After an impressive 2010s run of albums that earned him a devoted fanbase, accolades from outlets like The New York Times, Fresh Air, and Pitchfork, and a place in the upper echelon of modern Americana singer-songwriters, John Moreland has already taken two unexpected turns this decade, both of which highlight his fierce artistic independence. First, he released a brilliant and sonically layered folk-electronica meditation on modern alienation, 2022’s Birds In The Ceiling, that took some of his fans by surprise. Then, after wrapping up a difficult tour behind that record in November 2022, he stopped working entirely. He took an entire year off from playing shows and didn’t use a smartphone for 6 months. “At the end of that year, I was just like ‘Nobody call me’. I needed to not do anything for a while and just process,” Moreland says. After nearly a decade in the limelight, constantly jostled by the expectations of his audience, the music industry, and anonymous strangers online, he carved out some time to rest, heal, and reflect for the first time.

The result of that unplugged year at home is 2024’s Visitor, a folk-rock record that is intimate, immediate, deeply thoughtful, and catchy as hell. Moreland recorded the album at his home in Bixby, Oklahoma, in only ten days, playing nearly every instrument himself (his wife Pearl Rachinsky sang on one song, and his longtime collaborator John Calvin Abney contributed a guitar solo), as well as engineering and mixing the album. “Simplicity and immediacy felt very important to the process,” he says.

This is a return to the approach Moreland took on his breakthrough albums, 2013’s In The Throes and 2015’s High On Tulsa Heat, both of which were largely self-recorded at home with a small cadre of additional musicians. Echoes of these early albums can be heard on Visitor (Moreland makes a passing reference to In The Throes’ opening track “I Need You To Tell Me Who I Am” in two different songs on Visitor), which finds Moreland shutting out the noisy world outside, and the even noisier digital world in his pocket, to reconnect with a muse that’s had to increasingly compete for his attention in the intervening years. Visitor charts his journey back to this muse. If Birds In The Ceiling’s theme was alienation, Visitor’s theme is un-alienation.

Tulsa, Oklahoma songwriter Ramsey Thornton is just getting started. His introspective and conversational lyricism mark his welcome to the burgeoning songwriter renaissance. An immediate and gentle warmth in his voice propelled his cover of Paul Simon’s “Graceland” to Spotify’s playlist Bluegrass Covers.

 However, it is not only in the lyrics, where Ramsey says he “takes note of the overheard,” but in the intricate compositions that accompany them. “Fingerpicking banjo and guitar is central to all of my songs. I pay close attention to rhythmic intricacy,” he said of the music he writes to induce the words. Adding, “Most of the time a guitar or banjo part will come first.” 

 His introduction to music began at an early age with the drums, and he became a multi-instrumentalist in his late teens. At 26 years-old, Ramsey has been writing songs now for a few years, releasing his self-titled EP in 2022. With influences from Nick Drake to Neil Young and Paul Simon, Thornton’s style is decorated with a fun and earnest spirit, turning even the everyday into a touching, beautiful experience. 

 “I often use songwriting as a tool to draw out subconscious thoughts—helps me sort out the things heavy on my mind, even if they’re hanging out in the background,” he said about the songs he writes. Currently his debut EP and some choice covers are available for streaming everywhere. Ramsey signed to La Honda Records in July 2024 with promises of new music.