the real-life partners behind Single Girl Married Girl, Chelsey Coy and Gary Knight, about the tracks and the artists that they are loving right now.
Listen in for new music from soulful country artist Riddy Arman’s self-titled debut, some new tracks from Son of the Hills by Ben Greenberg, beautiful tunes from Norwegian folk duo Kings of Convenience, returning from a 12-year hiatus with an album of anti-love songs called Peace or Love, and a sweet set from our guests Chelsey Coy and Gary Knight off of their new album Three Generations of Leaving, with their band Single Girl Married Girl.
Stream New Music Now for a veritable happy hour of music to make you feel good (even right now) and subscribe with your podcast platform of choice at Anchor FM. Find the songs featured in this episode at New Music Now 05 on Spotify.
We’d like to thank Jeremy, Chelsey, and Gary for sharing their conversation with us, and thank you for listening!
This episode was produced by Frank Dreyer, Ian Koss, Rose Petralia, and Gregory Schaefer. Our theme music was composed by Avi Bortnick—check him out online at avibortnick.com.
[00:00:00] Gregory: Hey, everyone. Welcome to New Music Now, an Ink 19 podcast, I’m Gregory Schaefer, your answer to the questions that you haven’t even asked yet. We have an earthy, folky, sometimes fuzzy, and ever lovely show for you today. Ink 19’s Jeremy Glazier talks with the real-life partners behind Single Girl Married Girl. Listen on to hear Chelsey Coy and Gary Knight talk about the tracks and the artists that they are loving right now.
[00:00:41] Gregory: Keep on listening for new music from soulful country artist Riddy Arman, New York folk favorite Ben Greenberg, Norwegian folk duo Kings of Convenience… man, that’s a lot of folk! And our guests, Chelsey Coy and Gary Knight of Americana folk band Single Girl Married Girl, who will share a couple songs from their third album, Three Generations of Leaving.
[00:01:02] Gregory: Be sure to follow us at ink19.com, where you will get updates on this show and other Ink 19 podcasts. All right, here’s New Music Now with Jeremy Glazier.
[00:01:13] Jeremy: Hello. My name is Jeremy Glazier and I am a staff writer for Ink 19. I also do a lot of concert photography and have my own podcast where I talk to a lot of musicians and artists.
[00:01:37] Chelsey: I’m Chelsey Coy, singer/songwriter, and the front woman of Americana folk band, Single Girl Married Girl.
[00:01:44] Gary: I am Gary Knight. I am this woman’s husband. I am the co-founder and primary lyricist in Single Girl Married Girl, our band.
[00:01:51] Jeremy: Okay. So the album that I chose is the self-titled first album by Riddy Arman. Riddy is the newest talent at La Honda records, and that is also home to country superstars, uh like Colter Wall, Vincent Neil Emerson, and The Local Honeys, so she fits in very well with that group of musicians. Um, I really find her songwriting to be really sincere, not overly flashy.
[00:02:16] Jeremy: Uh, but when you listen to the complete album, you can tell she’s really got something special that will continue to develop with each subsequent album.
[00:02:24] Chelsey: Thank you for introducing her to us. This is the first time I had heard her music, so I appreciate it. I’m excited to dig into more of her discography.
[00:02:33] Gary: I think she’s a, really great writer. Even this at this stage in her career. I think it’s really easy to screw up the genre and kind of, rely on tropes and, um, but she sounds very authentic and she’s got a great voice and a really good sense of melody. So I’m excited to see what she does.
[00:02:51] Jeremy: Okay. So for the first track, I chose “Problems of My Own.” Um, this track and actually the next one are both kind of towards the end of the album. And I kind of purposefully chose those because, heh huh, they seem to get better as the album goes on.
“Problems of My Own”
[00:03:51] Jeremy: Um, so yeah, that was “Problems of My Own.” And, um, at an in-store that she recently did uh at Vinyl Cup records in Des Moines, she says, uh, the emotions behind that are true, but the rest is just obviously good story. Good, good songwriting about her leaving Ohio. And that’s the part that’s true. And I’m going out to be a ranch hand actually, which she is a real ranch hand in Montana. Um, and she’s slowly working on trading that for the music career.
[00:04:17] Jeremy: The reason I really liked that song is it’s got some great vocal lines and I feel like it’s a real good representation of her skill, um, which I can’t wait to see what’s on the next album, which is in the works. And another thing, um, that I really like is that really is her playing guitar as well. So it’s super subtle, but what she’s doing is actually pretty intensive as far as, uh, guitar playing goes, but she just makes it sound so smooth. So I that’s why I really enjoy what she does.
[00:04:45] Gary: Yeah, I think she pulls off a neat trick of playing a very serious, stirring song, but there’s a great melodic sense to it. Um, it’s a simple song, but you’re always. Uh, intrigued and it made me think of Bruce Springsteen’s Nebraska, makes me think of Townes Van Zandt. Um, I think what really sets her apart, aside from her, her voice, which is just terrific, I mean, it’s like borderline gravelly, um, is her writing. When she says problems of my own, just, it’s very thoughtful, this, this idea that, you know, usually people are trying to leave problems, but she’s resigned to the fact that she’s probably never going to escape problems and she just wants to go have her own. I think that’s just a really neat lyric trick. And that’s the kind of thoughtful lyricism that when it’s done in, in this kind of setting with this like dusty, old-sounding recording, It’s magical. So, beautiful song.
[00:05:40] Chelsey: Yeah, a’ and production-wise, it was pretty refreshing to hear just a vocal and a guitar throughout, because that doesn’t really happen these days. There’s at least like, you know, something in the mix with vocal and guitar, but I always say like, if a song is good, That’s all you need, right? And this song is definitely captivating throughout, um, and her voice is incredible. And I did love the, the vocal lines. Melody is one of my favorite things about songwriting and I loved this melody. It was very simple, but beautiful.
[00:06:14] Gary: Yeah. I think it takes guts to have a speaking part. To go from…
[00:06:17] Jeremy: Yeah.
[00:06:18] Gary: …singing to speaking, ‘mean that, shows some real command ‘
[00:06:21] Jeremy: Especially to do it well.
[00:06:23] Gary: Yes. Agreed.
[00:06:25] Jeremy: So, um, this song is, uh, based on a true story. Uh, she said that she was talking to a friend about an ex and he just said that line kind of offhandedly. And she started writing the song “Too Late to Write a Love Song.” I think it really highlights her voice about as well as anything that she does on the album.
“Too Late to Write a Love Song”
[00:07:33] Chelsey: Yeah. Um, I really liked this song. It was super catchy. I loved the production. It was kind of like, to me felt like ’60s country rock. I loved it. I love her voice. I’m I’m a fan. I’m going to listen to more.
[00:07:48] Gary: I think it’s a great hook. It’s the song really relies on that chorus. It really like the chorus really makes the song. And I, I agree. I, it made me think of Phil Spector girl group recordings. I thought about Mazzy Star a little bit. And oddly enough, I thought I was thinking of Elvis covering the song at one of his Vegas shows. Um, but again, it’s very unpretentious lyrics, but just thoughtfully done and very tuneful in a subtle way as well. and the production really just really great, kind of dirty country like trashcan drums, like I wanted to jump in my non-existent El Camino and ride out to Taos or something. Just great stuff.
[00:08:32] Jeremy: Can’t go wrong with a good El Camino.
[00:08:34] Chelsey: Riding to Taos.
[00:08:36] Jeremy: Okay, great. I’m really glad that you guys liked Riddy. Let’s check out what Chelsey chose.
[00:08:41] Chelsey: So I purposely chose my friend’s new album called Son of the Hills by Ben Greenberg. Um, I love the production on this album and it’s just very earthy and folky and his voice is, is beautiful throughout, um, and his guitar work is very reminiscent of James Taylor. Um, someone I love and am influenced by and Ben actually plays with us in our LA lineup. So.
[00:09:12] Gary: I don’t typically go for James Taylor, but I, I love Ben, um, his style. Uh, I think he, he makes me actually enjoy this style of music. It’s kind of like, cool James Taylor or cool Dan Fogelberg or cool Kenny Loggins. I kind of liken his music to a warm hug, he just has a beautiful voice, a great sense of melody. He’s a very good guitar player. It’s more about the songs and his, the warmth he projects. um, just a wonderful human. I love, I just love him.
[00:09:42] Jeremy: Yeah, I hadn’t really heard of him before you guys kind of introduced me to his stuff, but I kind of dug in this afternoon and listened to quite a bit of it and I really enjoyed it. Just the singing, guitar playing together was incredible.
[00:09:55] Chelsey: So the first track I chose off this album is called “The River,” and I just It’s great when the electric guitar comes in, and it lifts off into the chorus.
[00:10:05] Chelsey: That guitar work is such an earworm. It’s just like dur ne nur nur. I love it. It just keeps playing on repeat in my head, but I feel like this song is just a wonderful folk rock song and it’s chill. And again, the James Taylor vibes come out in Ben and, um, our friend actually produced this album. Uh, Jordan Ruiz, and yeah, I just love how it builds and all th’ different instrumentation that comes in throughout.
[00:11:29] Jeremy: Yeah, that was really an incredible track. Um, I really liked that the repeating, um, guitar riff that goes through the whole thing kind of drives it. And, uh, it seems like when I was listening to this today, I was like, man, he must have like, just took every instrument he could get his hands on and threw it in there, but it’s so subtle and so cool that it’s not like… I could see how that would possibly be a distraction maybe with other artists or with other songs. But in that it’s just like, oh, now there’s an upright bass. Oh, now there’s some funky fuzzy guitar. I’was just so cool.
[00:12:02] Gary: I think that’s what sets him apart for one, his ability to arrange songs and the production. There’s kind of an indie folk vibe that’s kind of balancing out that ’70s singer-songwriter sensibility, um, which makes it seem cool. That’s why I call him like cool Dan Fogelberg. I love him as a lyricist too. I mean, just listening to the lyrics of the song, I trust him as a person. Um, I think what he’s saying to this person who he’s singing to is, I hate to say the word practical when I’m talking about a song I like, but he’s not overly poetic. He’s not promising anything. He’s not making these grand pronouncements or falling all over himself to show someone how much he loves them. This is a song that’s grounded in a realistic outlook to life, “The River” elevates it so that it’s worthy of being in a song, but it’s just very unpretentious and thoughtful and very melodic, too, very tuneful.
[00:12:55] Chelsey: The next track I chose by Ben Greenberg is called “Northern Pines,” and I’m yet again with, with this entire album, it’s just beautiful.
[00:13:58] Chelsey: So I just feel incredibly lucky to have such talented friends and Ben is one of them and um, but this song in particular, I know he’s from Northern California and I know that he loves nature and loves hiking and he moved to LA and he loves it here too, but this song just paints that picture of Northern California for me. And like, you know, getting out into nature and, every time I’ve seen him perform it, it’s such a sing along-able chorus. It’s just like, Yeah! I need to like light a match and wave it around. But, um, yeah, that’s why I chose this song because I love that melody. So great. Oh, and banjo and pedal steel. I, any song with banjo and pedal steel, I’m all for.
[00:14:45] Gary: Yeah. Another wonderful arrangement. Um, another great melody, really subtle chorus that kind of sneaks up on you and stays with you. And I d’ I decided today we’ve been talking about going up north to what’s that what’s the big National Park in California?
[00:14:57] Chelsey: Yosemite.
[00:14:58] Gary: Yosemite! This is going to be our theme song, or this is going to be the song that we listen to in the car, going up there. Um, this, just makes me want to drive up to Yosemite and be amongst nature and, and beauty. It’s a beautiful song. Really just love it.
[00:15:13] Jeremy: Yeah, I really enjoyed those, um, those vocals. They’re incredible. His production value on this, well, all the songs I listened to is insane, but yeah, just like you said, those, the pedal steel, the little banjo pieces in there. I mean, they’re just, just gorgeous.
[00:15:28] Jeremy: I don’t know if you guys are familiar with The Mother Hips?
[00:15:34] Gary: Mmm’mm.
[00:15:34] Chelsey: I’ve heard of them.
[00:15:34] Jeremy: There they’re out of Chino. And, uh, like if you listen to Shootout and then play this album. Oh man. It’s like, it’s like part two. It’s crazy. Yeah. You’ll have to check it out.
[00:15:47] Chelsey: All right.
[00:15:48] Gary: Mother Hips. Cool.
Kings of Convenience
[00:15:49] Gregory: Hey everyone. It’s Gregory Schaefer here again from Ink 19 magazine. If you were just joining us, we have Jeremy Glazier with Chelsey Coy and Gary Knight of Single Girl Married Girl, talking about the new music that they’ve been loving lately. We also heard some new songs from new talent Riddy Arman’s self-titled album and Chelsey’s plaintive favorites from Ben Greenberg’s Son of the Hills… whoo, that banjo! Stick with us for tracks from Peace or Love, the fourth studio album from Norwegian folk duo Kings of Convenience coming up next on New Music Now, an Ink 19 podcast.
[00:16:36] Jeremy: Okay. Welcome back. Now let’s hear from Gary’s picks.
[00:16:42] Gary: I chose one of my favorite artists of all time, Kings of Convenience. Uh, I chose them because they miraculously put out a new record last year in the summer. It was their first album in 12 years. They are a, a Norwegian indie folk pop duo, formed by, Erlend Øye and Eirik Glambek Bøe. A lot of people know Erlend from his, his other band, which is called The Whitest Boy Alive.
[00:17:07] Gary: Um, they’re a very popular electronic kind of dance-oriented group, whereas Kings of Convenience are much more so in the folk and almost easy listening spectrum, but, they’re known for writing really delicate songs with these softly harmonized voices, male voices, a lot of intricate guitar work.
[00:17:28] Gary: Um, but mostly they are exceptional songwriters, uh, and a lot of their songs are characterized by these melancholic verses, and then I want to say uplifting, but just really memorable choruses. They’re just, they’re excellent songwriters, with beautiful voices and, just lovely. They’re a lovely, lovely band.
[00:17:47] Jeremy: Yeah, I really enjoyed the guitar work, you know, using those classical instruments, those classical guitars. And, uh, I’m sure they do get the Simon and Garfunkel comparison a lot, but, uh, it was Simon and Garfunkel to a different level.
[00:18:00] Chelsey: Yeah, these, these guys have been favorites of ours for many, many years. Um, over the course of our relationship. I think Gary introduced me to them actually, many years ago. And I’m so excited they have a new album out that we can dance around our house to.
[00:18:16] Gary: I want to point out too, that they also helped introduce Feist to the world just before her second album, Let It Die came out. She appeared on two songs on their second record. And that’s how I found out about Feist whose album Let It Die was still like, I think like a year away from being released. And, here in the States, I had to order it from a record store in Paris I remember. I was so taken by her voice on all of these songs.
[00:18:38] Gary: The first song I selected is called “Rocky Trail.” It was, it’s the single from the album and I chose it because it’s very emblematic of what they do really well. There are some bossa nova vibes. Um, there’s a violin or viola. Providing this very catchy lead line. Um, there’s a lot of propulsive dual finger picked nylon slash steel string guitar work, um, some light percussion and those beautiful soft male vocal harmonies that I just, I love.
[00:19:08] Gary: Who doesn’t want to dance, listening to that. With their partner, who doesn’t want to get up and do a little shimmy.
[00:20:05] Chelsey: Yeah, that’s like Gary said, quintessential Kings of Convenience, and it’s definitely a fun dancey tune. And it’s so much so that I was like, wait, isn’t this a song off their last album. Like, it sounds very similar to another song off their previous album, but, um, It’s still beautiful and I want to dance to it.
[00:20:27] Gary: It is almost approaching parody for them, but it’s, done so, it’s so good. It’s just so good.
[00:20:34] Jeremy: Yeah, I always kind of enjoy it when you listen to a song and you don’t really know like which decade it’s from. That could easily be from the ’60s or ’70s, you know? And, uh, it’s just, just really well done. I really enjoyed that song.
[00:20:47] Gary: The other track I chose from this album I chose because I think it demonstrates a lot of great contained feeling in their, in their music. This song doesn’t bowl you over with supreme musicianship or big arrangements. It’s a really simple, direct song. I almost feel like it’s a darkly funny song, where like the hook is, it’s called “Comb My Hair” because it kind of suggests in the wake of being left by his girlfriend or partner, whoever, that he’s not going to bother with hygiene because why bother, you know? And I think we’ve all been there, but then the song kind of goes through some of the stages of grief in a very subtle way. And I, Chelsey’s going to laugh, but the first few times I listened to this song, I thought it’s one thing to talk about a relationship, but I found myself projecting my own sort of dark fantasies onto the song. And I was crying the first few times I heard I was crying and she was laughing at me. And, um, it took, it took a few weeks for me to be able to listen to the song without tearing up. It was that effective or affecting to me.
“Comb My Hair”
[00:21:43] Jeremy: Yeah, I really enjoyed that one. It’s um, it’s interesting to me how that song is kind of, it feels like it’s upbeat, but then they throw in some of those minor notes in there and just the way the vocal lines go. And it’s really interesting. Normally I’m kind of boring when it comes to music. It’s either I like it all minor and depressing or major and happy sounding. That mixed everything together, and I really enjoyed the way they did that.
[00:23:05] Chelsey: Yeah.
[00:23:05] Chelsey: I feel like I have to clarify Gary’s earlier comment about me laughing at him for crying, but what you all don’t know is that he’s very emotional and he literally cries at, you know, commercials or so I was laughing because, oh, it’s just you crying again. But I understand because it is a beautiful song and it is very emotional and that heartache is almost palpable in it, and yeah, that repeated guitar pattern almost makes it even more so like, all right, we’re going to keep doing this over and over again. Kind of like, a relationship that won’t end. Like let’s just keep going through the motions. So, but yeah, it’s, it’s a beautiful song.
Single Girl Married Girl
[00:23:48] Jeremy: Okay. That was great. So let’s now hear from Gary and Chelsey who make up Single Girl Married Girl. Tell us a little bit about the band.
[00:23:57] Gary: Well, Chelsey is the main, is lead singer and primary songwriter. And I don’t play an instrument, but I do a lot of the writing. I write a lot of the lyrics for the songs. Three Generations of Leaving is our, is our newest album. Um, I think it’s our third. We started our band essentially on our first date back in 2006, but, here we are in 2022 and I think we’ve really, we’ve, everything’s kind of come together. We have, we have a tremendous band that’s based in new. Yeah. Um, and the album is our most substantive, melodic, and just thoughtful album yet.
[00:24:31] Gary: And it really feels like we’ve kind of arrived in some way. We, we found that while we were writing these songs, we were inspired a lot by Chelsey’s family, her grandmother, her mother, and her life. And we just found that song to song like it just spoke to a different generation or a different person, and so this notion of a concept record coalesced while we were writing. And we’ve really leaned into that with the artwork and with the title, obviously. Um, I think it’s, it’s a good hook to get people interested, but I’m more proud of just the music itself and our wonderful band and producer in New York who made all of this sound so good.
[00:25:09] Chelsey: Yeah. And we’ve, been very lucky with some great press and we were in the New York Times in November. Um, we’ve been reviewed by No Depression. We’ve been in Bluegrass Situation, American Songwriter. So it’s just been wonderful, such a blessing to…
[00:25:25] Gary: Yeah. After such a long time, like the doors starting to open for us, it’s a very exciting time.
[00:25:28] Jeremy: That’s wonderful. So what’s the first track that you chose for us?
[00:25:32] Chelsey: I’ve chosen “Wreck Cut Loose.” This track was written by our old drummer Dan Morosi, and once he left the band in 2016, I believe, this song kind of stuck with us, and we loved it ever since he showed it to us and, and it was always the like emotional showstopper where I could belt the shit out of it. And, um, do my like Patsy Cline, this is my, uh, torch song, and, yeah.
“Wreck Cut Loose”
[00:25:59] Chelsey: Yeah, so just a very dynamic song that gets super powerful at the end and those beautiful “ahs” that Shannon comes in and, and does at the climax of it. It’s just, yeah, I love it.
[00:27:07] Jeremy: Yeah, I really enjoyed that song. The vocals obviously were wonderful and I love the pacing of it. Um, how it’s so deliberate and then how you deliver that title. I mean, it kind of, you know, it just fits perfectly and, um, I could really hear a lot of the old country influences in there. Um, like I’m hearing a little bit of like Dolly Parton songs in there and some of that, you know, really classic country is, is really cool. I love the way you guys did that.
[00:27:35] Gary: I’ve loved this song since I heard it. Um, when Dan left the band, we stopped playing it, but I knew if we got to do another album, there was no way we were going to record this. And I, I reached out to him and I didn’t beg him, but I, I just told him how much I loved the song and he graciously supported us recording it. And I saw it as a gift to him which nobody in the outside world is going to know that, but one of the great things about being in a band is the relationships you form. And we love Dan, even though he’s not in a group anymore, and to be able to do one of his songs and hopefully do it well. and to have him love it was just a thing that, again, the outside world doesn’t see that, but that was a special thing for us to do. And it’s my favorite song on the album.
[00:28:13] Jeremy: Cool. Cool. What do you guys have up next for us?
[00:28:17] Gary: We have a song called “Scared to Move,” which I thought was going to be this odd ball, quirky outlier on the album, kind of in the middle of the record, but it’s really turned into the song that most people are talking about. It’s the song that the New York Times wrote about. And it’s, I think our, best recorded achievement. Everyone in the band contributed something to it. And it has harp on it, which we thought was a crazy idea and it just made the song. And we got so lucky that, uh, Mary Lattimore, who is this wonderful and renowned harpist, came into the studio and laid down these harp tracks that were just like, we were unworthy of it but that was the basis for the recording and it just turned out beautiful. We’re so, so, so proud of it. It’s one of our best songs.
“Scared to Move”
[00:29:04] Gary: There are a lot of songs in rock music, or just in music in general, sung by men, directed at women, where the song is then trying to sleep with a woman. And this song is the anti-version of that song. This is a song from a woman’s perspective done with sensitivity and thoughtfulness. It’s about a woman trying to make her new partner feel comfortable, before they are physically intimate. I don’t think people are gonna pick up on that, but that’s something I’m really proud of.
[00:30:27] Chelsey: Yeah, I wrote it on banjo and it was two songs and they were just sitting there going unused. Um, and our guitarist, Charlie, like insisted on doing these these songs because he loved them. So I’m glad that someone had the foresight to be like, let’s just put them together. but yeah, this song in particular is right in the middle of the album and it’s kind of like a dream sequence in an old musical to me. I just, I love that. Like you see people dancing in the middle of a, of a musical, um, and we just put out a music video for it, so.
[00:31:00] Jeremy: Yeah, that harp in there was really beautiful. And, uh, I was almost scared to move, just listening to it. You want to soak it all in, you know, and those elements like the guitar coming in, that’s just really, really beautiful. I love the way that whole thing came together.
[00:31:15] Chelsey: Thank you.
[00:31:16] Gary: Thank you.
[00:31:17] Chelsey: Thanks.
[00:31:18] Jeremy: All right. Uh, thank you guys for participating in New Music Now. Chelsey, where can we hear your music?
[00:31:25] Chelsey: Uh, you can stream it wherever you listen to music. Spotify, Apple, Bandcamp, um, it’s on all of the online platforms. And thanks so much for having us.
[00:31:35] Jeremy: Fantastic. And, uh, Gary, where can we find out more about the band?
[00:31:40] Gary: Our website, singlegirlmarriedgirl.com. Um, it is not a dating site, like a lot of people think, um, it’s a reference to a Carter Family song, which, I’m sure some of your bluegrass fans knew that right away, but from there you can go to all of our socials.
[00:31:53] Jeremy: Okay, that’s great. Well, my name is Jeremy Glazier. You can look up any of my photographs at Black Cat Bone productions on Instagram. It has been a pleasure to host this episode and thank you all for listening.
Greetings listeners. We’ve just heard some beautiful tunes from Kings of Convenience, returning from a 12-year hiatus. They’ve got a brand new, elegant album of anti-love songs called Peace or Love. We also heard a sweet, sweet set from our guests, Chelsey Coy and Gary Knight off of their new album Three Generations of Leaving, with their band Single Girl Married Girl. We hope you enjoyed our talk with Jeremy Glazier, Chelsey Coy and Gary Knight, plus new tunes from Riddy Arman’s self-titled debut, some new stuff from Son of the Hills by Ben Greenberg, and our last set, which featured Kings of Convenience and Single Girl Married Girl, all of that good stuff on New Music Now, a podcast from Ink 19. Find links to all of our social media, more Ink 19 podcasts, and many other items of interest at ink19.com.
We’d like to thank Jeremy, Chelsey, and Gary for sharing their conversation with us, and thank you for listening, not an easy job. Audio production and engineering by Frank Dreyer, Ian Koss, Jeremy Glazier, Rose Petralia, and Gregory Schaefer. Music by Avi Bortnick.
This has been your host Gregory Schaefer, and I bid you peace! Amour!
For more New Music Now, visit the podcast home page at https://anchor.fm/ink19-nmn