Mikaela Davis w. Julianna Riolino

Every universe begins with a singular point, a quiet corner where instinct speaks loudest, where existential imagination can stretch its limbs. For acclaimed harpist and songwriter Mikaela Davis new album, Graceland Way (due TK via Kill Rock Stars), that singularity was a hillside home in Chevy Chase Canyon, a spot nestled in Los Angeles County where time slowed, the world fell away, and Davis could create from a sense of warmth and deep attentiveness. The canyon country epic born of that care ties a neo-western future back to the lineage of Laurel Canyon, the mythos of Elviss Graceland, and Paul Simons restless reinventiona place where Davis can explore the fragile balance of light and dark, grace and struggle, rose and thorn, as well as the mystical power found at their nexus. The records musical big bang originated at the nexus of UHF Studio, where Davis and noted guitarist John Lee Shannon, co-wrote the record and co-produced alongside longtime collaborator Dan Horne. As the albums story of an unnamed antihero navigating life in a failing world, her harp, his guitar, and their joint melodies weave a mystic depth. Thats immediately evident from the opening track (Looking Through) Rose Colored Glasses, a harp glissando burst functioning like a blissful wormhole to a new universe where dark Western tones come aided by Kurt G. Johnsons pedal steel guitar and transformative harmonies from guest vocalists Madison Cunningham and Tim Heidecker. But even in this pained origin story, Davis glittering, opalescent voice and evocative harp find a depth of beauty.That duality is then immediately challenged in Nothins On The Radio, where the antihero arrives in a city devoid of meaning, the dystopia of modern homogenized radio writ large. It already feels dystopic living in a world today where radio stations are all owned by a handful of corporations, all playing the same artists. Gone are the days when the radio was a way to bring people together, to amplify the voices of fre