“HOW TO BE OKAY ALONE.” That’s what Brent Cowles scribbled in a notebook one afternoon as he grappled with the complexities of his newfound independence. It was meant to be the start of a list, a survival guide for navigating the solitude and loneliness of our increasingly isolated world, but instead, it turned out to be a dead end recipe for writer’s block.
“I realized then that I actually didn’t know how to be okay alone,” reflects the Denver native. “But I also realized that it was okay not to know.”
A deeply honest, intensely personal portrait, the record channels loss and anxiety into acceptance and triumph as Cowles learns to make peace with his demons and redirect his search for satisfaction inwards. Blurring the lines between boisterous indie rock, groovy R&B, and contemplative folk, the music showcases both Cowles’ infectious sense of melody and his stunning vocals, which seem to swing effortlessly from quavering intimacy to a soulful roar as they soar atop his exuberant, explosive arrangements.
Growing up, Cowles first discovered the power of his voice singing hymns at his father’s church in Colorado Springs. Having a pastor for a parent meant heavy involvement in religious life, but Cowles never quite seemed to fit in. At 16 he fell in love with secular music; at 17 he recorded his first proper demos in a friend’s basement; at 18 he was married; at 19 he was divorced. Meanwhile, what began as a solo musical project blossomed into the critically acclaimed band You Me & Apollo, which quickly took over his life. The Denver Post raved that the group created “some of the most exciting original music in Colorado,” while Westword proclaimed that their live show was a “clinic in roots rock mixed with old-school swing and blues,” and Seattle NPR station KEXP hailed “Cowles’ Otis Redding and Sam Cooke inspired vocals.” The band released two albums and toured nationally before they called it quits and amicably went their separate ways.
The parting was a necessary but difficult one for Cowles. In the ensuing months and years, he would find himself alone more than ever before, at one point living out of his Chevy Tahoe just to make ends meet. But rather than break him, the experience only strengthened his resolve, and ‘How To Be Okay Alone’ finds him thriving in the driver’s seat as a solo artist, making the most of solitude while still appreciating that it’s only human to need love and friendship.
“Hell if I know how to be okay alone,” Cowles reflects on it all with a laugh. “All I know is that I’m grateful for the people that I have, because I don’t think that anyone can get through this life by themselves.”
Daphne Lee Martin
Daphne started playing music in a family band when she was a kid.
She went sailing on tall ships teaching Pete Seeger's Clearwater program in her early 20s.
She owns an indie vinyl record shop and record label called the Telegraph in New London, CT.
“Daphne Lee Martin is the voice of futuristic folk-rock/alternative-roots music... exploring the outer reaches of nostalgic melody... ” ~ Jim Apice, No Depression
“Martin’s style is Highly unique, giving new tinges and interpretations to every song....” ~ Bill Bodkin, Pop-Break
“Crooner Daphne Lee Martin is, in every sense of the word, true to her craft.” ~ Pen’s Eye View
"Lemme tell you it's a badly behaved set of tracks. It's a liquored up weekend whose hangover lasts well into the work week." -Anthony Fantano, The Needle Drop
"With her strong writing style and sultry vocal delivery, Martin has you in the palm of her hand from track one." - Troy Michael, Innocent Words
Contradictions have always been a part of Indie singer-songwriter Røy Halim’s journey. A first-generation American son of Muslim Albanian immigrants, Roy should feel like the quintessential outsider. Instead, he focuses on creating a sense of community, providing inspiration and connectedness for his listeners. With a bold and raw, yet soft and polished sound, mixing bravado with subtle restraint, his head actually sings with his heart. Think of Chester Bennington and Morrissey, and add a contradictory hint of Ed Sheeran - Roy’s that unique.