Second solo full-length from Edmonton artist is a powerful mix of psych-folk and chamber pop
Edmonton, Alberta-based singer-songwriter Sammy Volkov returns with Songs From The Goodbye Garden, a lush and emotionally resonant 10-track album that blends psych-folk, indie rock, and chamber pop into a deeply immersive listening experience. Produced alongside Renny Wilson (Faith Healer) and featuring string arrangements by Grammy-nominated Drew Jurecka, the album captures a timeless, concept-driven approach to songwriting while exploring themes of identity, nostalgia, and emotional connection.
First off, care to introduce yourself to our readers?
I’m a singer-songwriter from Edmonton, Alberta. I’m also an American citizen so I’ve spent a lot of time in the US and currently reside with my partner in the hipster capital of the world, Portland, Oregon. I have a mustache, drive an old Subaru, and collect records. I apologize for that.
Songs From The Goodbye Garden feels like a true front-to-back listening experience. What drew you to creating an album meant to be consumed as a full journey rather than a collection of singles?
Albums were always my happy place. Vinyl, I mean. Even as a little kid. I would completely immerse myself in those worlds and I think that there is something profound about trusting an artist with forty-five minutes of your time. For me it became a great escape and, as sad as it sounds, the records became like a group of friends to me. I was kind of a lonely kid. I don’t need an album to have the same vibe throughout (I love surprises actually) but I do like to feel like I’m spending time with the same person for the whole time.
The album blends psych-folk, indie rock, and chamber pop in a really cohesive way—how did you approach building that sonic palette without losing emotional focus?
Thanks for saying that! I think a lot of the focus comes naturally when you are working with the same crew of musicians and the same great producer throughout. Also, Renny Wilson worked as the producer, recording, and mixing engineer. In this case, that was a great boon to the project, because Renny could control the sound he and I were going for from initial sessions to the finished mixes. That means you are presented with a consistent sonic atmosphere the whole album through, and the vision is undiluted.
Working with Renny Wilson on production and Drew Jurecka on string arrangements—what did each of them bring to the album that elevated your vision?
Renny produced while Drew and my old friend Jonathan Kawchuk provided string and wind arrangements. Renny has a vitality and openness that I heard in his work in the band Faith Healer, which is him and Jessica Jalbert. He is eclectic in the way that he approaches writing and producing but we share a great love for focused, classic songs of the 60s and 70s. I wanted to bring somebody to my songs who had a different background than I do musically. I also wanted to see if I could steal a little of that sonic magic that I heard on Faith Healer albums. Some of my songs could come across as a little saccharine if they didn’t have an edge in their production. I think it all came together quite beautifully.
Drew and Jon are very different arrangers. Drew brings perfected sounds that match the genre and mood in the writing. Jon also has these skills but his own compositions are very progressive and experimental. So he brought some surprises to the table – much like I wanted from Renny. Also very importantly: my friend Cassia Hardy brought all of her creative generosity to the project. She was a creative partner throughout. Listen to most of the lead guitar and synth parts and you will hear Cas’ brilliance lifting the songs.
Your debut Be Alright! hit #1 on the CKUA Top 30—how did that success influence your mindset going into this second full-length album?
I am endlessly grateful to CKUA for their support. Reaching the coveted #1 spot did not influence my mindset, however. Whether or not anyone listened to my music or approved of it, I would have the same approach: to attempt to authentically transfer the songs in my head to the recorded medium! That said, CKUA’s support is tremendously important to me. I have always looked to them as a trusted, gold-standard source of music. To be on their radar at all, let alone featured consistently by their excellent hosts, means the world to me. They have been a big influence on me since childhood; the thought that another kid could be introduced to my music through CKUA makes me really emotional. I’m an emotional guy… I’m also thankful to the Edmonton Arts Council for making the recording possible.
The title Songs From The Goodbye Garden is really evocative—what does the “goodbye garden” represent to you?
The title is me being a little risky artistically! I wanted to have ambitious, romantic arrangements that were packaged in a classic, dreamy way. The cover art and title are drawing on 60s covers by the likes of Simon & Garfunkel, Lightfoot, Leonard Cohen, Judy Collins, Fairport Convention, etc. I admire artists who take a chance with poetic offerings. To me, “The Goodbye Garden” is a place of romance, sadness, and beauty. The place where you say farewell to a lover or friend, not knowing if you will see them again. The place where you leave your childhood, your youth behind.
If listeners walk away from this album with one feeling or realization, what do you hope it is?
I hope for listeners who will open up to my dreams and feelings, and to feel like they have a friend who understands them by the time the album is over.
Upcoming Shows:
Apr 15 (Wed) :: Winnipeg MB :: Times Change(d)
Apr 23 (Thurs) :: Memphis TN :: Bar DKDC
Apr 26 (Sun) :: Nashville TN :: Dee’s Country Cocktail Lounge
May 1 (Fri) :: Vancouver BC :: The WISE Hall
May 2 (Sat) :: Vancouver BC :: Concerts at Cliff’s
May 3 (Sun) :: Halfmoon Bay BC :: Studio Space