Posts Tagged ‘Faye Webster’

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If she prefers to stay inside, then Faye Webster makes music for her own kind: With all its droopy pedal steel, unhurried funk and a breezy island air that could sub in for your AC, Atlanta Millionaires Club is the perfect summer album for indoors-y types. Drawing on both her Americana roots and the bendy R&B of artists like Aaliyah (one of her cited inspirations), Webster creates a dramaticized retelling of romantic shortcomings that sounds like the sun crying. After her debut album Run and Tell and high school, Webster did what any aspiring songwriter would: she moved to Nashville. There, she studied songwriting at Belmont University before trying out graphic design, but when she found herself jonesing for a trip home every other weekend, decided to abandon collegiate life altogether and made plans to return to Atlanta, where she has since stayed put.

Since then she’s spent considerable time photographing various ATL stars like Offset and Lil Yachty. Webster released her second, self-titled album after college, which contains her first Spotify hit, the groovy “She Won’t Go Away,” a hazy country dream. But dreamier still is Webster’s third solo LP, Atlanta Millionaires Club, a steamy brush with R&B flourished with lots of twang and retro grooves. It’s weird and sleepy and full of droll one-liners like “I should get out more,” the chorus from “Room Temperature.”

“Room Temperature” by Faye Webster off ‘Atlanta Millionaires Club’ out May 24 on Secretly Canadian

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Faye Webster is a ludicrously talented human being; not content with being on the verge of releasing her third album, Atalanta Millionaries Club, she’s also a decorated photographer. This week Faye’s shared the first single from that upcoming record, the inward glancing, “Room Temperature”.

Faye has suggested much of the upcoming album deals with feelings of lonesomeness, even when not on the surface of things, alone; Room Temperature hits straight to that point; “these aren’t even my clothes I just don’t change that much ’cause who’s to impress? There’s nobody around when I make my bed”. Although Faye has a background in the Atalanta hip-hop scene, it’s hard to imagine a record much further removed from that world; with a touch of Angel Olsen or Molly Burch, the track is delivered with a pallet of pedal-steel, pulsing bass and easy, skittering rhythms. That said, Faye has suggested the major influence on the album was Aaliyah, so when it comes to the Atalanta Millionaires Club, expect a record that’ll be nothing short of intriguing.

Atlanta Millionaires Club is out May 24th via Secretly Canadian

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Faye Webster is quite an established 19-year-old. She’s a folk singer with deep Americana roots (her mom played guitar and fiddle, and her grandfather is a bluegrass artist), and she’s also a noted photographer. Her portraits of fellow Atlanta artists like Lil Yachty and D.R.A.M. are vivid yet understated: Her subjects stare straight at the camera in a sea of bold primary colors and patterns, the distinction between the background and her subjects purposefully blurred.

In the video, Webster reclines with an actual snake around her neck, awkwardly dances ’80’s aerobics style before a red backdrop, and rides the streets of Atlanta in a patterned two piece. “I won that on Ebay,” she says excitedly. Webster’s eclectic fashion sense comes from her second-hand habit. “I travel a lot and when I’m just driving road trips, I stop every time I see a Goodwill,” she explains. “I wear a lot of my mom’s clothes, too.” . Her voice hits a sweet spot somewhere between bluegrass powerhouse Alison Krauss, Natalie Prass, and Tennis’s Alaina Moore, whose light vocals glide across any melody.

When it comes to her future with Awful Records, Webster is excited for artistic growth. “There’s so many artists and I feel like everyone influences each other,” she says. “I think I’ve finally settled into a good spot, but I’m down to try anything.” Watch the official music video for “She Won’t Go Away” by Faye Webster.

“Remember When,” a highlight off her eponymous Awful Records debut, translates her photography’s bright and focused visual principles into sound. The instrumentation is lush, with flourishes of strings and languid guitar filling the silence between Webster’s plainspoken verses. She sounds nostalgic and slightly weary, waxing poetic about lost moments with a potential lover (“I remember every song you wrote me/And how it touched my heart”), ambling over unhurried guitar strums and muffled drums. It’s a photorealistic rumination on a relationship.