{"title":"Squirrel Flower Store","description":null,"products":[{"product_id":"squirrel-flower-i-was-born-swimming","title":"Squirrel Flower - I Was Born Swimming","description":"\u003cp\u003e Ella O’Connor Williams, also known as \u003cstrong\u003eSquirrel Flower,\u003c\/strong\u003e was born on August 11th 1996, the hottest day of the year, still inside of a translucent caul sac membrane, surrounded by amniotic fluid. Born with a membrane between her and the rest of the world, yet still very much connected to and dependent on a larger life force. It’s this origin story that inspired the name of Squirrel Flower’s new album \u003cem\u003eI Was Born Swimming\u003c\/em\u003e.\u003c\/p\u003e\u003cp\u003e Williams comes from a deep-rooted musical family tree. Her grandparents were classical musicians who lived in the Gate Hill Co-op, an artistic cooperative from upstate New York that grew out of Black Mountain College. Ella’s father, Jesse Williams, spent most of his life as a touring jazz and blues performer and educator, and lends his bass playing to the album (listen for his smooth solo on “Headlights”). Growing up in a family of hard working musicians fostered a love of music and started Williams down her own musical path. As a child, Williams adopted the alter ego of Squirrel Flower. A couple years later, she began singing with the Boston Children’s Chorus while studying music theory and teaching herself to play the guitar. As a teen, she discovered the Boston DIY and folk music scenes and began writing, recording, and performing her own songs, now returning to the name Squirrel Flower as her chosen moniker. By the time Williams had begun performing live, recording and touring she was already well on her way to the signature artful songcraft heard on the album.\u003c\/p\u003e\u003cp\u003e Squirrel Flower’s music is ethereal and warm, gushing with emotional depth that the listener can step into like a warm bath. The band on \u003cem\u003eI Was Born Swimming \u003c\/em\u003eplays with delicate intention, keeping the arrangements natural and light. The album was tracked live, with few overdubs, at The Rare Book Room Studio in New York City with producer Gabe Wax (Adrienne Lenker, Palehound, Cass McCombs). The musicians were selected by Wax and folded themselves into the songs effortlessly. At the heart of the album lives Williams’ massive, haunted vibrating voice and melancholic, soulful guitar playing. The sounds expand and contract over diverse moods, cutting loose on the heavier riffs of “Red Shoulder” or “Streetlight Blues,” both recorded in her hometown of Boston, and holding back with atmospheric restraint on “Seasonal Affective Disorder” or “Belly Of The City”.\u003c\/p\u003e\u003cp\u003e \u003cem\u003eI Was Born Swimming\u003c\/em\u003e begins with an Iowa drive down I-80 and continues to travel, poetically, between her college town of Grinnell Iowa, Boston, MA and New York City where the album was recorded. Throughout the 12 songs, landscapes change and relationships shift, “There’s so much in the record about movement and stagnation. Feeling stuck, needing to move, needing to stay still, swimming, falling, running, growing, etc etc.” said Williams. The album’s lyrics feel like effortless expressions of exactly the way it feels to change — abstract, sad and hopeful.\u003c\/p\u003e\u003cp\u003e Williams eventually returns to the image of her in the sac; born swimming, knowing how to exist, love herself, and not needing anyone else to do it for her.\u003c\/p\u003e\u003cp\u003e\u003cem\u003eBorn swimming in blue water \u003c\/em\u003e\u003c\/p\u003e\u003cp\u003e\u003cem\u003eDidn’t ever need another \u003c\/em\u003e\u003c\/p\u003e\u003cp\u003e\u003cem\u003eNow I live underwater. \u003c\/em\u003e\u003c\/p\u003e\u003cp\u003e\u003cem\u003eHeat’s rising \u003c\/em\u003e\u003c\/p\u003e\u003cp\u003e\u003cem\u003eCan you see it shimmer? \u003c\/em\u003e\u003c\/p\u003e\u003cp\u003e\u003cem\u003eI’m spinning \u003c\/em\u003e\u003c\/p\u003e\u003cp\u003e\u003cem\u003eCan you see me shimmer? \u003c\/em\u003e\u003c\/p\u003e\u003cp\u003e\u003cem\u003eI’m moving faster than it \u003c\/em\u003e\u003c\/p\u003e\u003cp\u003e\u003cem\u003eCan you see me shimmer? \u003c\/em\u003e\u003c\/p\u003e\u003cp\u003e\u003cem\u003eSo dip me in the water.\u003c\/em\u003e\u003c\/p\u003e","brand":"Polyvinyl Records","offers":[{"title":"Vinyl (Rust \u0026 Blue)","offer_id":52708195238195,"sku":"PRC-395LP","price":21.0,"currency_code":"USD","in_stock":true},{"title":"CD","offer_id":50818997977395,"sku":"PRC-395CD","price":12.0,"currency_code":"USD","in_stock":true},{"title":"Digital","offer_id":52708195270963,"sku":"PRC-395DIGITAL","price":10.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0881\/7655\/8387\/files\/803ae237d2df8bdde7bcbd872396d192_50b1ac0bb82e9aa93e45fdc33d5da30aaa858aad_product_photo.jpg?v=1735838726"},{"product_id":"polyvinyl-exquisite-corpse","title":"Various Artists - Exquisite Corpse","description":"\u003cp\u003e Track Credits:\u003c\/p\u003e\u003cp\u003e 1. \"Yer Brothers\" - \u003cstrong\u003eDavid Bazan\u003c\/strong\u003e (Pedro The Lion), \u003cstrong\u003ePhil Dickey\u003c\/strong\u003e (Someone Still Loves You Boris Yeltsin), \u003cstrong\u003eNate Kinsella\u003c\/strong\u003e (American Football\/Birthmark), \u003cstrong\u003eNick Wilkerson\u003c\/strong\u003e (White Reaper)\u003c\/p\u003e\u003cp\u003e 2. \"Somebody Else\" - \u003cstrong\u003eErik Czaja\u003c\/strong\u003e (Pet Symmetry), \u003cstrong\u003eGus Lobban\u003c\/strong\u003e (Kero Kero Bonito), \u003cstrong\u003eChristie Simpson\u003c\/strong\u003e (Yumi Zouma), \u003cstrong\u003eShugo Tokumaru\u003c\/strong\u003e (Shugo Tokumaru)\u003c\/p\u003e\u003cp\u003e 3. \"SLOW DRIVE\" - \u003cstrong\u003eShaun Fleming\u003c\/strong\u003e (Diane Coffee), \u003cstrong\u003eWill Knauer\u003c\/strong\u003e (Someone Still Loves You Boris Yeltsin), \u003cstrong\u003eCale Parks\u003c\/strong\u003e (Aloha\/Cale Parks), \u003cstrong\u003eCharlie Ryder \u003c\/strong\u003e(Yumi Zouma)\u003c\/p\u003e\u003cp\u003e 4. \"To The Beach\" - \u003cstrong\u003eMark Duplass\u003c\/strong\u003e (Volcano, I'm Still Excited!!), \u003cstrong\u003eKaia Fischer\u003c\/strong\u003e (Rainer Maria), \u003cstrong\u003eEllen Kempner\u003c\/strong\u003e (Palehound), \u003cstrong\u003eJeff Rosenstock\u003c\/strong\u003e (Jeff Rosenstock\/Antarctigo Vespucci)\u003c\/p\u003e\u003cp\u003e 5. \"Whole Life Holy Death\" - \u003cstrong\u003eChris Broach\u003c\/strong\u003e (Braid, SNST), \u003cstrong\u003eVice Cooler\u003c\/strong\u003e (xbxrx), \u003cstrong\u003eRocky Tinder\u003c\/strong\u003e (Wampire), \u003cstrong\u003eAry Warnaar\u003c\/strong\u003e (Anamanaguchi)\u003c\/p\u003e\u003cp\u003e 6. \"Do U Remember\" - \u003cstrong\u003eRobert Pope\u003c\/strong\u003e (The Get Up Kids), \u003cstrong\u003eJamie Stewart\u003c\/strong\u003e (Xiu Xiu), \u003cstrong\u003eFred Thomas\u003c\/strong\u003e (Fred Thomas\/Saturday Looks Good To Me), \u003cstrong\u003eElla Williams\u003c\/strong\u003e (Squirrel Flower)\u003c\/p\u003e\u003cp\u003e 7. \"Perfect Vision\" - \u003cstrong\u003eKeil Corcoran\u003c\/strong\u003e (STRFKR), \u003cstrong\u003eKaty Goodman\u003c\/strong\u003e (La Sera\/Vivian Girls), \u003cstrong\u003eChris Hansen\u003c\/strong\u003e (matt pond PA), \u003cstrong\u003eMike Kinsella\u003c\/strong\u003e (American Football\/Owen), \u003cstrong\u003eMatt Pond\u003c\/strong\u003e (matt pond PA)\u003c\/p\u003e\u003cp\u003e 8. \"So Much To See\" - \u003cstrong\u003eJess Abbott\u003c\/strong\u003e (Tancred), \u003cstrong\u003eJames Alex\u003c\/strong\u003e (Beach Slang\/Quiet Slang), \u003cstrong\u003eBob Nanna\u003c\/strong\u003e (Braid), \u003cstrong\u003eLuke Silas\u003c\/strong\u003e (Anamanaguchi)\u003c\/p\u003e\u003cp\u003e 9. \"Some Storms\" - \u003cstrong\u003ePeter Berkman\u003c\/strong\u003e (Anamanaguchi), \u003cstrong\u003eErin Fein\u003c\/strong\u003e (Psychic Twin\/Headlights), \u003cstrong\u003eTJ Lipple\u003c\/strong\u003e (Aloha), \u003cstrong\u003eMatt Pryor\u003c\/strong\u003e (The Get Up Kids), \u003cstrong\u003eNick Thorburn\u003c\/strong\u003e (Mister Heavenly)\u003c\/p\u003e\u003cp\u003e 10. \"Lonely\" -\u003cstrong\u003e Pip Brown\u003c\/strong\u003e (Ladyhawke), \u003cstrong\u003eJosh Burgess\u003c\/strong\u003e (Yumi Zouma), \u003cstrong\u003eChris Farren\u003c\/strong\u003e (Chris Farren\/Antarctigo Vespucci), \u003cstrong\u003eMarcus Nuccio\u003c\/strong\u003e (Pet Symmetry), \u003cstrong\u003eCameron Spies\u003c\/strong\u003e (Radiation City)\u003c\/p\u003e\u003cp\u003e 11. \"Nude Looks\" - \u003cstrong\u003eBrian Borcherdt\u003c\/strong\u003e (Dusted), \u003cstrong\u003eCaithlin De Marrais\u003c\/strong\u003e (Rainer Maria), \u003cstrong\u003eRyan Pope\u003c\/strong\u003e (The Get Up Kids), \u003cstrong\u003ePost Animal\u003c\/strong\u003e (Post Animal)\u003c\/p\u003e\u003chr\u003e\u003cdiv\u003e 2020 has been an intense year by any standard, with the first weeks of the global pandemic giving most of us feelings unlike anything we’d experienced before. Quarantine lockdowns and hovering dread shifted the fabric of time in a way that’s ongoing, but was at its most vivid in those early days when a new reality was sinking in. Before people eventually adapted and started using the newly mandatory downtime to learn new languages and bake bread, hours lurched by as the world sat restlessly indoors. All the shows were slowly cancelled one by one, the tours and recording sessions were scrapped, hangs and practices just stopped happening. Everything was on hold indefinitely, time lost meaning, every day felt unreal.\u003c\/div\u003e\u003cp\u003eDuring the first days of lockdown, Rainer Maria’s Kaia Fischer came up with the concept of \u003cem\u003eExquisite Corpse\u003c\/em\u003e by meditating on their perspective of the newly unfolding weirdness they and so many of their creative friends were going through. Obviously a deadly pandemic was wrought with negatives, and those in particular to independent music scenes were especially devastating. But could there be another side to what felt so all-consumingly terrible? “We know what the pandemic \u003cem\u003eisn’t \u003c\/em\u003egood for,” Fischer said, “but let’s find out what it\u003cem\u003e is\u003c\/em\u003e good for.”\u003c\/p\u003e\u003cp\u003eSearching for silver linings in the earliest days of lockdown wasn’t easy, but one idea led to another. It began with the realization that every Polyvinyl artist now had a completely clear schedule at the same time. They were also mostly sitting around waiting for the storm to pass, in different states of boredom, anxiety, worry and malaise. Logistically speaking, there might not be another time when pretty much everyone was available for a collaborative project and needed something to occupy their frazzled minds. A round of emails went out explaining the project and inviting members of the Polyvinyl roster to participate. Eleven teams of four or five musicians were assembled more or less at random, bringing together artists that had in many cases never met, much less worked on music together. Remotely, each team worked from scratch to create an original song, a reworked sonic adaptation of the game where each player adds to a collaborative drawing.\u003c\/p\u003e\u003cp\u003eThe scope alone is exciting, with these 11 songs combining the talents of 47 musicians from all corners of the world and all ends of the Polyvinyl family tree. Even the artwork was assembled through remote collaboration, with visual artists from Chicago, Minneapolis, and Seattle collaborating on the design in true Exquisite Corpse fashion. Musically, the results are every bit as exciting and unpredictable as the concept envisioned. New creative chemistries between the different artists and a complete absence of expectations or precedent sounds made for fearless choices in production, genre experimentation and stylistic curveballs. Artists known for sparkling pop worked with more ragged rockers or folks from acoustic-leaning emo bands, and the end results almost always defied the expected sum of their parts. Even though \u003cem\u003eExquisite Corpse\u003c\/em\u003e is timestamped with traces of the overwhelming uncertainty that colored the pandemic’s onset, the music is by-and-large joyful, daring, and fun. More than reflecting the hanging gloom of the non-stop news cycle and spiking graphs, artists tapped into expressions of hope and exploration. This moment of universal upheaval cast a shadow on the entire world, but also allowed for a meeting of minds that was truly unprecedented.\u003c\/p\u003e\u003cp\u003eMost indie labels share some degree of familial connection, but Polyvinyl is built on that feeling of family. The label was born in the late ‘90s out of the closely knit regional diy scenes of the Midwest, and every aspect of growth since has been informed by the earnest connectivity of those early days. Polyvinyl bands go on tour together, collaborate regularly and exist within a framework facilitated by the label that values friendship and the sharing of ideas above all else. These songs zoom in on that spirit of kinship and community. \u003cem\u003eExquisite Corpse \u003c\/em\u003eis a real-time experiment with some incredible outcomes, creating a space for Polyvinyl’s wide-ranging talents to come together and make something beautiful during a dark time.\u003c\/p\u003e","brand":"Polyvinyl Records","offers":[{"title":"Vinyl (Red)","offer_id":52335613378867,"sku":"PRC-419LP","price":20.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0881\/7655\/8387\/files\/ExquisiteCorpse_RetailLP_1.jpg?v=1756831987"},{"product_id":"squirrel-flower-planet-i","title":"Squirrel Flower - Planet (i)","description":"\u003cp\u003e\u003cstrong\u003eSquirrel Flower\u003c\/strong\u003e’s heart-rending sophomore album \u003ci\u003ePlanet (i)\u003c\/i\u003e, following her 2020 debut \u003ci\u003eI Was Born Swimming\u003c\/i\u003e, is exactly that. A singular planet, a world entirely of artist Ella Williams’ making. The title came first to her as a joke: it’s her made-up name for the new planet people will inevitably settle and destroy after leaving Earth, as well as the universe imagined within her music. “\u003ci\u003ePlanet (i)\u003c\/i\u003e is my body and mind,” Williams says, “and it’s the physical and emotional world of our planet. It’s both.” Buoyed by her steadfast vision and propelled by her burning comet of a voice, the record is a love letter to disaster in every form imaginable. Tornadoes, flooding, gaslighting assholes, cars on fire—these songs fully embrace a planet in ruin. As Williams rides from melancholy to jubilance to complete emotional devastation over the course of twelve songs, she carves out a future for herself and those she loves. \u003ci\u003ePlanet (i) \u003c\/i\u003eis at once a refuge, an act of self-healing, and a musical reflection of Squirrel Flower’s inner and outer worlds.\u003c\/p\u003e\u003cp\u003eWilliams wrote most of the songs on \u003ci\u003ePlanet (i)\u003c\/i\u003e before the COVID-19 pandemic, but disaster looms large in its DNA. Susceptible to head injuries having played a lot of sports in her youth, Williams received three concussions from 2019-2020; two at cafe jobs in her home state of Massachusetts, and a third, funnily enough, while making out with someone in a sloped attic at a house show. Amidst the chaos of touring internationally during her own healing process, she began weaving threads between her physical and personal sense of ruin and her lifelong fear of the elements: of being swept up by storms, floods, and the deep ocean. “To overcome my fear of disasters,” Williams says, “I had to embody them, to stare them down.” This journey of decay and healing is the lifeblood of \u003ci\u003ePlanet (i)\u003c\/i\u003e. “I’m not scared of the storm,” she insists on “Desert Wildflowers.” “I’ll be lying on the roof when the tornado turns.”\u003c\/p\u003e\u003cp\u003eOnce quarantine set in, Williams, known for her magnetic live concerts, began to produce demos in her room, amassing a collection of more than 30 recordings. “I constantly write,” she says, “but because of the pandemic and the unemployment checks I received, I was able to spend every day recording what became the skeleton of this album.” Feeling a sense of artistic synchronicity over international phone calls with producer Ali Chant (PJ Harvey, Perfume Genius), and with newfound covid antibodies, Williams flew to Bristol, UK in the fall of 2020 to record \u003ci\u003ePlanet (i)\u003c\/i\u003e at Chant’s studio, The Playpen. “We had this shared creative language,” she recalls, “and the recording process was, like my demo process, very sculptural. Instead of recording live with a full band, we built this record layer by layer, experimenting, taking risks.” Williams dedicated her time in Bristol to exploration, both in the studio and outside of it. As she roamed the city in her beloved green garden mucks, the same boots featured on \u003ci\u003ePlanet (i)\u003c\/i\u003e’s album art, Squirrel Flower unlocked a new creative alchemy.\u003c\/p\u003e\u003cp\u003eWhile Williams and Chant played most of the instruments on the record, Bristol drummer Matt Brown and Portishead’s Adrian Utley also joined their sessions. “Adrian brought such stunning textures to the arrangements,” Williams says. “I was starstruck watching him play guitar with a pair of pliers.” And when Chant suggested the idea of backup vocals, Williams, whose voice had until now stood alone in her songs, enthusiastically enlisted friends and family to join her remotely with their voices and instruments. Around Squirrel Flower’s voice and vision dance the contributions of Jess Shoman (Tenci), Tomberlin, Katy J. Pearson, Jemima Coulter, Brooke Bentham, and her brothers Nate and Jameson Williams, as well as her father Jesse.\u003c\/p\u003e\u003cp\u003eThe songs on \u003ci\u003ePlanet (i)\u003c\/i\u003e are Squirrel Flower’s instruments for connection: with the people in her life, her collaborators, audiences, and ancestors; a lineage of artists whose spirits continue to inform her art. At the heart of this record is an insistence on connection and healing in the face of catastrophe. Williams treats her songs like well-loved cars, vehicles with busted exteriors and flame-kissed engines. These songs hurtle down a freeway wracked by firestorms and flash floods, their drivers in search of human connection, no matter how tenuous, no matter how painful. In this search for communion, Squirrel Flower sings with the clarity of an artist who has discovered not only the precise power of her voice, but all the devastating shapes it can take.\u003c\/p\u003e\u003cp\u003eOn the explosive lead single “Hurt A Fly,” Williams is a volatile, relentless presence. She takes the persona of a manipulative lover as she lurches from guilt to sorrow to renewed fury, backed by whirring, frenetic guitars. And in “I’ll Go Running,” Williams begins on a haunting simmer, pitching her voice over languid, slow-burning guitars from quiet resistance to full-on emotional rebellion by the song’s end: “I’ll be newer than before \/ I’ll be something that you’ve never seen.” It’s the mantra of an artist in flux, obsessed with motion and change, but determined to move and change on her own terms. On “Flames and Flat Tires,” the third single, Williams rides this motion onward in a bright wave of sound, comparing her body to a burning car on a 4am joyride, the city crumbling behind her.\u003c\/p\u003e\u003cp\u003eOn \u003ci\u003ePlanet (i)\u003c\/i\u003e, Squirrel Flower reveals a bright and uncompromising vision, confident in her powers of self-healing and growth. No matter what the disaster ahead of or within her looks like, and no matter how she shape-shifts to meet it, Squirrel Flower will always be a world of her own, a space-rock flying down the road in flames and flat tires. As \u003ci\u003ePlanet (i)\u003c\/i\u003e wheels to a close from the cartop lovesickness of “Iowa 146,” the floodwaters of “Deluge in the South,” and the tornado fury of “Pass,” to the hushed climax and acceptance of “Starshine,” she leaves us to face down disaster with hope in hand:\u003c\/p\u003e\u003cp\u003e\u003ci\u003eDon’t let it pass.\u003c\/i\u003e\u003c\/p\u003e\u003cp\u003e\u003ci\u003eDon’t let it wither.\u003c\/i\u003e\u003c\/p\u003e\u003cp\u003e \u003c\/p\u003e\u003cblockquote\u003e\n\u003cp\u003e\u003cspan style=\"color:hsl(0,75%,60%);\"\u003eAll music and lyrics written by Ella Williams.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"color:hsl(0,75%,60%);\"\u003eProduced, engineered and mixed by Ali Chant at The Playpen, Bristol, UK in September\/October 2020.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"color:hsl(0,75%,60%);\"\u003eMastered by Heba Kadry, NYC.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"color:hsl(0,75%,60%);\"\u003eAdditional production by Ella Williams.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"color:hsl(0,75%,60%);\"\u003eAdrian Utley recorded at Planet 245, Bristol, UK.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"color:hsl(0,75%,60%);\"\u003ePhotography by Tonje Thilesen (\u003c\/span\u003e\u003ca href=\"https:\/\/www.instagram.com\/tonjethilesen\/\"\u003e\u003cspan style=\"color:hsl(0,75%,60%);\"\u003e\u003cu\u003eInstagram\u003c\/u\u003e\u003c\/span\u003e\u003c\/a\u003e\u003cspan style=\"color:hsl(0,75%,60%);\"\u003e).\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"color:hsl(0,75%,60%);\"\u003eLayout Design by Mac Pogue (\u003c\/span\u003e\u003ca href=\"https:\/\/macpogue.com\/\"\u003e\u003cspan style=\"color:hsl(0,75%,60%);\"\u003e\u003cu\u003eWebsite\u003c\/u\u003e\u003c\/span\u003e\u003c\/a\u003e\u003cspan style=\"color:hsl(0,75%,60%);\"\u003e).\u003c\/span\u003e\u003c\/p\u003e\n\u003c\/blockquote\u003e","brand":"Polyvinyl Records","offers":[{"title":"Vinyl (Blood Orange)","offer_id":50819000860979,"sku":"PRC-435LP","price":21.0,"currency_code":"USD","in_stock":true},{"title":"CD","offer_id":50819000926515,"sku":"PRC-435CD","price":12.0,"currency_code":"USD","in_stock":true},{"title":"Tape","offer_id":50819000959283,"sku":"PRC-435TAPE","price":12.0,"currency_code":"USD","in_stock":true},{"title":"Digital","offer_id":50819001024819,"sku":"PRC-435DIGITAL","price":10.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0881\/7655\/8387\/files\/dae76916297a17ca74f0d1bf199ad349027edaa0_a899a832a6a1b84dbae3b96823f39b95d9804266_photo_jpg.jpg?v=1735838766"},{"product_id":"squirrel-flower-planet-i-album-release-show-screen-printed-poster-18-x24","title":"Squirrel Flower - Planet (i) Album Release Show Screen Printed Poster (18x24)","description":"\u003cp\u003eScreenprinted 18\" x 24\" poster on heavy stock. 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When Ella Williams first visited the Dunes, she was awed by the juxtaposition of its natural splendor within a surrounding industrial corridor. “Every time I go there, it changes my life,” she says, without a hint of hyperbole.“You stand in the marshlands and to your left is a steel factory belching fire and to your right is a nuclear power plant.” Across the water, Chicago waits, its glistening towers made possible by the same steel born here. Similarly, for as long as she’s been making music, Ella Williams’ songs have been products of the environments they’re written in, born out of the same world they so vividly hold a mirror to. This environment is where her magnetic new album, \u003ci\u003eTomorrow’s Fire\u003c\/i\u003e, lives.\u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\u003cspan style=\"color:#000000;\"\u003eThe music Williams makes as \u003cstrong\u003eSquirrel Flower \u003c\/strong\u003ehas always communicated a strong sense of place. Her self-released debut EP, 2015’s \u003ci\u003eearly winter songs from middle america\u003c\/i\u003e, was written during her first year living in Iowa, where the winter months make those of her hometown, Boston, seem quaint by comparison. Since that first offering, Squirrel Flower amassed a fanbase beyond the Boston DIY scene and has released two more EPs and two full-lengths. The most recent, \u003ci\u003ePlanet (i)\u003c\/i\u003e, was laden with climate anxiety, while the subsequent \u003ci\u003ePlanet\u003c\/i\u003e EP marked an important turning point in Williams’ prolific career; the collection of demos was the first self-produced material she’d released in some time. With a renewed confidence as a producer, she helmed \u003ci\u003eTomorrow’s Fire\u003c\/i\u003e at Drop of Sun Studios in Asheville alongside storied engineer Alex Farrar (Wednesday, Indigo de Souza, Snail Mail). Williams and Farrar tracked many of the instruments, building the songs together during the first week, and then assembled a studio band that included Matt McCaughan (Bon Iver), Seth Kauffman (Angel Olsen band), Jake Lenderman (aka MJ Lenderman), and Dave Hartley (The War on Drugs) lending their contributions.\u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\u003cspan style=\"color:#000000;\"\u003eBefore \u003ci\u003eTomorrow’s Fire\u003c\/i\u003e, Squirrel Flower might’ve been labeled something like “indie folk,” but this is a rock record, made to be played loud. As if to signal this shift, the album opens with the soaring “i don’t use a trashcan,” a re-imagining of the first ever Squirrel Flower song. Williams returns to her past to demonstrate her growth as an artist and to nod to those early shows, when her voice, looped and minimalistic, had the power to silence a room. Lead singles “Full Time Job” and “When a Plant is Dying,” narrate the universal desperation that comes with living as an artist and pushing up against a world where that’s a challenging thing to be. The frustration in Williams’ lyrics is echoed by the music’s uninhibited, ferocious production. “There must be more to life\/ Than being on time,” she sings on the latter’s towering chorus. Lyrics like that one are fated to become anthemic, and \u003ci\u003eTomorrow’s Fire\u003c\/i\u003e overflows with them. “Doing my best is a full time job\/ But it doesn’t pay the rent” Williams sings on “Full Time Job” over careening feedback, her steady delivery imposing order over a song that is, at its heart, about a loss of control.\u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\u003cspan style=\"color:#000000;\"\u003eWilliams cites artists like Jason Molina, Tom Waits, and Springsteen as fonts of inspiration for \u003ci\u003eTomorrow’s Fire\u003c\/i\u003e, musicians who knew how to write into the mind of a stranger, who could tell you the story of a life in under four minutes. “The songs I write are not always autobiographical, but they’re always true,” Williams says. Nowhere is Springsteen heard more clearly than on “Alley Light,” an electrifying song narrated from the perspective of a down-on-his-luck guy whose car is fated to die any day now and whose girl just wants to escape. There’s a vintage sheen to it, but “Alley Light” captures the very familiar feelings of loss that come with living in a 21st century city, where you blink and the storefronts change. Williams notes, \"It’s about a man in me, or a man who I love, or even a man who is a stranger to me.\"\u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\u003cspan style=\"color:#000000;\"\u003eThe album glides effortlessly over emotional states of being, lightness and heaviness. “Intheskatepark,” written in the summer of 2019, four years later sounds like a dispatch from a bygone world. The scuzzy pop production nods to Guided By Voices, as Williams sings about being carefree, crushing under summer sunshine. “I had a light,” Williams repeats mournfully on “Stick,” her voice at once aching and powerful, a sense of rage fermenting as the song goes on, until it explodes in the second half. “This song is about not wanting to compromise, just being at the end of your rope,” Williams says. “Stick” harnesses that exasperation and turns it into a battle cry for anyone who is exhausted but feels like they’re not working hard enough, who had to get a job they hate to make rent, who lost their light and can’t seem to find it again.\u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\u003cspan style=\"color:#000000;\"\u003e\u003ci\u003eTomorrow’s Fire\u003c\/i\u003e might sound like the title of an apocalypse album, but it’s not. \u003ci\u003eTomorrow’s Fire\u003c\/i\u003e references the title of a novel Williams’ great-grandfather Jay wrote about a troubadour, named for a line by the Medieval French poet Rutebeuf, a troubadour himself: “Tomorrow’s hopes provide my dinner\/ Tomorrow’s fire must warm tonight.” Centuries on, the quote spoke to Williams, who describes the fire as a tool to wield in the face of nihilism. \u003ci\u003eTomorrow’s Fire\u003c\/i\u003e is what we take solace in, what we know will make us feel okay in the morning, how we light the path we're walking on.\u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\u003cspan style=\"color:#000000;\"\u003eClosing track \"Finally Rain\" speaks to the ambiguity of being a young person, knowing the earth has an expiration date. 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To be resolutely committed to a life of not ‘growing up,’ not losing our wonder, our sense of expression, and our love while we’re still here.\u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e \u003c\/p\u003e\u003cblockquote\u003e\n \u003cp\u003e\u003cspan style=\"color:hsl(0,75%,60%);\"\u003eProduced by Ella Williams and Alex Farrar\u003c\/span\u003e\u003c\/p\u003e\n \u003cp\u003e\u003cspan style=\"color:hsl(0,75%,60%);\"\u003eEngineered and mixed by Alex Farrar\u003c\/span\u003e\u003c\/p\u003e\n \u003cp\u003e\u003cspan style=\"color:hsl(0,75%,60%);\"\u003eAssistant engineered by Lawson Anderson\u003c\/span\u003e\u003c\/p\u003e\n \u003cp\u003e\u003cspan style=\"color:hsl(0,75%,60%);\"\u003eRecorded at Drop of Sun Studios in Asheville, NC\u003c\/span\u003e\u003c\/p\u003e\n \u003cp\u003e\u003cspan style=\"color:hsl(0,75%,60%);\"\u003eLayout design by Yasmine Sayre\u003c\/span\u003e\u003c\/p\u003e\n \u003cp\u003e\u003cspan style=\"color:hsl(0,75%,60%);\"\u003ePhoto by Charlie Boss\u003c\/span\u003e\u003c\/p\u003e\n \u003cp\u003e\u003cspan style=\"color:hsl(0,75%,60%);\"\u003ePainting by Em Marie Davenport\u003c\/span\u003e\u003c\/p\u003e\n \u003c\/blockquote\u003e","brand":"Polyvinyl Records","offers":[{"title":"Vinyl (Transparent Sea Glass)","offer_id":50819004137779,"sku":"PRC-484LP","price":22.0,"currency_code":"USD","in_stock":true},{"title":"CD","offer_id":52708169482547,"sku":"PRC-484CD","price":12.0,"currency_code":"USD","in_stock":true},{"title":"Tape (Orange)","offer_id":52708169548083,"sku":"PRC-484TAPE","price":12.0,"currency_code":"USD","in_stock":true},{"title":"Digital","offer_id":52708169515315,"sku":"PRC-484DIGITAL","price":10.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0881\/7655\/8387\/files\/bbd7f3a67b440e84787072e63e6014e538a32476_17cb3d39f96a16c77d2be1e848351a86247db864_photo_jpg.jpg?v=1735838823"},{"product_id":"squirrel-flower-planet-ep","title":"Squirrel Flower - Planet EP","description":"\u003cp\u003eSince releasing her debut album,\u003ci\u003e I Was Born Swimming\u003c\/i\u003e, in 2019, \u003cstrong\u003eSquirrel Flower\u003c\/strong\u003e’s creative force, Ella Williams, has been on an unwavering upward trajectory, perfecting her craft of creating songs rooted in emotional devastation and exhilarating command. 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Showcasing Williams' signature use of space and looped vocal arrangements, these hypnotizing recordings offer a unique look at another side of her music - one that perfectly captures the vastness of the endless prairies and midwestern skies where Squirrel Flower was first formed.\u003c\/p\u003e\n\u003cblockquote\u003e\n\u003cp\u003e\u003cspan style=\"color: rgb(255, 42, 0);\"\u003eRecorded by Evan Riley\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"color: rgb(255, 42, 0);\"\u003eMixed by Alex Farrar\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"color: rgb(255, 42, 0);\"\u003eMastered by Mike Nolte\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"color: rgb(255, 42, 0);\"\u003ePaintings by Clay Frankel\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"color: rgb(255, 42, 0);\"\u003ePhotos by Ash Dye\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"color: rgb(255, 42, 0);\"\u003eLayout by Eli Schimtt.\u003c\/span\u003e\u003c\/p\u003e\n\u003c\/blockquote\u003e","brand":"Polyvinyl Records","offers":[{"title":"CD","offer_id":51543324852531,"sku":"PRC-519CD","price":12.0,"currency_code":"USD","in_stock":true},{"title":"Digital","offer_id":51543333667123,"sku":"PRC-519DIGITAL","price":10.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0881\/7655\/8387\/files\/4628caa30916a194e26bfda44c8d5a1cb412eeeb_a989aae15cc16142bd3ec734bf0b64f4decdf493_photo_jpg.jpg?v=1750972883"},{"product_id":"babehoven-squirrel-flower-my-life-in-art","title":"Squirrel Flower \/ Babehoven - My Life in Art","description":"\u003cp\u003eFriends, past tour mates, songwriters, and musicians Maya Bon of the Hudson Valley New York duo \u003cstrong\u003eBabehoven\u003c\/strong\u003e, and Ella Williams of the Chicago based project \u003cstrong\u003eSquirrel Flower\u003c\/strong\u003e, are thrilled to share their first ever collaborative release – a cover of \"My Life in Art\" by beloved British rock band Mojave 3.\u003c\/p\u003e\n\u003cp\u003eOriginally appearing on the Slowdive-adjacent group's sophomore album, \u003cem\u003eExcuses for Travellers\u003c\/em\u003e (4AD), Babehoven and Squirrel Flower's beautifully lush and layered rendition breathes with life and flows with emotion. As the song culminates with its haunting refrain of \"I'll kill you just for trying,\" Bon and Williams powerful voices swim in tandem, taking turns in rising to the surface, lovingly recreating the harmonies of Neil Halstead and Rachel Goswell into something of their own singular making.\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cblockquote\u003e\n\u003cspan style=\"color: rgb(0, 0, 0);\"\u003e\u003c\/span\u003e\u003cspan style=\"color: rgb(255, 42, 0);\"\u003e\u003c\/span\u003e\n\u003cp dir=\"ltr\"\u003e\u003cspan style=\"color: rgb(255, 42, 0);\"\u003ePerformed by: Maya Bon and Ella Williams \u003c\/span\u003e\u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003e\u003cspan style=\"color: rgb(255, 42, 0);\"\u003eGuitar, bass, drums, keys: Ryan Albert\u003c\/span\u003e\u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003e\u003cspan style=\"color: rgb(255, 42, 0);\"\u003eAcoustic \u0026amp; electric guitar: Ella Williams\u003c\/span\u003e\u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003e\u003cspan style=\"color: rgb(255, 42, 0);\"\u003eAccordion: Ella Williams\u003c\/span\u003e\u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003e\u003cspan style=\"color: rgb(255, 42, 0);\"\u003eEngineered by: Ryan Albert\u003c\/span\u003e\u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003e\u003cspan style=\"color: rgb(255, 42, 0);\"\u003eProduced by: Ryan Albert\u003c\/span\u003e\u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003e\u003cspan style=\"color: rgb(255, 42, 0);\"\u003eMixed by: Henry Stoehr\u003c\/span\u003e\u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003e\u003cspan style=\"color: rgb(255, 42, 0);\"\u003eMastered by: Greg Obis at Chicago Mastering Service\u003c\/span\u003e\u003c\/p\u003e\n\u003c\/blockquote\u003e","brand":"Polyvinyl Records","offers":[{"title":"Digital","offer_id":52710234358067,"sku":"PRC-525DIGITAL","price":1.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0881\/7655\/8387\/files\/PRC-525-cover-web.jpg?v=1763486349"},{"product_id":"squirrel-flower-wheels","title":"Squirrel Flower - Wheels","description":"\u003cp\u003eOn “Wheels,” \u003cstrong\u003eSquirrel Flower\u003c\/strong\u003e’s Ella Williams teams up with friends Billie Marten and Babehoven for a collaborative single that captures the ever-present uncertainty of life on the road. With a country-infused twang and warm Rhodes piano from Free Range’s Sofia Jensen, the track is anchored by Williams, Marten, and Maya Bon (Babehoven), whose voices intertwine in harmonies that swell with an almost choir-like brilliance. “You said you wanted something I don’t, I am always coming just as you go,” they sing, caught somewhere between what’s already behind them and whatever awaits up the road.\u003c\/p\u003e\n\u003cblockquote\u003e\n\u003cspan style=\"color: rgb(0, 0, 0);\"\u003e\u003c\/span\u003e\u003cspan style=\"color: rgb(255, 42, 0);\"\u003e\u003c\/span\u003e\n\u003cp\u003e\u003cspan style=\"color: rgb(255, 42, 0);\"\u003eWheels is written by Ella Williams and Maya Bon\u003c\/span\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"color: rgb(255, 42, 0);\"\u003eEngineered by Jack Henry Lickerman and Seth Engel\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"color: rgb(255, 42, 0);\"\u003eCo-produced by Jack Henry Lickerman, Seth Engel, and Ella Williams \u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"color: rgb(255, 42, 0);\"\u003eMixed by Phil Weinrobe\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"color: rgb(255, 42, 0);\"\u003eMastered by Bob Weston\u003c\/span\u003e\u003cbr\u003e\u003cbr\u003e\u003cspan style=\"color: rgb(255, 42, 0);\"\u003eElla Williams - voice + guitar\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"color: rgb(255, 42, 0);\"\u003eSeth Engel - bass + drums\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"color: rgb(255, 42, 0);\"\u003eAndy Krull - guitar\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"color: rgb(255, 42, 0);\"\u003eSofia Jensen - rhodes \u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"color: rgb(255, 42, 0);\"\u003eLeah Krull - octave mandolin \u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"color: rgb(255, 42, 0);\"\u003eMaya Bon - voice\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"color: rgb(255, 42, 0);\"\u003eBillie Marten - voice\u003c\/span\u003e\u003cbr\u003e\u003cbr\u003e\u003cspan style=\"color: rgb(255, 42, 0);\"\u003eCover Art: \u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"color: rgb(255, 42, 0);\"\u003ePhoto by Janelle Abad\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"color: rgb(255, 42, 0);\"\u003eEdited by Ruby Rose\u003c\/span\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003c\/blockquote\u003e","brand":"Polyvinyl Records","offers":[{"title":"Digital","offer_id":53164611567923,"sku":"PRC-9738-0DIGITAL","price":1.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0881\/7655\/8387\/files\/PRC-9738-0_Cover_Web.jpg?v=1774370261"},{"product_id":"squirrel-flower-say-a-prayer-to-the-gods-of-getting-going","title":"Squirrel Flower - Say a Prayer to the Gods of Getting Going","description":"\u003cp\u003eIf a throughline exists in the decade of \u003cstrong\u003eSquirrel Flower\u003c\/strong\u003e’s repertoire, it’s a projection of time and place. A ‘Squirrel Flower song’ is, if anything, a snapshot of Chicago-based songwriter Ella Williams’ feelings in a given moment, extrapolated into a character, or a train of thought, or a (super)natural phenomenon. Of her fourth studio album released by Polyvinyl Records (and sixth full-length to date), \u003cem\u003eSay A Prayer to the Gods of Getting Going\u003c\/em\u003e, Williams describes each song as a living archive of a moment or a place, given the space to live on its own outside of the forceful progression of time. \u003c\/p\u003e\n\u003cp\u003eThe transcendent title track begins where 2023’s \u003cem\u003eTomorrow’s Fire\u003c\/em\u003e leaves off. Both spacious and thunderous, it’s a meditation on movement and stasis, future and past, delivered with a power that verges on mystical. This is where \u003cem\u003eSay a Prayer\u003c\/em\u003e stands out as a singular and monumental classic. In crafting a collage of landscapes and characters (Williams wrote over thirty songs in the process), she skillfully weaves together a timeless love album. Just as the generational richness of Williams’ voice cuts through each track’s darkness or playfulness, so does an unmistakable depth of feeling. Love for friends, for landscape, for relentless touring, for her own ideas and feelings, for life itself, for some elusive lover Williams chases to each of her stops along the road. \u003c\/p\u003e\n\u003cp\u003eSpanning 2024 and 2025, the writing process for \u003cem\u003eSay A Prayer\u003c\/em\u003e is an account of the locations and the characters Williams encountered as she traveled across vast American biomes: “Canyons of New Mexico \/ Factories of Indiana \/ Bunkers of California \/ Harbors of New England calling \/ She ends up in borderlands \/ She ends up in familiar places.” Williams chronicles the changing landscapes of a solo traveller, untethered to anyone or anything other than the experience itself, and bolstered by a vast network of friends and companions.\u003c\/p\u003e\n\u003cp\u003eTracked live at makeshift studio Merry Meadow in Door County, WI with a cast of Chicago music heads including co-producers Seth Engel and Jack Henry, and later painstakingly refined and rerecorded to perfection in Asheville, NC at Alex Farrar’s Drop of Sun studios, \u003cem\u003eSay a Prayer\u003c\/em\u003e’s production mirrors its songwriting process. In addition to Dave Hartley (The War on Drugs) and Seth Kauffman (Angel Olsen), both of whom played on Williams’ 2023 album \u003cem\u003eTomorrow’s Fire\u003c\/em\u003e, Williams enlisted a cast of friends including Dimitri Giannopolous (Horse Jumper of Love), Sofia Jensen (Free Range), Clay Frankel (Twin Peaks), Andy Krull (Red PK), Book not Brooke (Babywave), and even family members Jameson, Jesse, and Nate Williams. \u003c\/p\u003e\n\u003cp\u003eFarrar, a producer known for a prolific indie rock sound (Wednesday, MJ Lenderman), surprised Williams by amplifying the quietest, most delicate aspects of her music. “He was encouraging me to lean into this ethereal, yet grounded, spacious yet textured folk music that’s so true to the early days of Squirrel Flower,” Williams states. “It felt like a breakthrough.” Exemplified by the sparkling acoustic arrangement of 12-string guitars, recorder, and accordion on lead single “Reelin,” Williams envelops herself in a shimmering and timeless sound inspired by legendary wild-women Stevie Nicks, Linda Ronstadt, and Joni Mitchell. Williams herself draws from the independent spirits of her heroes, setting scenes both domestic and cosmic, “Trash on Sunday, boy in the yard”—before letting her love and the road take her where they will: “‘Til bad things call me back again.”\u003c\/p\u003e\n\u003cp\u003eThis energy deepens with “Not Me,” a heartland rock single emerging from a dream Williams had one night in New Mexico, in which the subtleties of her voice demand room to shine. “I’d been listening to Linda Ronstadt so much when I wrote it,” says Williams, “and I think that really came through. I wanted to just sing.” Ringing with the tensions of desire and independence, the heartfelt track follows the pop effortlessness of “Cleveland.” Co-written with Ella’s sibling Nate, a first for the typically solo songwriter, “Cleveland” toys with a classic love story in the context of the unmoored angst held by so many young people: “It’s a love song, but she’s choosing the city over the boy,” says Williams.\u003cbr\u003e \u003cbr\u003eHalfway through the tracklist lies “Highway Woman,” the thematic heart of the album. Somewhere between autobiography and fiction, the song earnestly displays Williams’ commitment to a creative life and to the process of creation itself. “I’m singing about myself, to myself, but also to and about every wild person who lives on the margins, on the wind, on the road, who flirts with immortality through art and restlessness.” Williams navigates a bohemian lifestyle in an era that refuses to accommodate it, and catalogues her life in an attempt to grasp some form of independence and immortality: “She’ll never be yours and yours alone \/ She doesn’t plan on dying.” The recording captures Williams’ voice with newfound clarity; she has never sounded so much like herself. Layers of acoustic guitars draw in and comfort weary listeners as guitarist Andy Krull’s crooning beckons them back out to the road. \u003c\/p\u003e\n\u003cp\u003eIn many ways, \u003cmeta charset=\"utf-8\"\u003e\u003cem\u003eSay A Prayer to the Gods of Getting Going\u003c\/em\u003e is about itself, about the process of its creation on the road. That isn’t to say that \u003cem\u003eSay a Prayer\u003c\/em\u003e is a travelogue. It’s more of a bittersweet testament to exploration and self-possession, longing and musing. Vividly personal, it’s like a set of abandoned scrapbooks filled with ephemera, harvested from the side of the dusty freeway by some highway woman over her decades, piled up in a banker’s box in a backyard shed, tenuously protected from a desert monsoon. Past experiences lovingly chronicled, the future remains open for Williams as she hopes for a sign to help her know when to get going and when to stay still. “And this life is free \/ ‘You gotta take what you can get’ \/ Not me”.\u003cbr\u003e\u003c\/p\u003e\n\u003cblockquote\u003e\n\u003cp dir=\"ltr\"\u003e\u003cspan style=\"color: rgb(255, 42, 0);\"\u003e\u003cmeta charset=\"utf-8\"\u003eAll songs written by Ella Williams except “Cleveland,” written by Ella Williams \u0026amp; Nate Williams.\u003cbr\u003eVocal harmony on “Highway Woman” co-written by Seth Engel.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003e\u003cspan style=\"color: rgb(255, 42, 0);\"\u003eRecorded at Merry Meadow (Door County, WI) and Drop of Sun (Asheville, NC)\u003c\/span\u003e\u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003e\u003cspan style=\"color: rgb(255, 42, 0);\"\u003eProduced by Ella Williams, Alex Farrar, Seth Engel \u0026amp; Jack Henry Lickerman\u003c\/span\u003e\u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003e\u003cspan style=\"color: rgb(255, 42, 0);\"\u003eEngineered by Alex Farrar, Seth Engel \u0026amp; Jack Henry Lickerman\u003cbr\u003eAssistant Engineer: Lawson Alderson\u003cbr\u003eAdditional Engineering on “Surfing USA”: Eric Kilburn at Wellspring Sound Studio\u003c\/span\u003e\u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003e\u003cspan style=\"color: rgb(255, 42, 0);\"\u003eMixed by Alex Farrar\u003cbr\u003eMastered by Bob Weston\u003c\/span\u003e\u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003e\u003cspan style=\"color: rgb(255, 42, 0);\"\u003eMUSICIANS\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"isSelectedEnd\"\u003e\u003cspan style=\"color: rgb(255, 42, 0);\"\u003eElla Williams (\u003cem\u003eall tracks\u003c\/em\u003e) — voice, guitar, Fender Rhodes, accordion, recorder, percussion\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"isSelectedEnd\"\u003e\u003cspan style=\"color: rgb(255, 42, 0);\"\u003eAlex Farrar (\u003cem\u003eSay a Prayer to the Gods of Getting Going\u003c\/em\u003e, \u003cem\u003eCleveland\u003c\/em\u003e, \u003cem\u003eNot Me\u003c\/em\u003e, \u003cem\u003eHighway Woman\u003c\/em\u003e, \u003cem\u003eReelin\u003c\/em\u003e, \u003cem\u003eSurfing USA\u003c\/em\u003e, \u003cem\u003eWeightless, Untethered\u003c\/em\u003e) — bass, guitar, drums, piano, keys, percussion\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"isSelectedEnd\"\u003e\u003cspan style=\"color: rgb(255, 42, 0);\"\u003eSeth Engel (\u003cem\u003eSay a Prayer to the Gods of Getting Going\u003c\/em\u003e, \u003cem\u003eHelicopters\u003c\/em\u003e, \u003cem\u003eFoot Thick Ice\u003c\/em\u003e, \u003cem\u003eSick Tooth\u003c\/em\u003e) — bass, drums\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"isSelectedEnd\"\u003e\u003cspan style=\"color: rgb(255, 42, 0);\"\u003eJack Henry Lickerman (\u003cem\u003eSay a Prayer to the Gods of Getting Going\u003c\/em\u003e, \u003cem\u003eHelicopters\u003c\/em\u003e) — drums\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"isSelectedEnd\"\u003e\u003cspan style=\"color: rgb(255, 42, 0);\"\u003eAndy Krull (\u003cem\u003eCleveland\u003c\/em\u003e, \u003cem\u003eNot Me\u003c\/em\u003e, \u003cem\u003eHelicopters\u003c\/em\u003e, \u003cem\u003eHighway Woman\u003c\/em\u003e, \u003cem\u003eFoot Thick Ice\u003c\/em\u003e, \u003cem\u003eSick Tooth\u003c\/em\u003e) — guitar\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"isSelectedEnd\"\u003e\u003cspan style=\"color: rgb(255, 42, 0);\"\u003eDave Hartley (\u003cem\u003eNot Me\u003c\/em\u003e, \u003cem\u003eHighway Woman\u003c\/em\u003e, \u003cem\u003eFought a Hornet\u003c\/em\u003e, \u003cem\u003eWeightless, Untethered\u003c\/em\u003e) — bass\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"isSelectedEnd\"\u003e\u003cspan style=\"color: rgb(255, 42, 0);\"\u003eNate Williams (\u003cem\u003eCleveland\u003c\/em\u003e, \u003cem\u003eNot Me\u003c\/em\u003e) — voice\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"isSelectedEnd\"\u003e\u003cspan style=\"color: rgb(255, 42, 0);\"\u003eDimitri Giannopoulos (\u003cem\u003eCleveland\u003c\/em\u003e, \u003cem\u003eNot Me\u003c\/em\u003e) — guitar\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"isSelectedEnd\"\u003e\u003cspan style=\"color: rgb(255, 42, 0);\"\u003eClay Frankel (\u003cem\u003eNot Me\u003c\/em\u003e, \u003cem\u003eReelin\u003c\/em\u003e) — viola, voice\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"isSelectedEnd\"\u003e\u003cspan style=\"color: rgb(255, 42, 0);\"\u003eSofia Jensen (\u003cem\u003eHelicopters\u003c\/em\u003e, \u003cem\u003eFoot Thick Ice\u003c\/em\u003e) — Fender Rhodes\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"isSelectedEnd\"\u003e\u003cspan style=\"color: rgb(255, 42, 0);\"\u003eJameson Williams (\u003cem\u003eNot Me\u003c\/em\u003e) — guitar\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"isSelectedEnd\"\u003e\u003cspan style=\"color: rgb(255, 42, 0);\"\u003eSeth Kauffman (\u003cem\u003eNot Me\u003c\/em\u003e) — 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Digital)\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003eIf a throughline exists in the decade of \u003cstrong\u003eSquirrel Flower\u003c\/strong\u003e’s repertoire, it’s a projection of time and place. A ‘Squirrel Flower song’ is, if anything, a snapshot of Chicago-based songwriter Ella Williams’ feelings in a given moment, extrapolated into a character, or a train of thought, or a (super)natural phenomenon. Of her fourth studio album released by Polyvinyl Records (and sixth full-length to date), \u003cem\u003eSay A Prayer to the Gods of Getting Going\u003c\/em\u003e, Williams describes each song as a living archive of a moment or a place, given the space to live on its own outside of the forceful progression of time. \u003c\/p\u003e\n\u003cp\u003eThe transcendent title track begins where 2023’s \u003cem\u003eTomorrow’s Fire\u003c\/em\u003e leaves off. Both spacious and thunderous, it’s a meditation on movement and stasis, future and past, delivered with a power that verges on mystical. This is where \u003cem\u003eSay a Prayer\u003c\/em\u003e stands out as a singular and monumental classic. In crafting a collage of landscapes and characters (Williams wrote over thirty songs in the process), she skillfully weaves together a timeless love album. Just as the generational richness of Williams’ voice cuts through each track’s darkness or playfulness, so does an unmistakable depth of feeling. Love for friends, for landscape, for relentless touring, for her own ideas and feelings, for life itself, for some elusive lover Williams chases to each of her stops along the road. \u003c\/p\u003e\n\u003cp\u003eSpanning 2024 and 2025, the writing process for \u003cem\u003eSay A Prayer\u003c\/em\u003e is an account of the locations and the characters Williams encountered as she traveled across vast American biomes: “Canyons of New Mexico \/ Factories of Indiana \/ Bunkers of California \/ Harbors of New England calling \/ She ends up in borderlands \/ She ends up in familiar places.” Williams chronicles the changing landscapes of a solo traveller, untethered to anyone or anything other than the experience itself, and bolstered by a vast network of friends and companions.\u003c\/p\u003e\n\u003cp\u003eTracked live at makeshift studio Merry Meadow in Door County, WI with a cast of Chicago music heads including co-producers Seth Engel and Jack Henry, and later painstakingly refined and rerecorded to perfection in Asheville, NC at Alex Farrar’s Drop of Sun studios, \u003cem\u003eSay a Prayer\u003c\/em\u003e’s production mirrors its songwriting process. In addition to Dave Hartley (The War on Drugs) and Seth Kauffman (Angel Olsen), both of whom played on Williams’ 2023 album \u003cem\u003eTomorrow’s Fire\u003c\/em\u003e, Williams enlisted a cast of friends including Dimitri Giannopolous (Horse Jumper of Love), Sofia Jensen (Free Range), Clay Frankel (Twin Peaks), Andy Krull (Red PK), Book not Brooke (Babywave), and even family members Jameson, Jesse, and Nate Williams. \u003c\/p\u003e\n\u003cp\u003eFarrar, a producer known for a prolific indie rock sound (Wednesday, MJ Lenderman), surprised Williams by amplifying the quietest, most delicate aspects of her music. “He was encouraging me to lean into this ethereal, yet grounded, spacious yet textured folk music that’s so true to the early days of Squirrel Flower,” Williams states. “It felt like a breakthrough.” Exemplified by the sparkling acoustic arrangement of 12-string guitars, recorder, and accordion on lead single “Reelin,” Williams envelops herself in a shimmering and timeless sound inspired by legendary wild-women Stevie Nicks, Linda Ronstadt, and Joni Mitchell. Williams herself draws from the independent spirits of her heroes, setting scenes both domestic and cosmic, “Trash on Sunday, boy in the yard”—before letting her love and the road take her where they will: “‘Til bad things call me back again.”\u003c\/p\u003e\n\u003cp\u003eThis energy deepens with “Not Me,” a heartland rock single emerging from a dream Williams had one night in New Mexico, in which the subtleties of her voice demand room to shine. “I’d been listening to Linda Ronstadt so much when I wrote it,” says Williams, “and I think that really came through. I wanted to just sing.” Ringing with the tensions of desire and independence, the heartfelt track follows the pop effortlessness of “Cleveland.” Co-written with Ella’s sibling Nate, a first for the typically solo songwriter, “Cleveland” toys with a classic love story in the context of the unmoored angst held by so many young people: “It’s a love song, but she’s choosing the city over the boy,” says Williams.\u003cbr\u003e \u003cbr\u003eHalfway through the tracklist lies “Highway Woman,” the thematic heart of the album. Somewhere between autobiography and fiction, the song earnestly displays Williams’ commitment to a creative life and to the process of creation itself. “I’m singing about myself, to myself, but also to and about every wild person who lives on the margins, on the wind, on the road, who flirts with immortality through art and restlessness.” Williams navigates a bohemian lifestyle in an era that refuses to accommodate it, and catalogues her life in an attempt to grasp some form of independence and immortality: “She’ll never be yours and yours alone \/ She doesn’t plan on dying.” The recording captures Williams’ voice with newfound clarity; she has never sounded so much like herself. Layers of acoustic guitars draw in and comfort weary listeners as guitarist Andy Krull’s crooning beckons them back out to the road. \u003c\/p\u003e\n\u003cp\u003eIn many ways, \u003cmeta charset=\"utf-8\"\u003e\u003cem\u003eSay A Prayer to the Gods of Getting Going\u003c\/em\u003e is about itself, about the process of its creation on the road. That isn’t to say that \u003cem\u003eSay a Prayer\u003c\/em\u003e is a travelogue. It’s more of a bittersweet testament to exploration and self-possession, longing and musing. Vividly personal, it’s like a set of abandoned scrapbooks filled with ephemera, harvested from the side of the dusty freeway by some highway woman over her decades, piled up in a banker’s box in a backyard shed, tenuously protected from a desert monsoon. Past experiences lovingly chronicled, the future remains open for Williams as she hopes for a sign to help her know when to get going and when to stay still. “And this life is free \/ ‘You gotta take what you can get’ \/ Not me”.\u003c\/p\u003e","brand":"Polyvinyl Bundle","offers":[{"title":"Default Title","offer_id":53495952146739,"sku":null,"price":0.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0881\/7655\/8387\/files\/SqFl_SayAPrayer_MerchMockups_RainbowShirt-Album_SQ.jpg?v=1781595255"},{"product_id":"squirrel-flower-say-a-prayer-to-the-gods-of-getting-going-baby-tee-bundle","title":"Squirrel Flower - Say a Prayer to the Gods of Getting Going + Baby Tee Bundle","description":"\u003cp\u003e\u003cmeta charset=\"utf-8\"\u003e\u003cstrong\u003ePre-orders are scheduled to ship August 21, 2026.\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"text-decoration: underline;\"\u003eBABY TEE\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cmeta charset=\"utf-8\"\u003eBRAND: Tapstitch\u003cbr\u003eSHIRT COLOR: Black\u003cbr\u003eDESIGN: Baby Pink\u003cbr\u003e\u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003e\u003cspan style=\"text-decoration: underline;\"\u003eALBUM (Vinyl, CD, Tape, Digital)\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003eIf a throughline exists in the decade of \u003cstrong\u003eSquirrel Flower\u003c\/strong\u003e’s repertoire, it’s a projection of time and place. A ‘Squirrel Flower song’ is, if anything, a snapshot of Chicago-based songwriter Ella Williams’ feelings in a given moment, extrapolated into a character, or a train of thought, or a (super)natural phenomenon. Of her fourth studio album released by Polyvinyl Records (and sixth full-length to date), \u003cem\u003eSay A Prayer to the Gods of Getting Going\u003c\/em\u003e, Williams describes each song as a living archive of a moment or a place, given the space to live on its own outside of the forceful progression of time. \u003c\/p\u003e\n\u003cp\u003eThe transcendent title track begins where 2023’s \u003cem\u003eTomorrow’s Fire\u003c\/em\u003e leaves off. Both spacious and thunderous, it’s a meditation on movement and stasis, future and past, delivered with a power that verges on mystical. This is where \u003cem\u003eSay a Prayer\u003c\/em\u003e stands out as a singular and monumental classic. In crafting a collage of landscapes and characters (Williams wrote over thirty songs in the process), she skillfully weaves together a timeless love album. Just as the generational richness of Williams’ voice cuts through each track’s darkness or playfulness, so does an unmistakable depth of feeling. Love for friends, for landscape, for relentless touring, for her own ideas and feelings, for life itself, for some elusive lover Williams chases to each of her stops along the road. \u003c\/p\u003e\n\u003cp\u003eSpanning 2024 and 2025, the writing process for \u003cem\u003eSay A Prayer\u003c\/em\u003e is an account of the locations and the characters Williams encountered as she traveled across vast American biomes: “Canyons of New Mexico \/ Factories of Indiana \/ Bunkers of California \/ Harbors of New England calling \/ She ends up in borderlands \/ She ends up in familiar places.” Williams chronicles the changing landscapes of a solo traveller, untethered to anyone or anything other than the experience itself, and bolstered by a vast network of friends and companions.\u003c\/p\u003e\n\u003cp\u003eTracked live at makeshift studio Merry Meadow in Door County, WI with a cast of Chicago music heads including co-producers Seth Engel and Jack Henry, and later painstakingly refined and rerecorded to perfection in Asheville, NC at Alex Farrar’s Drop of Sun studios, \u003cem\u003eSay a Prayer\u003c\/em\u003e’s production mirrors its songwriting process. In addition to Dave Hartley (The War on Drugs) and Seth Kauffman (Angel Olsen), both of whom played on Williams’ 2023 album \u003cem\u003eTomorrow’s Fire\u003c\/em\u003e, Williams enlisted a cast of friends including Dimitri Giannopolous (Horse Jumper of Love), Sofia Jensen (Free Range), Clay Frankel (Twin Peaks), Andy Krull (Red PK), Book not Brooke (Babywave), and even family members Jameson, Jesse, and Nate Williams. \u003c\/p\u003e\n\u003cp\u003eFarrar, a producer known for a prolific indie rock sound (Wednesday, MJ Lenderman), surprised Williams by amplifying the quietest, most delicate aspects of her music. “He was encouraging me to lean into this ethereal, yet grounded, spacious yet textured folk music that’s so true to the early days of Squirrel Flower,” Williams states. “It felt like a breakthrough.” Exemplified by the sparkling acoustic arrangement of 12-string guitars, recorder, and accordion on lead single “Reelin,” Williams envelops herself in a shimmering and timeless sound inspired by legendary wild-women Stevie Nicks, Linda Ronstadt, and Joni Mitchell. Williams herself draws from the independent spirits of her heroes, setting scenes both domestic and cosmic, “Trash on Sunday, boy in the yard”—before letting her love and the road take her where they will: “‘Til bad things call me back again.”\u003c\/p\u003e\n\u003cp\u003eThis energy deepens with “Not Me,” a heartland rock single emerging from a dream Williams had one night in New Mexico, in which the subtleties of her voice demand room to shine. “I’d been listening to Linda Ronstadt so much when I wrote it,” says Williams, “and I think that really came through. I wanted to just sing.” Ringing with the tensions of desire and independence, the heartfelt track follows the pop effortlessness of “Cleveland.” Co-written with Ella’s sibling Nate, a first for the typically solo songwriter, “Cleveland” toys with a classic love story in the context of the unmoored angst held by so many young people: “It’s a love song, but she’s choosing the city over the boy,” says Williams.\u003cbr\u003e \u003cbr\u003eHalfway through the tracklist lies “Highway Woman,” the thematic heart of the album. Somewhere between autobiography and fiction, the song earnestly displays Williams’ commitment to a creative life and to the process of creation itself. “I’m singing about myself, to myself, but also to and about every wild person who lives on the margins, on the wind, on the road, who flirts with immortality through art and restlessness.” Williams navigates a bohemian lifestyle in an era that refuses to accommodate it, and catalogues her life in an attempt to grasp some form of independence and immortality: “She’ll never be yours and yours alone \/ She doesn’t plan on dying.” The recording captures Williams’ voice with newfound clarity; she has never sounded so much like herself. Layers of acoustic guitars draw in and comfort weary listeners as guitarist Andy Krull’s crooning beckons them back out to the road. \u003c\/p\u003e\n\u003cp\u003eIn many ways, \u003cmeta charset=\"utf-8\"\u003e\u003cem\u003eSay A Prayer to the Gods of Getting Going\u003c\/em\u003e is about itself, about the process of its creation on the road. That isn’t to say that \u003cem\u003eSay a Prayer\u003c\/em\u003e is a travelogue. It’s more of a bittersweet testament to exploration and self-possession, longing and musing. Vividly personal, it’s like a set of abandoned scrapbooks filled with ephemera, harvested from the side of the dusty freeway by some highway woman over her decades, piled up in a banker’s box in a backyard shed, tenuously protected from a desert monsoon. Past experiences lovingly chronicled, the future remains open for Williams as she hopes for a sign to help her know when to get going and when to stay still. “And this life is free \/ ‘You gotta take what you can get’ \/ Not me”.\u003c\/p\u003e","brand":"Polyvinyl Bundle","offers":[{"title":"Default Title","offer_id":53496021844275,"sku":null,"price":0.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0881\/7655\/8387\/files\/SqFl_SayAPrayer_MerchMockups_HighwayShirt-Album_SQ.jpg?v=1781595505"},{"product_id":"squirrel-flower-say-a-prayer-to-the-gods-of-getting-going-pick-2-merch-items-bundle","title":"Squirrel Flower - Say a Prayer to the Gods of Getting Going + Pick 2 Merch Items Bundle","description":"\u003cp\u003e\u003cmeta charset=\"utf-8\"\u003e\u003cstrong\u003ePre-orders are scheduled to ship August 21, 2026.\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cem\u003eBundle includes album format of your choice and two (2) merch selections from the following options:\u003c\/em\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"text-decoration: underline;\"\u003eT-SHIRT\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cmeta charset=\"utf-8\"\u003eBRAND: Comfort Colors\u003cbr\u003eSHIRT COLOR: White\u003cbr\u003eDESIGN: Full Color\u003c\/p\u003e\n\u003cp\u003e\u003cmeta charset=\"utf-8\"\u003e\u003cspan style=\"text-decoration: underline;\"\u003eBABY TEE\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003eBRAND: Tapstitch\u003cbr\u003eSHIRT COLOR: Black\u003cbr\u003eDESIGN: Baby Pink\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"text-decoration: underline;\"\u003eHAT\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003eBRAND: KBETHOS\u003cbr\u003eSHIRT COLOR: Dark Gray\/Khaki\u003cbr\u003eDESIGN: White Embroidery\u003cspan style=\"text-decoration: underline;\"\u003e\u003cbr\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"text-decoration: underline;\"\u003eSTICKER\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e6x3” full color vinyl sticker.\u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003e\u003cspan style=\"text-decoration: underline;\"\u003eALBUM (Vinyl, CD, Tape, Digital)\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003eIf a throughline exists in the decade of \u003cstrong\u003eSquirrel Flower\u003c\/strong\u003e’s repertoire, it’s a projection of time and place. A ‘Squirrel Flower song’ is, if anything, a snapshot of Chicago-based songwriter Ella Williams’ feelings in a given moment, extrapolated into a character, or a train of thought, or a (super)natural phenomenon. Of her fourth studio album released by Polyvinyl Records (and sixth full-length to date), \u003cem\u003eSay A Prayer to the Gods of Getting Going\u003c\/em\u003e, Williams describes each song as a living archive of a moment or a place, given the space to live on its own outside of the forceful progression of time. \u003c\/p\u003e\n\u003cp\u003eThe transcendent title track begins where 2023’s \u003cem\u003eTomorrow’s Fire\u003c\/em\u003e leaves off. Both spacious and thunderous, it’s a meditation on movement and stasis, future and past, delivered with a power that verges on mystical. This is where \u003cem\u003eSay a Prayer\u003c\/em\u003e stands out as a singular and monumental classic. In crafting a collage of landscapes and characters (Williams wrote over thirty songs in the process), she skillfully weaves together a timeless love album. Just as the generational richness of Williams’ voice cuts through each track’s darkness or playfulness, so does an unmistakable depth of feeling. Love for friends, for landscape, for relentless touring, for her own ideas and feelings, for life itself, for some elusive lover Williams chases to each of her stops along the road. \u003c\/p\u003e\n\u003cp\u003eSpanning 2024 and 2025, the writing process for \u003cem\u003eSay A Prayer\u003c\/em\u003e is an account of the locations and the characters Williams encountered as she traveled across vast American biomes: “Canyons of New Mexico \/ Factories of Indiana \/ Bunkers of California \/ Harbors of New England calling \/ She ends up in borderlands \/ She ends up in familiar places.” Williams chronicles the changing landscapes of a solo traveller, untethered to anyone or anything other than the experience itself, and bolstered by a vast network of friends and companions.\u003c\/p\u003e\n\u003cp\u003eTracked live at makeshift studio Merry Meadow in Door County, WI with a cast of Chicago music heads including co-producers Seth Engel and Jack Henry, and later painstakingly refined and rerecorded to perfection in Asheville, NC at Alex Farrar’s Drop of Sun studios, \u003cem\u003eSay a Prayer\u003c\/em\u003e’s production mirrors its songwriting process. In addition to Dave Hartley (The War on Drugs) and Seth Kauffman (Angel Olsen), both of whom played on Williams’ 2023 album \u003cem\u003eTomorrow’s Fire\u003c\/em\u003e, Williams enlisted a cast of friends including Dimitri Giannopolous (Horse Jumper of Love), Sofia Jensen (Free Range), Clay Frankel (Twin Peaks), Andy Krull (Red PK), Book not Brooke (Babywave), and even family members Jameson, Jesse, and Nate Williams. \u003c\/p\u003e\n\u003cp\u003eFarrar, a producer known for a prolific indie rock sound (Wednesday, MJ Lenderman), surprised Williams by amplifying the quietest, most delicate aspects of her music. “He was encouraging me to lean into this ethereal, yet grounded, spacious yet textured folk music that’s so true to the early days of Squirrel Flower,” Williams states. “It felt like a breakthrough.” Exemplified by the sparkling acoustic arrangement of 12-string guitars, recorder, and accordion on lead single “Reelin,” Williams envelops herself in a shimmering and timeless sound inspired by legendary wild-women Stevie Nicks, Linda Ronstadt, and Joni Mitchell. Williams herself draws from the independent spirits of her heroes, setting scenes both domestic and cosmic, “Trash on Sunday, boy in the yard”—before letting her love and the road take her where they will: “‘Til bad things call me back again.”\u003c\/p\u003e\n\u003cp\u003eThis energy deepens with “Not Me,” a heartland rock single emerging from a dream Williams had one night in New Mexico, in which the subtleties of her voice demand room to shine. “I’d been listening to Linda Ronstadt so much when I wrote it,” says Williams, “and I think that really came through. I wanted to just sing.” Ringing with the tensions of desire and independence, the heartfelt track follows the pop effortlessness of “Cleveland.” Co-written with Ella’s sibling Nate, a first for the typically solo songwriter, “Cleveland” toys with a classic love story in the context of the unmoored angst held by so many young people: “It’s a love song, but she’s choosing the city over the boy,” says Williams.\u003cbr\u003e \u003cbr\u003eHalfway through the tracklist lies “Highway Woman,” the thematic heart of the album. Somewhere between autobiography and fiction, the song earnestly displays Williams’ commitment to a creative life and to the process of creation itself. “I’m singing about myself, to myself, but also to and about every wild person who lives on the margins, on the wind, on the road, who flirts with immortality through art and restlessness.” Williams navigates a bohemian lifestyle in an era that refuses to accommodate it, and catalogues her life in an attempt to grasp some form of independence and immortality: “She’ll never be yours and yours alone \/ She doesn’t plan on dying.” The recording captures Williams’ voice with newfound clarity; she has never sounded so much like herself. Layers of acoustic guitars draw in and comfort weary listeners as guitarist Andy Krull’s crooning beckons them back out to the road. \u003c\/p\u003e\n\u003cp\u003eIn many ways, \u003cmeta charset=\"utf-8\"\u003e\u003cem\u003eSay A Prayer to the Gods of Getting Going\u003c\/em\u003e is about itself, about the process of its creation on the road. That isn’t to say that \u003cem\u003eSay a Prayer\u003c\/em\u003e is a travelogue. It’s more of a bittersweet testament to exploration and self-possession, longing and musing. Vividly personal, it’s like a set of abandoned scrapbooks filled with ephemera, harvested from the side of the dusty freeway by some highway woman over her decades, piled up in a banker’s box in a backyard shed, tenuously protected from a desert monsoon. Past experiences lovingly chronicled, the future remains open for Williams as she hopes for a sign to help her know when to get going and when to stay still. “And this life is free \/ ‘You gotta take what you can get’ \/ Not me”.\u003c\/p\u003e","brand":"Polyvinyl Bundle","offers":[{"title":"Default Title","offer_id":53496051532083,"sku":null,"price":0.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0881\/7655\/8387\/files\/SqFl_SayAPrayer_MerchMockups_MEGA_SQ.jpg?v=1781595884"},{"product_id":"squirrel-flower-say-a-prayer-to-the-gods-of-getting-going-pick-3-merch-items-bundle","title":"Squirrel Flower - Say a Prayer to the Gods of Getting Going + Pick 3 Merch Items Bundle","description":"\u003cp\u003e\u003cmeta charset=\"utf-8\"\u003e\u003cstrong\u003ePre-orders are scheduled to ship August 21, 2026.\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cem\u003eBundle includes album format of your choice and three (3) merch selections from the following options:\u003c\/em\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"text-decoration: underline;\"\u003eT-SHIRT\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cmeta charset=\"utf-8\"\u003eBRAND: Comfort Colors\u003cbr\u003eSHIRT COLOR: White\u003cbr\u003eDESIGN: Full Color\u003c\/p\u003e\n\u003cp\u003e\u003cmeta charset=\"utf-8\"\u003e\u003cspan style=\"text-decoration: underline;\"\u003eBABY TEE\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003eBRAND: Tapstitch\u003cbr\u003eSHIRT COLOR: Black\u003cbr\u003eDESIGN: Baby Pink\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"text-decoration: underline;\"\u003eHAT\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003eBRAND: KBETHOS\u003cbr\u003eSHIRT COLOR: Dark Gray\/Khaki\u003cbr\u003eDESIGN: White Embroidery\u003cspan style=\"text-decoration: underline;\"\u003e\u003cbr\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"text-decoration: underline;\"\u003eSTICKER\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e6x3” full color vinyl sticker.\u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003e\u003cspan style=\"text-decoration: underline;\"\u003eALBUM (Vinyl, CD, Tape, Digital)\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003eIf a throughline exists in the decade of \u003cstrong\u003eSquirrel Flower\u003c\/strong\u003e’s repertoire, it’s a projection of time and place. A ‘Squirrel Flower song’ is, if anything, a snapshot of Chicago-based songwriter Ella Williams’ feelings in a given moment, extrapolated into a character, or a train of thought, or a (super)natural phenomenon. Of her fourth studio album released by Polyvinyl Records (and sixth full-length to date), \u003cem\u003eSay A Prayer to the Gods of Getting Going\u003c\/em\u003e, Williams describes each song as a living archive of a moment or a place, given the space to live on its own outside of the forceful progression of time. \u003c\/p\u003e\n\u003cp\u003eThe transcendent title track begins where 2023’s \u003cem\u003eTomorrow’s Fire\u003c\/em\u003e leaves off. Both spacious and thunderous, it’s a meditation on movement and stasis, future and past, delivered with a power that verges on mystical. This is where \u003cem\u003eSay a Prayer\u003c\/em\u003e stands out as a singular and monumental classic. In crafting a collage of landscapes and characters (Williams wrote over thirty songs in the process), she skillfully weaves together a timeless love album. Just as the generational richness of Williams’ voice cuts through each track’s darkness or playfulness, so does an unmistakable depth of feeling. Love for friends, for landscape, for relentless touring, for her own ideas and feelings, for life itself, for some elusive lover Williams chases to each of her stops along the road. \u003c\/p\u003e\n\u003cp\u003eSpanning 2024 and 2025, the writing process for \u003cem\u003eSay A Prayer\u003c\/em\u003e is an account of the locations and the characters Williams encountered as she traveled across vast American biomes: “Canyons of New Mexico \/ Factories of Indiana \/ Bunkers of California \/ Harbors of New England calling \/ She ends up in borderlands \/ She ends up in familiar places.” Williams chronicles the changing landscapes of a solo traveller, untethered to anyone or anything other than the experience itself, and bolstered by a vast network of friends and companions.\u003c\/p\u003e\n\u003cp\u003eTracked live at makeshift studio Merry Meadow in Door County, WI with a cast of Chicago music heads including co-producers Seth Engel and Jack Henry, and later painstakingly refined and rerecorded to perfection in Asheville, NC at Alex Farrar’s Drop of Sun studios, \u003cem\u003eSay a Prayer\u003c\/em\u003e’s production mirrors its songwriting process. In addition to Dave Hartley (The War on Drugs) and Seth Kauffman (Angel Olsen), both of whom played on Williams’ 2023 album \u003cem\u003eTomorrow’s Fire\u003c\/em\u003e, Williams enlisted a cast of friends including Dimitri Giannopolous (Horse Jumper of Love), Sofia Jensen (Free Range), Clay Frankel (Twin Peaks), Andy Krull (Red PK), Book not Brooke (Babywave), and even family members Jameson, Jesse, and Nate Williams. \u003c\/p\u003e\n\u003cp\u003eFarrar, a producer known for a prolific indie rock sound (Wednesday, MJ Lenderman), surprised Williams by amplifying the quietest, most delicate aspects of her music. “He was encouraging me to lean into this ethereal, yet grounded, spacious yet textured folk music that’s so true to the early days of Squirrel Flower,” Williams states. “It felt like a breakthrough.” Exemplified by the sparkling acoustic arrangement of 12-string guitars, recorder, and accordion on lead single “Reelin,” Williams envelops herself in a shimmering and timeless sound inspired by legendary wild-women Stevie Nicks, Linda Ronstadt, and Joni Mitchell. Williams herself draws from the independent spirits of her heroes, setting scenes both domestic and cosmic, “Trash on Sunday, boy in the yard”—before letting her love and the road take her where they will: “‘Til bad things call me back again.”\u003c\/p\u003e\n\u003cp\u003eThis energy deepens with “Not Me,” a heartland rock single emerging from a dream Williams had one night in New Mexico, in which the subtleties of her voice demand room to shine. “I’d been listening to Linda Ronstadt so much when I wrote it,” says Williams, “and I think that really came through. I wanted to just sing.” Ringing with the tensions of desire and independence, the heartfelt track follows the pop effortlessness of “Cleveland.” Co-written with Ella’s sibling Nate, a first for the typically solo songwriter, “Cleveland” toys with a classic love story in the context of the unmoored angst held by so many young people: “It’s a love song, but she’s choosing the city over the boy,” says Williams.\u003cbr\u003e \u003cbr\u003eHalfway through the tracklist lies “Highway Woman,” the thematic heart of the album. Somewhere between autobiography and fiction, the song earnestly displays Williams’ commitment to a creative life and to the process of creation itself. “I’m singing about myself, to myself, but also to and about every wild person who lives on the margins, on the wind, on the road, who flirts with immortality through art and restlessness.” Williams navigates a bohemian lifestyle in an era that refuses to accommodate it, and catalogues her life in an attempt to grasp some form of independence and immortality: “She’ll never be yours and yours alone \/ She doesn’t plan on dying.” The recording captures Williams’ voice with newfound clarity; she has never sounded so much like herself. Layers of acoustic guitars draw in and comfort weary listeners as guitarist Andy Krull’s crooning beckons them back out to the road. \u003c\/p\u003e\n\u003cp\u003eIn many ways, \u003cmeta charset=\"utf-8\"\u003e\u003cem\u003eSay A Prayer to the Gods of Getting Going\u003c\/em\u003e is about itself, about the process of its creation on the road. That isn’t to say that \u003cem\u003eSay a Prayer\u003c\/em\u003e is a travelogue. It’s more of a bittersweet testament to exploration and self-possession, longing and musing. Vividly personal, it’s like a set of abandoned scrapbooks filled with ephemera, harvested from the side of the dusty freeway by some highway woman over her decades, piled up in a banker’s box in a backyard shed, tenuously protected from a desert monsoon. Past experiences lovingly chronicled, the future remains open for Williams as she hopes for a sign to help her know when to get going and when to stay still. “And this life is free \/ ‘You gotta take what you can get’ \/ Not me”.\u003c\/p\u003e","brand":"Polyvinyl Bundle","offers":[{"title":"Default Title","offer_id":53496101765427,"sku":null,"price":0.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0881\/7655\/8387\/files\/SqFl_SayAPrayer_MerchMockups_MEGA_SQ.jpg?v=1781595884"}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0881\/7655\/8387\/collections\/dd72a5883cee51486e4f6ca81a266cf6dca68aea_c332f38dac37bb584c9893e7614c3c20f9502991_photo_jpg.jpg?v=1781617891","url":"https:\/\/www.polyvinylrecords.com\/collections\/squirrel-flower.oembed?page=2","provider":"Polyvinyl Record Co.","version":"1.0","type":"link"}