Robert Ellis has named his new album after himself and the reason is clear. The album is both his most personal statement yet and a summation of his career thus far. Robert Ellisopens with "Perfect Strangers," a meditation on what brings people together (and how tenuous that connection can be), and ends with "It's Not OK," a raw look at emotional compromise. Between those two powerful bookends are nine other songs that set Ellis's soaring vocals and knowing melodies against his sharp, dark observations, and that show him in full command of a vibrant set of songwriting skills-irony, distance, character, narrative, a thoughtful relationship between sound and sense. Ellis was born and raised in Lake Jackson, a town about an hour from Houston whose other famous residents have included the Pauls (Ron and Rand) and Selena (the original Queen of Tejano, not the current pop sensation). From an early age, he escaped small-town boredom through music. At first, his tastes ran toward traditional hits. "I remember having a bunch of pop records when I was really young: No Doubt and Michael Jackson and Garth Brooks. That was when I was pretty passive as a listener-I liked them, but maybe I got to them because my mom or one of my sisters had them. The first I really got obsessed with was a Doc Watson collection. I was already starting to play guitar, and my uncle told my mom to get it for me. He was my first guitar hero." As he developed as a writer, though, he found himself drawn toward the smartest and sharpest of the class of songwriters who developed in the 1970s: artists like Paul Simon, John Prine, and Randy Newman. And he didn't just listen to them. He learned from them. Specifically, he learned the finer points of songcraft. "I've been a big fan of Paul Simon for a long time," he says. "He has this capacity to surprise you with his music and his lyrics. With John Prine's songs, I grew from believing that they happened to him to understanding that it didn't matter if they really happened to him. And Randy Newman? Wow. I especially love a record like Trouble in Paradise, when there are all these artificial 1980s production techniques, but they're being used in the service of this master composer." That respect for tradition-but more specifically for the fact that so-called traditional artists were in fact consistent risk-takers-fuel Ellis's new record. "With this record," he says, "I feel like I've gotten to where I can use the material of my own life as a jumping-off point. But now I can do different things with that material." In this case, of course, the material has an element of melancholy. Much of the record revolves around the dissolution of Ellis's marriage. It's a breakup album, but not one that dissects its subject with straightforward rage and regret-Ellis and his ex-wife remain friends, and she is even featured in the album art, which was created after the divorce. Rather, it's an album that finds Ellis reaching back into the trick bags of masters like Simon, Prine, and Newman, and employing the full complement of skills that he's learned from them. "'Perfect Strangers,' took a month," he says. "I had a notepad and walked around New York, giving myself personal therapy through the eyes of the city." Other songs came faster. "I wrote 'Elephant" quickly," he says. "It's about my misunderstanding of monogamy and my complete bewilderment with some of the ideas that I grew up with. I felt that in the past year, lots of constructs I took for granted were turned on their head. But I was careful to express those ideas in a way where the gray areas got to stay gray. If what you're saying is that you're confused, you shouldn't say you're confused. You should betray a contradiction." Ellis isn't afraid of sophistication. The beautifully orchestrated "You're Not the One" has more complex origins than its title might suggest. "For that one, I woke up from a nightmare that was a kind of sex dream. In the dream, the faces around me kept changing. It was very eerie, like a David Lynch movie. The song has that sense of unease but also this Ellington bridge that's unrelated to the key of the song. I'm really proud of that one." But he can make his point with simplicity also, as in the chorus to "Drivin," a co-write with Angaleena Presley: "This don't feel like living, it's just surviving / I'm ain't going nowhere, I'm just driving." And then there's "High Road," the emotional center of the record, co-written with friend Jonny Fritz, a song about professional and personal insecurity that builds from lonesome shivers to almost operatic melodrama-all the while riding a lovely, fragile melody. While Ellis wrote nine of the album's songs, he is also a generous collaborator dedicated to finding songs from other writers who advance his vision. "Once I knew that much of the record would be composed of these extremely personal songs like 'Elephant' or 'High Road,' but I was aware from the start that I couldn't have a whole record of them. Putting it together was like assembling a collection of short stories. You need different tones and colors. So that's why I included a song like 'How I Love You,' which was written by my friend Matt Vasquez, from Delta Spirit. We were hanging out, and I asked him if he had any good uptempo songs, and he showed me that one. And 'Screw' was written by Kelly Doyle, who plays guitar in our band. Listening to him work on his solo record, I was amazed by the sound. His process and palette were really inspirational to me." The album ends with "It's Not OK," which holds its ground as a traditional busted-love song before hurtling headlong into a dark thicket of guitars. "In that case, because the song is about that kind of emotional trouble, part of me that wanted dissonance and chaos. The melodic and rhythmic ideas to me are a different kind of information from the lyrics, but they're still information." As thoughtful as Ellis is about the process, his album also has plenty of pop pleasures. "California" is a jaunty, intimate travelogue that elevates into his chorus. "Amanda Jane" has an almost bossa nova shuffle and a melody that splits the difference between power pop and 70s soft rock. And "Couples Skate" reaches back even further. "I wrote that one while were on tour with Richard Thompson. It's a green room song. I was just journaling, and I remembered holding this girl's hand in second grade. It's a nostalgic idea, which is why I reached for a 50s soul vibe. But it's also nineties, in a way-something about it that reminds me of the rock and roll I was listening to around that time." In the end, Robert Ellis (the album) is the most accurate reflection yet of Robert Ellis (the man). It's analytical and emotional, calculated in spots and improvisational in others, restless, peaceful, never indifferent, never dispassionate.

If the opening notes on Joe Pug’s new LP “Windfall” are a bit disorienting, his fans won’t likely be surprised.  The Austin, TX singer songwriter has made a habit of defying expectations so the piano-driven “Bright Beginnings” and the atmospheric rumination of “Great Hosannas” are just further indication that he’s quite comfortable stepping outside of the guy-with-a-guitar trappings of the genre.   His rise has been as improbable as it has been impressive.  After dropping out of college and taking on work as a carpenter in Chicago, he got his musical start by providing CDs for his fans to pass along to their friends. This led to a string of sold out shows and a record deal with Nashville indie Lightning Rod Records (Jason Isbell, Billy Joe Shaver).  As he toured behind “Messenger” (2010) and The Great Despiser (2012) it was with a band that looked as much like a jazz trio as an Americana band.  ”I never quite found a live band that captured what I was aiming for until I connected with Greg [Tuohey--electric guitar] and Matt [Schuessler--upright bass].  It was an arrangement that maybe didn’t make a ton of sense on paper but 10 minutes into the first rehearsal I knew this was going to be my band.”  The following years would have them on the road for over four hundred shows, including stops at Lollapalooza, Bonnaroo, and The Newport Folk Festival.   The relentless grind of four years of nonstop touring had taken its toll though, and by late 2013 he was ready to call it quits.  The tour that fall was a runaway success but his personal and creative lives were a different story.  ”It was this surreal dichotomy. Everyone kept congratulating me on how well the tour was going, and the mood was probably the best it had ever been on the road. We finally got two hotel rooms in each city instead of one. We’ve got this incredible group of die-hard fans that somehow make each show bigger than our previous trip through town. Meanwhile my relationship was in shambles and creatively I was at a dead end.  There was absolutely no joy left in playing music.  So we walked off stage after a particular show when I played terribly, and pulled my manager aside in the green room and told him to cancel the rest of the tour dates and that I was essentially through.”   But studio time was already scheduled and deadlines had been set for a new record, so after a few weeks Pug was back to the business of writing songs. “In retrospect, I was in a very unhealthy place. I was sitting in a room with the blinds shut and a notebook, forcing out words that weren’t there and drinking astonishing amounts of bourbon. I was looking at it as a job….as a business obligation, and that is a very slippery slope.”   At that point he decided to make good on his promise from the previous tour. The album was put on indefinite hold. “I just needed to start behaving like a human being again.  I needed to reconnect with my girlfriend. I needed to eat healthy food.  I needed to go enjoy live music as a fan. I really needed to make sure I still loved making music, because I really had my doubts at that point.”   The resulting layoff paid dividends in spades. When Pug set up camp in Lexington KY in 2014 to record, he did so with some of the best songs he has ever written.  The agenda was much simpler than previous albums. “The aim on this one was very straightforward.  We wanted to capture the music just the way we play it, with minimal production.  It was a very back to basics approach because ultimately that’s what I love about music, and that’s what I love about making music. I wanted to record these songs the way they were written and put them out in the world.”  The result is a collection of songs that are as close as we’ve gotten to a road map to Pug’s ambitions. He has collected plenty of the requisite Dylan comparisons over his young career but on this record it’s easier to hear the sway of more contemporary influences like Josh Ritter, Ryan Adams and M.Ward.   The theme of resilience plays a central role throughout Windfall.  The weary protagonist in “Veteran Fighter” wills his way further down the highway despite the gloom that seems certain to overtake him.  ”The Measure”, a song inspired in part by Frederic Buechner’s novel Godric, marvels at  ”every inch of anguish, laid out side by side” but ultimately finds that “All we’ve lost is nothing to what we’ve found.”    ”I never really write songs with a specific narrative in mind,” Pug explains. “When you’re sort of pushing through a dark period of your life it’s probably inevitable that some of that is going to find its way onto the page.  But in the same way, by the time we were in the studio the process had become very effortless and joyful. And hopefully you can hear a lot of that on the record as well.” This duality appears perhaps most overtly in the album-closing stunner “If Still It Can’t Be Found”, which features Pat Sansone of Wilco guesting on mellotron.   If it’s not around this corner it’s around the next If it’s not beyond this river it’s beyond the next And if still it can’t be found It’s prob’ly for the best   As the saying goes, “All’s well that ends well.”  Joe Pug didn’t call it quits after all.  He’s engaged to be married and still drinks bourbon on occasion.  His new album, Windfall, will be released March 10, 2015 on Lightning Rod Records in the US and Loose Music in Europe.