one slick chick
Katie Costello is only 20 years old, which kind of makes me sick. She’s 20 years old and just put out her sophomore album, Lamplight, which is a beautifully crafted collection of Ingrid Michaelson, Sara Bareilles-esque ballads and pop tunes. Costello’s magnetic vocals and poignant turns of phrases speak to her maturity as a singer/songwriter, her light-hearted approach to thematic elements that occupy every young girl’s head and heart exemplify the sprightly youthfulness of her songs.
With Lamplight, which was released a mere two days ago, Katie is already seeing some serious traction in the industry – big names like Billboard, Paste, Spinner, and BeatWeek devoted headlines to her blithe melodies and up-and-comer status. Update (3.23.11): links to articles added.
If you only listen to four tracks, try “Cassette Tape,” “Ashes Ashes,” “People: A Theory,” and “Stranger.” Two of these four can be heard on her website. Lamplight is available on Amazon, but if you’re still not convinced, read my official review and watch this ADORABLE video for “Cassette Tape:”
Posted in sound
Tagged ashes ashes, billboard, discovery thursday, folk, kaleidoscope machine, katie costello, lamplight, music, paste, people: a theory, pop, singer/songwriter, tiny tiny records
Today, a really sad thing happened. Paste Magazine closed its doors. I thought it was a joke at first, but I shouldn’t have. I mean, come on, an innovative, independent culture mag that isn’t afraid to take risks and express genuine opinions? How long was that really going to last? Paste‘s Twitter account (which is fortunately still up & running) kept me going through many a slow day at work with its relevant and intellectual pop culture focus.
I felt like I got to know Josh Jackson, Rachel Maddux, Nick Marino. I have them to thank for introducing me to Frontier Ruckus and Menomena, talking me into Wolf Parade and The Love Language, informing me about Band of Horses and Mumford and Sons. The staff loved Lost and Mad Men and Modern Family. They wrote about composers and directors and authors. I always sort of imagined what it would be like to work there, set it up as a bit of a dream job. And now what? Everything has changed.
The official word is that Paste is not actually gone for good. The physical publication is finished. From now on, into the foreseeable future, the magazine is a purely online publication, which is something that’s been happening a lot in our time, but also something I never liked for Paste‘s future. I enjoyed taking a copy or two with me on a plane; I liked the stack piling up on my coffee table. I liked that the editors didn’t seem to have some obnoxiously blatant political agenda (Rolling Stone, I’m talking to you). Paste‘s mission was to unearth real talent, to showcase the independents, and to glorify wit and high art.
I am proud to have been a supporter Paste over the past few years. I like what they’re about, and I’m sorry to hear that they’ve not been as wildly successful as I believe they deserve to have been. But it’s not the worst thing in the world. Paste is still out there, and all the more, there are still thousands of people who care about its future and remain loyal to its ideals.
I wish all the best to the employees that poured their lives into this publication and lost their foundation today. Thanks for being amazing. And to those still making it happen online, thanks for pulling through. It’s worth it, I swear.
the last physical issue