A New Record from Les Ailes

Rylie DeGarmo’s new album Lou Heron which was recorded under her Les Ailes moniker is built around tuneful songwriting and an inviting, intimate sound. She blends her “early jazz melodic influences with a folk honesty”, and despite having a larger band in tow (lap steel, fiddle, keys and subtle percussion), the production never overwhelms the songs. The result is an 11‑track set whose melodies stay with you and whose sequencing feels deliberate, each piece flowing naturally into the next. The project was forged under intense circumstances: producer Mike McCarthy suffered a collapsed lung just before recording, an event that gave the sessions a “life and death” intensity. DeGarmo herself was recovering from a nervous‑system collapse, and she speaks of “learning to weave grief into daily life”. Those experiences translate into performances that invite the listener close.

Opener “Looking In,” just a minute long, pairs her voice with a few organ chords and functions as a warm welcome. “Borrowed Body” grows from a spare intro into a rich, melodic hook while addressing themes of embodiment and social unrest. Songs like “Soft Neutrals” and “Seducer” are understated yet melodic, balancing acoustics and electric textures with carefully placed percussion. “Damn, I Almost Had You” strips everything back for an open and airy feel, showing DeGarmo’s ability to command attention with melody alone.

The expansive “Yours Truly” stretches to nearly five minutes yet maintains cohesion through its steady groove and a well‑timed fuzz‑guitar solo. Late‑album tracks such as “Absent Father, the Genius” question abandonment and collective responsibility, while “Flames and Gasoline” has its moment as well. “Dear Sam” returns to the minimalist intimacy that opened the record. 

Overall Lou Heron stands out for its melodic strength, cohesive arc and inviting, intimate tone.

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