Wild Blessing release new single "Glossolalia" featuring Beauty Pill's Chad Clark, Tara Pasveer and Carmen Elisa Vargas of the Venezuelan Symphony Orchestra

Washington, D.C.'s Wild Blessing release new single "Glossolalia"
featuring Beauty Pill's Chad Clark, Tara Pasveer and Carmen Elisa Vargas of the Venezuelan Symphony Orchestra

New EP From Dust out June 5

For fans of The Sea and Cake's Oui, Air's Talkie Walkie, and Yo La Tengo’s And Nothing Turned Itself Inside Out

Stream: "Glossolalia" on YouTube and All Digital Platforms
Stream: "Michael Who Walks By Night" on YouTube or All Digital Platforms

On June 5, Wild Blessing will release their new EP From Dust (pre-order). Today the band is excited to release their new single "Glossolalia." The song debuted today at Magnet Magazine and is on all streaming platforms for any playlist shares.

Featuring contributions from Chad Clark (Beauty Pill), Tara Pasveer, and Carmen Elisa Vargas of the Venezuelan Symphony Orchestra, “Glossolalia” is a lush and haunting meditation on communication and disconnection. The word itself—derived from the Greek glōssa (“tongue”) and lalia (“speech”)—refers to the phenomenon of speaking in tongues, a fitting metaphor for the song’s exploration of marginalized voices and the often-fragile effort to be understood.

Opening with cascading guitar work, the track gradually unfolds into a densely layered arrangement. Chad Clark’s elegant string work underscores the bridge, while Tara Pasveer’s ethereal harmonies provide both tension and release, weaving in and out of the song’s central melody. Vargas adds subtle, organic percussion that balances the track’s more synthetic elements, creating a dynamic interplay of texture and tone.

On the song the band says:

"I came across the word glossolalia recently and fell in love with the phonetics of it before I knew what it meant. It felt like a good way to explore an intuition I sometimes have that communication is often less about words and their meaning than trying to make contact. The song is also about all the people who live on the margins of society that few people take the time to listen to."

The song follow's EP's lead single, "Michael Who Walks By Night," which released last month. The song debuted at Glide Magazine and is on all digital platforms. The song is a reimagining of a lost gem by '80s Scottish pop duo Strawberry Switchblade.

“I’ve always been drawn to that era of Scottish music — The Pastels, The Vaselines, Strawberry Switchblade,” Wild Blessing notes. “There’s a whimsical darkness to it, this bittersweet charm. With ‘Michael Who Walks By Night,’ we wanted to capture that same feeling but slow it down—make it feel like a soundtrack to empty streets and midnight thoughts.”

Wild Blessing's music doesn't demand your attention so much as invite you into its warmly lit universe. Floating in the same ethereal currents as indie darlings The Sea and Cake, Yo La Tengo, and Air, this Washington D.C.-based project isn't chasing trends or forcing moments. These songs unfold at their own unhurried pace, revealing their secrets to those patient enough to listen.

Case in point, the project's debut single, "Michael Who Walks By Night," reimagines a lost-to-time gem by the 80's Scottish duo Strawberry Switchblade. Where the original pulsed with '80s pop brightness, this version strips the song down to its essence, transmuting the melody into something more introspective and delicate. It's a sonic portrait of a walk on a winter night—that crystalline quiet where breath hangs visible in the air and footsteps echo with heightened clarity. Featuring otherworldly backing vocals from Netherlands-based Tara Pasaveer, the track hums with an understated energy.

Ben Etter, known for his work with acts such as Washed Out, Belle and Sebastian, Cate Le Bon, and Deerhunter, handled mixing and mastering duties, bringing particular attention to the spaces between notes. Etter's adventurous production gently pushes boundaries, bringing a muted warmth to Wild Blessing's intricately layered arrangements while elevating the project's distinctive sonic identity.

Speaking of arrangements, it's difficult to miss just how well-crafted this music is. Drum machines spin in orbit alongside pillowy bass, pitch-shifting electric guitars, arpeggiated synths, and finger-picked acoustics. These elements aren't new in themselves, but the constellation they form feels both thoroughly modern and somehow outside of time. The result is music that carves out a private space—intimate yet mysterious, disclosing only what it intends to. In an era of oversharing, Wild Blessing finds power in what remains unspoken. These songs exist as small worlds unto themselves, offering sanctuary for those who seek it.