We Speak Indie Artist
The Open Wild Share A Moment Of Honest Release With Their New Single “Escape”
The Open Wild’s latest single “Escape” arrives with a refreshing sense of openness, the kind that feels less like a polished performance and more like a real conversation put to music. The London four-piece lean into their strengths here, but they do so with a looseness and natural flow that gives the track its own calm confidence.
The piano sets the tone first, gentle and steady, almost like someone taking a deep breath before speaking. It creates a space that feels safe and reflective rather than dramatic. As the song settles in, the strings begin to bloom around it. Elliot Corner’s viola and violin glide through the arrangement with ease, and Melody Lin’s cello adds a grounding warmth that keeps everything connected. Nothing feels crowded or overly arranged. Instead, the music stretches out comfortably, giving each part room to glow for a moment before blending back into the whole.
Rachel Everall approaches the vocals with a grounded presence. Her delivery is clear and unforced, carrying an emotional weight without slipping into intensity for its own sake. She sounds like someone choosing honesty over theatrics, which fits the spirit of the track perfectly.
What sets “Escape” apart is how simply it carries its message. The band created the song during a difficult period marked by mental health struggles, yet the track never feels heavy-handed. It feels like a gentle check-in, a reminder that acknowledging a hard moment is often the first step toward moving through it.
There is a quiet reassurance built into the fabric of “Escape.” The Open Wild are not rushing toward resolution, and they are not trying to transform pain into something grand. Instead, they offer a piece of music that sits with the listener patiently, like a friend who shows up, takes a seat beside you and stays until the room feels a little lighter.
We Speak Indie Artist
Plain Mister Smith Pieces Together a World of Sound on Bric-À-Brac Attack
Plain Mister Smith returns with Bric-À-Brac Attack, a beautifully offbeat collection of indie-folk, pop and atmospheric songwriting. Released via Amelia Records, the album finds the Vancouver and London-based multi-hyphenate turning fragments of memory, relationships and everyday absurdity into something quietly cinematic.
At its centre is “Grindavik”, a shimmering, reflective track inspired by the Icelandic town shaped by recent volcanic activity. Bright acoustic guitars and steady drums carry a constantly shifting chord progression, mirroring the song’s central metaphor of a relationship under pressure and the hope that its fissures can eventually heal. Featuring Jordan Klassen and Kitt, the track captures the emotional tension that runs throughout the album.
Elsewhere, Bric-À-Brac Attack moves effortlessly between playful guitar-driven moments, lush arrangements and more introspective passages. “Miss Sunshine” brings infectious energy, while collaborations with Findlay Brown, Leeroy Stagger, Krystle Dos Santos and Tyson Mostenbocher add colour to an already eclectic record.
Former guitarist of Canadian darkwave band Moev and a cellist with the Vancouver Philharmonic Orchestra, Plain Mister Smith brings an unusually broad musical perspective to his songwriting. Yet Bric-a-Brac attack never feels overly calculated. Instead, it has the charm of something discovered rather than constructed.
Warm, strange, melodic and emotionally searching, Bric-À-Brac Attack is a record that rewards getting lost in its details. Plain Mister Smith may remain deliberately mysterious, but the music itself speaks with remarkable clarity.
Photo credit: Sandra Lockwood
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