Brigid Mae Power’s latest release, Songs for You, is a heartfelt collection of cover songs dedicated to her father. This album features her unique interpretations of tracks written by legendary artists like Roy Orbison, Tom Verlaine, Neil Young, and Cass McCombs, among others.

With a minimalist yet emotionally resonant sound, Songs for You offers a fresh take on these timeless songs while remaining deeply personal. Brigid Mae Power’s ethereal vocals and atmospheric arrangements bring a sense of nostalgia, reflection, and heartfelt tribute, making this album a powerful bridge between memory and music.

While many of the songs are performed solo, Brigid is joined by Ryan Jewell on drums and Shahzad Ismaily on bass, with Brigid herself playing vocals, guitar, electric guitar, organ, and accordion. Tracks 1, 3, 4, 7, and 8 were recorded at Analogue Catalogue by Julie McLarnon, while tracks 2, 5, 6, and 9 were recorded at home. The album was expertly mixed by Sean McErlaine and mastered by Brian Pyle.

Bill MacKay and Drag City are delirious with pride to announce the discovery of a new territory: Locust Land, a record which seeks to reflect the nerve-shredding consciousnessrun amok in our world today — and somehow allay it with sound. Bill’s music is a visceral crackling where it meets the air, and Locust Land can’t help but reflect its era more than any other in his discography.

It’s been five years since the release of Fountain Fire — but in the interim, Bill has barely stopped moving, collaborating with artists across the spectrum, including cellist Katinka Kleijn, banjo player Nathan Bowles and keyboardist Cooper Crain. He’s also contributed
to recordings by Steve Gunn, Ryley Walker, Bill Callahan & Bonnie Prince Billy (Blind Date Party), and Black Duck (on their self-titled record featuring Douglas McCombs and Charles Rumback). Forget five years — how’d he even get Locust Land squeezed out of his temporal lobes?

Bill’s sense of music as art is constantly modulating — lifting off from where it is found and naturally migrating to some other place. Sometimes, that’s elsewhere — others, it’s simply to be found deeper inside the starting point. And so, the action of moving on informs the landscape of Locust Land. This manifests in several different ways.

A restless energy and urgency is repeatedly felt — in the driving momentum of “Keeping in Time,” “Glow Drift,” and “When I Was Here” — while a dogged persistence radiates from the tone colors and percussion of “Oh, Pearl.” Mating a dirge-like desolation with sparkling
guitars, “Radiator” adds darkness and depth. The sense of searching, displacement and longing in vocal tracks “Keeping in Time,”