Stoney Baloney Playlist and Blog
Bringing vibey indie artists more attention- or at least tryin'
Songs from all eras
Jeffrey Silverstein - Guesthouse
Guesthouse is a bouncy haze bottled in mid-tempo form — the kind of instrumental that settles in slow but sticks around like sunlight on a hardwood floor. The rhythm section — bass and drums — does the foundational heavy lifting, laying down a groove that’s steady, spacious, and unshakably warm.Floating above that is a reverb-soaked slide guitar that wanders with purpose, melodic but never showy — like it’s more interested in conjuring atmosphere than stealing the spotlight. An acoustic guitar strums gently throughout, subtly reinforcing the groove until the back half, when it rises up with a bit more gusto, like it’s finally catching the wave it’s been chasing.Then there’s the electric — processed and tasteful — weaving between rhythm and lead, gluing the whole thing together. It joins the melodic conversation without ever stepping on anyone’s toes, adding shimmer and shape to an already rich sonic stew.It’s not background music, exactly. It’s foreground drift — music that makes the world feel a little softer around the edges. Perfect for twilight porch hangs, trailhead joints, or just staring at the ceiling with nowhere to be.
The Rosaline - Keystone of the Heart
Keystone of the Heart kicks off with a twinkling piano — normally the kind of slow burn that’d lose me right away. But when the acoustic guitar slips in and starts carving out space, it caught my ear. Then the vocals arrive — pristine, sitting right on top of the mix. It’s a dangerous metaphor to mix well, but The Rosaline pull it off. The lyrics don’t jar or reach; they unfold slowly, with thought and intention.When the chorus lands, it’s weary and haunting — like flipping through old photos of a relationship that’s weathered decades. Can it be rekindled? The question hangs in the air.The build continues with bass, drums, and what sounds like a fiddle — subtle at first, then more insistent. The band comes alive beneath the still-worn vocal, giving the hook new weight every time it returns. It all swells into a final push: a soaring solo that doesn’t show off, just elevates.Great tune. Thoughtful. Earned. Worth sitting with.
Ansel Peak - Leave the Country
Ansel Peak doesn’t waste any time — “Leave the Country” opens with the title line and leans hard into themes of depression, fatigue, and wanting out. There’s a heavy emotional weight here, but it’s carried on light, thoughtful instrumentation that gives the song space to breathe.The chorus brings in a second voice that supports Ansel’s lead in this really gentle, human way — like someone quietly standing beside you through it all. It rolls right into a repeating guitar hook that’s subtle but effective, adding a touch of movement without stealing the spotlight.And while it might not be the flashiest element, the drum work is a total standout — tasteful fills, solid groove, and a feel that holds everything together.
Breezers - Cemetery
"Cemetery" opens with a weathered acoustic line, swelling up with what sounds like steel guitar sliding in just behind it. When the vocals kick in, they carry a world-weary tone, with a cadence that leans more on memorable phrasing than traditional rhyme schemes — a choice that makes every line hit a little harder.The hook keeps kicking back in, bright and catchy, but underneath it all runs a darker lyrical thread that gives the song real weight. The band does a great job laying down a shaky, shambly groove — the drums and bass pitter-pattering just enough to keep the whole thing moving forward without ever feeling too locked in. Beautiful harmonies float just behind the lead vocal, adding an extra layer of warmth and depth without ever pulling focus.A cool, earwormy little tune that sticks around longer than you expect it to.
Footings - Fear of the Dark
"Fear of the Dark" opens with a lone guitar, setting a sparse but emotional backdrop before the vocals and light strings come in to color the edges. It builds carefully into a full-band crescendo, but the focus never strays from the heart of the song — a raw, pointed lyricism delivered with tenderness and grit.Eric and the rest of Footings don’t pull any punches here, tying the small, anxious moments of adulthood back to that old childhood fear of the dark. It’s poignant and enduring — the kind of songwriting that shows someone who knows exactly how they want to move through the world, even when fear is breathing down their neck.
Half Empty Moon - Cloud Signals
"Half Empty Moon" opens in a soft glow — acoustic guitar setting the foundation, with pedal steel sliding in to build a pillowy atmosphere. The vocals float effortlessly over it all, vibing out with a verse that hits hard in its own quiet way, leading into a big, singable “oooh oooh” chorus that sticks immediately.The groove is locked in tight, with drums that move the song forward without ever crowding it — the ghost notes on the snare especially stand out. Underneath it all, the electric piano adds a lift, giving the whole track an extra bit of shine without being flashy.Beautiful, layered and expansive throughout.
Loose Koozies - Marita
"Marita" leans hard into an Americana and southern rock-inspired indie vibe, with steel, guitar, and a vocal howl that shine right from the jump. The track moves in beautiful shambles, shaking its way to the finish line with every player adding something seriously unique to the mix.The lyrics about unrequited love ride easy over the country-tinged guitar work, giving the whole thing a loose, worn-in feel. It's a song made for driving fast with the windows down — full of heart, grit, and just the right amount of chaos.
Wildcatting - Will Van Horn
"Wildcatting" is a dark-toned instrumental that immediately pulls you into its world through textured guitar work and traditional instruments played in unexpected ways. The opening sets the stage with a brooding atmosphere, before giving way to a stunning pedal steel solo that feels both composed and deeply human.Will Van Horn moves through a ton of melodic ideas without ever feeling rushed — every phrase feels considered, every note of the steel beautifully placed. It’s contemplative and layered, but never loses its emotional core.
A beautiful piece from an artist who clearly knows how to make a lot of noise by saying only the right things.
Tom Conneely and the Birds of Paradise - I Know It
"I Know It" pulls you in with a hazy, ambient intro before settling behind a vibey acoustic guitar. The steady chord progression sets the foundation, but it's the way the vocal and guitar melodies play off each other that gives the track real movement and shape.The mix is lush and full of reverb without ever getting muddy — dreamy, catchy, and perfectly dialed in. It’s the kind of song that feels effortless but sticks with you, whether you’re focused in or letting it drift through a lazy afternoon.