Katie Buchanan

From the opening track that opens warm like a flower in the morning sun “Honey, Don’t” has the power to draw a listener into a vacuum of colorful melody, structured intensely with brilliantly layered vocals and fuzzy guitars -- all supported by a scuffling drum beat. Katie Buchanan may have been around earlier – but here, Katie Buchanan has arrived.

This has folk-Americana-country wrapped tight in the tradition of pure rock. It almost sounds like a reversal. Rock is usually the descendent of country, blues, folk and roots. But this has elements that suggest what would have been had her kind of music come first. You could just about pick out the influences like whiskers on a man's chin.

This music taken as a whole is like putting oil in vinegar: the music stays separated until it's mixed up to the delight of the diversified and disciplined ear. This album's music has been shaken and it's fizzling and sizzling -- stand back.

“Glow In the Dark” imitates a spare, slender approach but it’s not spare at all. It unravels like an informal folk-rock bolero as various instruments are added slowly to build not only momentum but excitement. Again, Katie uses a scuffling drum – surrounds it with a myirad of crunchy guitar notes and her angelic voice is generously dipped in the sweetest sins she can afford. It makes this effort enthusiastically refreshing. You can pour stuff like this on me anytime.

It’s these under the radar artists like Katie Buchanan that renew my belief that in the right hands rock is not dead so long as it’s presented on a plate of spicy true blues tradition with just the right garnish of folk, roots, country and yes -- a little electronica. The Americana will follow and it will embellish it beautifully.

“Gold,” is mixed in a manner that the musicians (I’m laughing to myself because according to the credits, except for “Who You Were Before,” where Joe Gerst, Jr. lays down some pedal steel, all the instrumentation is played by Katie herself, all, as in everything. If she is playing it all on keyboards that’s fine. She still had to envision it all before playing it, right?) As I was saying, the "musicians" -- are mixed in the shadows and Katie's sexy vocal with a disciplined aim dances around the instrumentation like a whirling dervish. The vocal style here is impeccable. Katie has a wonderful way of sustaining notes, pronouncing certain words, pacing herself and making this all quite an original musical birth. I usually don’t care much for electronics in music but Katie has found a way to balance it, use it as a musical instrument and not a tech tool. She's like a chef who could make liver and onions flavorful.


The next track is more commercial and less experimental. “Why You Leave A Heart,” is hummable, catchy and has a smooth “oh, uh, uh, oh…” hook that is resounding. It’s a driving tune, typical of the very best singles that were produced in the 1960’s and made the top ten consistently. Played and played until they became part of your youth and the umbilical chord to your era. This has a bit of Taylor Swift sweetness, but under the surface there's that tough-girl attitude as developed by the classic Mary Weiss -- lead singer of the legendary Shangri Las. A bunch of girls who knew angst, sadness, and also could throw an upper cut.

The song segues seamlessly into track five -- “Anchor,” with both what sounds like those old electronic LINN drums of decades ago and used by many, many new wave rockers. Yet, here – the inclusion of what sounds like real drums shoulders its way in slowly as well – a nice joining of skins so to speak. Again, there's the ghost of The Shangri-Las not influencing Katie so much as hovering over her like angels.

The song transcends old styling’s. The lyrics are poetic, the arrangement sullen, deep and tight. Katie’s vocals figure prominently. It’s sung with a subdued seriousness and Katie’s command of putting the inflection on just the right words elevates this song beyond a mere hit record. This could easily be reinterpreted by a jazz singer with just a grand piano, an upright bass and a small drum kit. This song could give you goose bumps. The power of it is in it's gentleness.


“Wish It On,” slows the pace down. Katie’s voice begins to suggest how good a middle-of-the-road pop singer Katie could be. The drama, tension and the essence is enticing. What would I do to make it even better? Except for the guitar parts, eliminate the electronics this time. Make room for a supporting warm saxophone, or trumpet. The melody aches for some instrumental with warmth. The electronics could come in to usher the song out at the end and add some further dimension and depth. The sincerity in Katie Buchanan’s voice toward the end is wrenching and the combination of the two would be the icing on the “Wish It On,” cake. As far as the electronics? They should act as the candles -- and the candles are usually removed before anyone samples the cake. That's my point.

“I Know,” has that tinny rockabilly style guitar lead simulating a bass guitar. It's jumpy like some old blues records from the 60’s and Katie’s voice is Dave Edmunds cool with a Patti Smith snarl. This song has the heart of The Stray Cats in a 1960 Corvette while Katie has chosen to take her dad’s 50’s refurbished hot rod with its modified V8 engine in it – and a Rat Fink toy on the dash. All leather and lace for certain. What am I talking about? Everyone eventually wants to try and capture a drop of the retro coolness that was the 50’s and early 60’s. This is Katie’s reach for the fuzzy dice. (She got them).


Katie puts the brakes on with “Once,” and this song also has the smell of a slow dance on the gym floor in 1958 in those black and white saddle Oxfords. But this is not retro. This is the same girl all these years later standing in the parking lot remembering. The little story she unfolds is poignant and despite being in 2015 – applicable in a big way. There is no shame in reminiscing. “I’m a patch work heart and I’m starting to fray….”

An absolutely brilliant lyric.

Track 9 has a guest appearance by pedal steel musician Joe Gerst, Jr. The song uses the electronics a little less sparingly and Katie’s voice is surrounded by warmer instruments. Oh, the electronics are there for effect, but their roles are like sprinkles on ice cream. The drums were mixed in that similar excellent style that Liberty Records used back in the 60's. Maybe it's coincidence and was never intended but that was the recollection it provided for me. I think Liberty's secret back then was in its high fidelity. Bobby Vee had it on the finale of "Walkin' With My Angel." Drums sounded full on those records. Totally lost on any remixes.

Katie has a "sister" in the spirit of this music with Christine Ohlman. Her "Deep End," which was recorded on Alternate Root TV -- performance available on YouTube and No Depression -- while not as experimental and challenging as Katie, they do seem perfect for each other.

Christine is more bluesy, acoustic and seasoned with the more harder side of the life this music transcends. But, give Katie a few years and even without a beehive hairdo and Raybans -- she will be at that level. Christine's "Love Makes You Do Stupid Things," is also so Katie. These two would be two lit matches next to a stream of gasoline. Forgive me for the comparison but I am thrilled when I segue these two women together. Their voices are so soulful coming from a rocky place.

The final track “Run,” starts out with that fuzz-toned guitar sound that is basically Katie’s signature sound for this LP – and she is in total control.

It’s never so big that you can’t appreciate the true artistry which is Katie’s vocals unstitching the lyrics from the fabric of the melody. In this particular song she has a Kurt Weill-Bertolt Brecht style going on. It's 50% Patti Smith and 50% Marianne Faithful vocally. But, the music is that strange and delightful carnival eerie "Mack the Knife" - "Three Penny Opera" atmosphere. This is an upbeat song that see-saws through emotions and the sound is reminiscent of a calliope.

Again, the layering of instruments and sound is a thrill ride controlled solely by one Katie Buchanan. As the song blossoms in your ears it leaves behind a little emotional rush -- Katie saved the best for last.

That’s the whole of “Glow.”

A thoroughly enjoyable collection all written, produced and performed by Katie Buchanan.

The copy of the CD package I have appears to have what appears to be 4-color black & white images. It doesn’t go into detail about where the material was recorded.

Originally from Kansas, Katie makes her home in New York City now. Though her music does have a little Midwestern sugar in it, her gene-splicing of that culture with her edgier metropolitan “Glow” inspiration has produced quite a remarkable presence in her music. The girl's got the goods -- and she is prolific.

The ten tracks on the album were mixed by Gio Lobato and mastered by Doug Schadt.

Photography was courtesy of Lexi Lambros. - No Depression

I recently had the pleasure of previewing singer/songwriter Katie Buchanan’s new EP, Go!.

This electic mix of emotionally energetic songs showcases her lovely, lush and bluesy voice to a T.

The collection opens with “Shake Down,” a rebellious, strum driven song with a solid rhythmic backbone that got my foot tappin’ from the get-go.

Another favorite of mine is the third track, “At Least I.” The well-crafted lyrics filled with cautious optimism are wrapped in a pop-influenced arrangement with a catchy hook. “If I can’t be clever, at least I’ll be bold.” Love that lyric!

Originally from Kansas, Buchanan explores a vein of subtle guitar pop steeped in Americana and heartbreak with Go!. She is a diligent professional, a skilled songwriter, and a direct artist—not to mention an expert guitarist.

Go came from the dramatic end of a childhood friendship. “When we’re young, we have these incredibly formative friendships that shape who we are as people,” Buchanan muses. “But they’re rarely given the weight when they fall apart.” Twenty years is a long time to know someone. Another connection to her home severed, Buchanan channeled her alienation into nuanced, striking songs. Go doesn’t stew in self-doubt, therapy or narcissism — like Buchanan, it just moves on.

Katie Buchanan’s Go! lays her heart bare in a set of tragically optimistic songs about moving on. Her whispery, powerful vocal delivery conjures up an entrancing and magical experience. - Guitar World

planting a formidable stake
in the future of folk-pop-rock
is katie buchanan-
a well traveled songbird
that deserves a prime spot
on your daily playlist.
breezy, beautiful, bold,
buchanan.
spin her new
lp
asap
and checkout standout track, 'gold'. - City of Tenants

In a striking move, the track opens with a thundering ambience, accompanied by Katie’s acoustic strumming and steady vocal. Before you have a chance to melt into its home-spun vibe, this deceptively sparse opening falls away and we find ourselves in the arms of a wide-open pop song equipped with a stuttering electronic beat and moody chorus.


Though “Honey, Don’t” is an exception with its rainy day atmosphere, Buchanan’s esthetic is usually steeped in sun soaked production nuances which border on alt-country; a genre that made a big impression on the songstress while growing up in Kansas. This crafty influence is subtly applied to Buchanan’s debut full-length, Glow which boasts an impressive knack for accessible ear candy, imbued with meaning and earnest sentiment. - The Vinyl District

Singer-songwriter Katie Buchanan has just unleashed a haunting, extremely well shot crime scene-inspired video for her single “Go” that brings an element of melodrama to the already-heartbreaking track. Set to appear on her upcoming EP of the same name, the song is said to have been inspired by a toxic friendship nearing its end, and the video offers a symbolic representation of this ending in the form of death. The video is a gorgeous interpretation of a song rooted in sheer sadness, and Buchanan’s dark, blues-inspired vocals - planted effortlessly on top of hollow percussion and a sparse, steady guitar arrangement - underscore this feeling. Watch the video below. Buchanan’s forthcoming EP is set to release on August 5th. - Jillian Dooley - The Deli Magazine

Kansas-born, New York-based Katie Buchanan isn't afraid to play her guitar from a place of cynicism. Her sonically sparse new EP Go officially comes out Tuesday, August 5th, and she's celebrating it with a pre-release party this Sunday, August 3rd, at the Rockwood Music Hall and a new video for the title track, directed by Nicolas Pesce. We spoke to Katie about how this new EP, sparked from the falling out of a longtime friendship, finds the light a midst the darkness of a toxic relationship. - The Village Voice

The Artist: Katie Buchanan
The Song: “Go,” from her upcoming EP
Fun Fact: Buchanan produced the EP herself, and used everyday household items for percussion.
Songwriter Says: ​​”I’m one of those songwriters who writes to understand things, rather than to make myself feel better. I’m more interested in single moments, in crawling inside them to figure out why they happen, what they mean, and where they go from here. Go’ was born inside the moment I realized a lifelong friendship had become horribly toxic. So it’s not so much about leaving as it is figuring out that you need to. It’s about finding the power in that. It’s sort of the emotional thesis of the EP, everything else attacks the word “go” from a more rational angle. But here it’s all about creating the space to let that moment of clarity settle before the fallout begins.” - American Songwriter

Singer/songwriter Katie Buchanan may currently be rocking stages around the competitive New York City scene, but one visit to her always captivating stage performance, and it’s clear that she brings a piece of home with her to every show. Originally from Kansas, Buchanan’s “subtle guitar pop” drips with Midwest charm, and Americana sensibilities, a brand of blues rock that Katie produces from start to finish; from when pen hits the paper to production in the studio.


Buchanan’s unique style is represented nearly flawlessly on her upcoming sophomore EP, a collection titled Go. We asked the Midwesterner to tell us all about it – she said, “It’s a little more polished than the last EP, a lot more purposeful. The writing was born out of this obsession with the word ‘go’ and then this massive falling out with a childhood friend. So it’s definitely got its dark moments. But I think it ultimately ends on a nice, peaceful note.”

As mentioned before, Buchanan’s live show shouldn’t be missed – her take on a blues trio is original, entertaining, and best of all – unpredictable. Click to www.katiebuchanan.com to check out a show in the NYC area, and prepare for Go, out August 5 . Keep going – there’s so much more to dive into in all the answers to the XXQs below. - Pen's Eye View