IPhone 6, iPhone 6s, iPhone 7, iPhone 8: 750x1334 IPhone 5, iPhone 5s, iPhone 5c, iPhone SE: 640x1136 IPhone: iPhone 2G, iPhone 3G, iPhone 3GS: 320x480 More than just a bit of folklore, shapeshifting selkies are a metaphor for Baker herself: a songwriter tied to the ebb and flow of the ocean (and humanity's) currents, whether they be half a world away or a few steps from home.MacBook Pro 13.3' Retina, MacBook Air 13' Retina, MacBook Air 13.3'(2020, M1): 2560x1600 Dual monitor: Fittingly, Baker opens Cadence with a song about selkies-seals that turn human on land.

“Overgrown” is the first major key Cinder Well song in nearly a decade while the uneasy and pulsating title track is a love letter to the self for our darkest days. Across nine epic tracks, Baker treads a sonic and lyrical path between the two coastal towns she calls home, her transcendental voice given new wings by the record’s sweeping arrangements.

While there are still hints of the doom folk that Cinder Well is known for, Cadence balances heavy lyrics with a more expansive sound that nods to LA’s mythical Laurel Canyon years. Inspired by this new setting, Baker expanded Cinder Well’s sound to include percussion, provided by her old friend Phillip Rogers (Haley Heynderickx), as well as trance electric guitar and expansive string parts courtesy Cormac MacDiarmada of Lankum. Written soon after the release of 2020’s acclaimed No Summer, Baker returned to her hometown in central California to record at Harlan Steinberger’s nearby Hen House Studios in Venice Beach. Cadence, the new album from Amelia Baker’s experimental folk project, drifts between two far-flung seas: the hazy California coast where she grew up, and the wind-torn swells of Western Ireland that she’s come to love. Oceans flow through the center of Cinder Well’s music. To let it be enough tonight, we’re running out of time I’ve got another call coming down the line

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