Christian Parker and Patrick Cleary have built something rare with their American Cosmic Revival. It is a series that treats the architects of Cosmic American Music as collaborators instead of ghosts. American Cosmic Revival Vol. 2: Miles From Nowhere, the second installment, arrived August 21, 2026 through Edgewater Music Group. It widens the lens beyond the International Submarine Band catalog that shaped Vol. 1, pulling songs from Gram Parsons, The Everly Brothers, Merle Haggard, George Jones, and Bob Dylan into one continuous record about people searching for home.
Vol. 1, Back At Home, earned praise from outlets like Glide Magazine, Americana Highways, and Americana UK by staying close to Safe At Home, the landmark 1968 ISB album. This time, Parker and Cleary lean on a genuinely stacked lineup to carry the songs somewhere new. Earl Poole Ball anchors the sessions on piano, with a résumé that runs through Johnny Cash, Gram Parsons, and Buck Owens. JayDee Maness brings his pedal steel legacy from The Byrds and the Desert Rose Band. Gary Jacob’s steel threads through most of the record as well, and arranger Stevie Blacke adds texture without ever crowding the mix. The record sounds warm and unhurried from the first bar to the last.
The album opens with “Wheels,” and the choice makes sense immediately. The Flying Burrito Brothers original already carries the Cosmic American blueprint, so putting it first lets the record establish its feel fast. The vocals sit right in that sweet spot between country twang and rock phrasing, never leaning too hard on either side, and the arrangement gives the steel guitar room to breathe before the harmonies stack up behind it. From there, “Train Leaves Here This Morning” settles into a groove that never rushes itself. The rhythm section sets a pace that feels unforced, and slide guitar flourishes drift in and out without demanding attention. This suits a song built on patience rather than urgency.
The emotional feel really opens up on “So Sad.” The Everly Brothers original leaves plenty of room for restraint, and this version uses that space well, letting the dynamics rise and fall instead of pushing everything to one sonic space. It is a genuinely pretty performance, and the arrangement trusts the melody enough to stay out of its way. “I Threw It All Away” pulls in the opposite direction. JayDee Maness takes the lead here, and his wailing slide guitar does most of the emotional work while the rhythm section keeps the track moving at an almost restless clip. It is one of the record’s more physical performances, and the Dylan original gives him plenty to dig into.
By the time “Wild Horses” closes the album, the band has earned the softer touch it takes with the Rolling Stones standard. Countless artists have covered this song, but folding it into the Cosmic American frame gives it a fresh kind of ache. The musicianship stays understated throughout, every instrument locking into place without fighting for space, and the vocal performance carries all the weight the song needs. It is the rare closing cover that actually adds a new angle to a very familiar song, and it is the track most likely to pull listeners back for repeat plays.
What makes Miles From Nowhere work is its restraint. Parker and Cleary had access to musicians who helped originate this sound, yet the record never turns into a showcase of résumés. Instead, every player serves the songs, and the songs serve a single idea: that searching for home never really goes out of style, no matter which genre wrote the melody.
Release Information
Artist: Christian Parker & Patrick Cleary
Release: American Cosmic Revival Vol. 2: Miles From Nowhere
Label: Edgewater Music Group (distributed by The Orchard, a division of Sony Music Entertainment)
Genre: Cosmic American Music / Country-Rock
Hear the full American Cosmic Revival Vol. 2: Miles From Nowhere Album Here
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