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Vancouver-based Songwriter Ashley Shadow Shares Latest Single, "Caitlin"

The Vancouver, B.C.-based songwriter, Ashley Shadow is today sharing "Caitlin", the final advance track to be taken from her MOJO, Stereogum, Brooklyn Vegan and Beats Per Minute tipped album, Only the End which is out September 24 (CD/Digital) and October 29 (Vinyl) via Felte. Ashley describes "Caitlin" as "a tribute song to a life lost too soon." It's a remarkably intimate yet stunning highlight from the forthcoming record, accentuated with Paul Rigby's (Neko Case) woozy pedal steel guitar and lightly picked electric guitar. The song smolders, burning gently with Shadow's mesmerizing vocal performance that nestles amongst the instrumentation. While the songs on Only the End were conceived in contemplative solitude, Ashley invited some very capable collaborators into the studio to assist with the process of recording; alongside the aforementioned Bonnie "Prince" Billy, Shadow invited Paul Rigby (Neko Case), Joshua Wells (Black Mountain, Lightning Dust), Colin Cowan (Elastic Stars) and Ryan Beattie (Himalayan Bear). Ashley, the twin sister of Amber Webber (of Lightning Dust, co-founder of Black Mountain), has previously contributed vocals to Bonnie "Prince" Billy's album, Lie Down in the Light, Pink Mountaintop's Outside Love, The Cave Singers' Welcome Joy and more.


Ashley Shadow winks at the darkness, but she won’t lead you towards it. It’s easy to fall under the spell of Ashley’s haunting voice. The Vancouver, B.C.-based songwriter forged her own identity as a songwriter with 2016’s eponymous self-titled debut. Her sophomore effort, Only the End, maintains the moody introspection that is ingrained in Pacific Northwest life, but now comes armed with a palpable hope complementing her signature melancholy. “I wanted to make a more upbeat album, something you could play with some friends over. Some of the songs I wrote were initially bummers, but when we went to record them, we lightened them up.”

Balancing a couple of jobs and navigating life and love in increasingly unstable times, the album was written over two years by Ashley at her apartment. Her confident vibrato above lightly, distorted guitars mirrors the album’s theme of resilience, if not triumph, over adversity. There is comfort in these warm songs that endorse the realism of contented acceptance, rather than the naïve search for non-existent utopias. Ashley’s first album saw her take center stage after more than a decade of gracing friends’ projects in a supporting role. The move to the front was a cautious one. “First record was, can I do a solo album? This time, I know what I’m doing. It’s way more clear.” t’s clear to anyone listening. It’s Only the End. If only all endings were so glorious.




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