Being sick is terrible. I’ve been fighting something nasty since Tuesday. Luckily the worst was out of the way fast — after recording a 101 degree temperature Tuesday night, the fever subsided and I’ve slowly returned to a state that’s manageable. I was still a bit stuffed up on the 25th, but by 10pm all that was left was sniffling and the occasional cough — my regular voice was back.

It’s been a few months since I threw together a podcast, so I figured it was about time for another one. Besides, I’ve been working diligently on a mix-tape for a new local pal, Brett Sandström, whom I met after purchasing a Tullycraft single on eBay – he being the seller, both of us being astonished to find other Tullycraft fans in Skagit County. What began as a modern tribute to light garage pop ultimately changed direction to hint at songs that fit a sweltering, hot summer day.

Page France’s departure from existence was bittersweet. On one hand, Michael Nau’s original baby was no more — and after a few stellar releases in Hello, Dear Wind, the Pear / Sister Pinecone double EP, and …And The Family Telephone, he had built a steady and consistent style of folk-pop with a psychedelic edge. On the other hand, there was excitement behind is new project, Cotton Jones. Started with a substantial amount of hype, the band released Paranoid Cocoon to great acclaim. Now the duo of …

In all honesty, I kind of miss Page France. But Michael Nau’s latest project, Cotton Jones is a more than viable replacement. Filled with a baroque-ish style pop, and dipped in a light coat of psychedelia, Cotton Jones boasts harmony male/female vocals quite unlike Nau’s earlier concoction.