Posts Tagged ‘Nashville’

As the follow up to Jeremy Ivey’s 2019’s debut, the much acclaimed “The Dream and the Dreamer”, his new album Waiting Out the Storm takes a topical turn with songs that allude to the malaise that’s seeping the nation in the wake of our current political maelstrom, a concurrence of natural disasters, the Covid pandemic, and the growing resolve of the Black Lives Matter movement and the racism found in its stead.

It’s not a preachy record by any means, but it does stir some sentiments and speak to those issues and concerns that have forced Americans to wake up and take notice, no matter which side of the divide they happen to be on. “Yeah, it was actually written before my first album was released, but these kind of things have been making headlines for a while,” Ivey suggests when asked about the origins of his stirring new songs. “Racism, violence and greed have been the backbone of civilization for some time.” Ivey adds that he’s injected his own insights into this material, suggesting that he’s been more than a mere outside observer. “Yes, I’ve lived inside each one of these stories,” he affirms somewhat obliquely. “I’ve seen Walt Disney, Al Capone and Oprah hanging out with Warhol.

I’ve seen the queen of doom wringing her hands and holy meat walking down the street. I’ve seen the shattered windows of clinics and prostitutes in steel-toed boots too. It’s all truth.” Given that Ivey seems resigned to a more pessimistic perspective, suffice it to say he views things from a decidedly bleak point of view. “Our country has lost every bit of morals and dignity, but maybe our country never had that in the first place,” he insists. “We need to wake up and start treating each other the way that we want to be treated, because if that doesn’t happen, you think this pandemic is bad? There will be a great judgment on this world and everyone in it if we don’t take this kind of thing seriously. When one person kills another person, and it’s known publicly, and no one is tried or punished for it, the end is near. Things could get much worse.”


I can’t say enough great things about this album and this man. These songs are a very realistic view of our world. The pictures Jeremy paints are both sad and hopeful. He truly is a word smith for our times… I can’t wait for all the great things yet to come his way. Recorded with his group The Extraterrestrials, and produced by his wife Margo Price and with  contributions from members of her backing band, the album is, he says, was the result of the pair’s ability to work well together and remain, as he describes it, “relaxed and focused.

The Band: Jeremy Ivey – guitar, vocals, harmonica, piano, synth The Extraterrestrials are: Evan Donohue – guitar, vocals Coley Hinson – bass, vocals Alex Munoz – guitar, lap steel Josh Minyard – drums, percussion Special guests: Margo Price – vocals, percussion Dillion Napier – drums, percussion Micah Hulscher – organ, piano, synth, electric piano Dexter Green – vocals and additional arrangement on Movies.

Released October 16th Production – Margo Price Co-production – Jeremy Ivey and The Extraterrestrials


“Sequins, lightning, fancy shoes, a disco ball,” sings on their first single “Skin Sparks,”musclling their punk-garage-glam-pop into existence like a tattooed rabbit from a diamond-studded hat. The Nashville duo, Sugar Fïtz, consisting of singer-songwriters Brianna Sage and Carrie Welling, is something like a magic trick—brash, bold and seemingly out of nowhere. But, of course, these two women are hardly newcomers. With a plethora of solo material, tours, studio work, and years of experience between them, the aim of their aesthetic could not be more precise.

Born out of collective frustration and a wellspring of angst, as well as deep, studied admiration of 80s pop and 70s punk, Sugar Fïtz write the kind of songs you can sing in the shower or scream at a show. “We wanted it to be fucking cool,” Welling says. “The perfect make-out-with-anyone jam,” Sage adds. Teaming up with label owners and producers Alex Dezen and Amber Bollinger, the audaciously low-fi soundtrack provides the perfect accompaniment to the groups riotous lyrics and razor-sharp harmonies (which were recorded remotely from quarantine into their smartphones, no less). Like a spiked collar around a love song, “Skin Sparks” isn’t aiming for subtly. It scratches and soothes, belts and whispers in equal measure, all while dragging you behind it on a leash. You’d think music like this would come with a safe word.

First single by Sugar Fïtz! Written by Brianna Sage & Carrie Welling, “Skin Sparks,” is the first single fromSugar Fïtz, will be released later this year fromPoor Man Records.

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With his sophomore album Shape & Destroy, Nashville-based artist Ruston Kelly now documents his experience in maintaining sobriety, and finally facing the demons that led him to drug abuse in the first place. But while Kelly recounts that journey with an unvarnished honesty, his grace and conviction as an artist ultimately turn Shape & Destroy into a work of unlikely transcendence.

With its unsparing reflection on what Kelly refers to as “the cycle of frustration and temptation after getting clean,” Shape & Destroy took form during a period of painful transformation. “It wasn’t surprising to me that getting sober was a challenge, but there were moments when it was challenging in a way I’d never experienced before,” Kelly says. “There’s so much repair your brain has to do—spiritually, emotionally, physically—and at one point I really felt like I was losing my mind.”

As a means of self-preservation and catharsis, Kelly eventually turned to the ritual of free writing, a practice that led him to the album’s title. “This phrase just came to me one day: ‘Shape the life you want by destroying what obstructs the soul,’” he recalls. “I realized that was the ticket to healing myself and healing my mind: figuring out what kind of person I want to become, and then getting rid of everything that keeps me from being that person.”

In light of that epiphany, Kelly felt a profound lucidness that soon catalyzed his creative process. “From reading about other artists who’ve gone through recovery, I was sort of expecting a dry spell after getting sober, but that didn’t happen,” he says. “Instead I felt this very heightened awareness that lent itself to so much more artistic output, and the songs just started pouring out.”

That momentum continued as Kelly headed into the studio, co-producing Shape & Destroy with his long time producer Jarrad K (Kate Nash, Weezer, Elohim). Working at Dreamland Recording Studios in Upstate New York (a space converted from a 19th century church), Kelly enlisted musicians like Dr. Dog drummer Eric Slick, bassist Eli Beaird (who also performed on Dying Star), and a number of his own family members: his father Tim “TK” Kelly played steel guitar, while both his sister Abby Kelly and his wife Kacey Musgraves contributed background vocals. And in shaping the album’s nuanced yet potent sound, the band deliberately channeled the raw vitality Kelly continually brings to his live show.

“This was the first time I ever recorded completely sober, and I wanted to take the intensity of whatever it took to get me here and leave that splattered all over the wall,” says Kelly. “Rather than telling the band how or what to play, I translated that intention to them to get us all on the same page, and the songs came together exactly the way I needed them to.”

Though Kelly booked nine days at Dreamland, the sessions were so kinetic that the band tore through almost the entire album in the first 48 hours. That unchecked urgency is particularly evident on tracks like “Brave”—a plea for redemption made even more poignant by its stark recording, several times spotlighting a tearful crack in Kelly’s voice. “My father was supposed to play on ‘Brave’ with me, but I decided to do a take by myself to get my bearings,” says Kelly. “It was just me and my dad in a room late at night, him watching me sing this song about trying to live up to the principles he raised me with. I’ll never forgot how powerful that felt.”

Ruston Kelly has released a few great singles so far this year, including “Radio Cloud” ahead of his forthcoming album Shape & Destroy, out later this month via Rounder Records. “Radio Cloud” was the Nashville singer/songwriter’s third single from the album. It’s a cathartic country-folk ballad, following the release of the very Elliott Smith influenced “Rubber” and “Brave.” The album is sure to be an enchanting, emotional masterpiece.

Describing Shape & Destroy as a “mental-health record,” Kelly reveals all the false starts and setbacks in getting sober with a specificity that’s unflinching but never heavy-handed. As the album unfolds, his lyrics drift from forthright to poetic to sometimes even storybook-like (an element manifested in its recurring images of wishing wells and stars, flowers and wild storms). On the piano-laced and luminous “Mid-Morning Lament,” for instance, Kelly proves his gift for gracefully entwining wit and confession (sample lyric: “I wanna spike my coffee, but I know where that leads/And it ain’t the safest feeling when the angel on your shoulder falls asleep”). Another elegantly layered track, “Alive” twists classic love-song sentiment into a moment of tender revelation, its dreamy mood magnified by TK’s sighing steel tones and Kelly’s delicate storytelling (“On the horizon/The sun is setting pink/You’re cooking something in the house/Singing John Prine/What a beautiful thing/To be alive”). “To me ‘Alive’ is a testament to how powerful love can be, especially love from someone who embodies a very strong and empowering feminine spirit,” says Kelly. “It’s like they’re able to lend that spirit to you, so you can pick yourself back up and declare who you really want to be.”

Like most of Shape & Destroy, “Alive” was captured in one of the very first takes that Kelly and his band laid down. To make the most of their time at Dreamland, the musicians ended up recording two songs that weren’t initially intended for the album, including “Jubilee”—a warm and rumbling track with a magical backstory. “For a long time I’ve been a huge fan of the Carter Family, especially Mother Maybelle, and a while back John Carter Cash invited me to stay at his grandmother’s if I wanted a writing retreat,” says Kelly, referring to the son of Johnny Cash and June Carter Cash. “I wrote ‘Jubilee’ at Mother Maybelle’s dining room table and didn’t think it would ever make it on the record, but in the studio it turned into this train-song thing that felt really good. It’s just so strange to me that this Johnny Cash spirit came out without me even meaning it to.”

For the closing track to Shape & Destroy, Kelly chose “Hallelujah Anyway”: a minute-and-half-long piece centered on choir-like harmonies from Kelly and his collaborators (including recording engineer Gena Johnson), its lyrics nearly prayer-like in invocation (“And bury me in flowers/When I go I wanna bloom/And come back as the colour of a lovely afternoon”). “For me that’s probably the most important song I’ve ever written,” says Kelly. “It’s about having thankfulness for whatever it is that gives us this ability to be positive even in the thick of the blackest moments, and I can’t think of any greater weapon to turn against your lesser self. If I wrote that song and nothing else in my life, I’d be very pleased with what I’ve done as an artist.”

Ruston Kelly


Cristina Vane is a songstress and slide guitarist based in Nashville and specializing in blues, country blues, folk, and rock. Her background in Europe allowed for a unique formation of flavours in her musical inspirations, and this eclectic nature carries through into her work. “Old Played New” is a tribute to the delta blues artists that have shaped my sound, including Son House, Skip James, Charley Patton and others. With 5 cover songs from various artists and one original on the track list, it is also my first solo guitar record. I am so happy with how Brook Sutton captured these live takes at The Studio here in Nashville, and so happy to share it with you.
I have gleaned so much as an artist and a person from the music that these talented folks made. Blues music is rooted in the African American experience and now more than ever, it is important to highlight once again how much black culture has contributed to our society, especially in the field of music. I hope to honor the memory of these artists and pay tribute to the cultural debt I owe them at large, coming in from a different background and partaking in this music.


Slide guitarist and singer-songwriter Cristina Vane has known the lighter and darker sides of Venice. SoCal’s sunshine noir ripples through her music- a blend of folk and blues, angst and elation. [..] Since becoming enchanted by the blues, she’s developed an almost encyclopedic knowledge of the musical genre, expertly rattling off idols like Skip James, Mississippi John Hurt, and Blind Willie Johnson.

With her bold and bracing new album, “Bad Vacation”, Liza Anne hasn’t just shaped her liberation, she’s completely reinvented it. The record is defiant and thoughtful, showcasing a remarkable confidence as it tackles destructive habits and finds Liza at her most self aware yet. “I was writing what I needed to hear,” Liza explains. “I was writing what I needed to feel. I was quite literally writing a stronger, more empowered version of myself into existence.”

The songs here represent an audacious sonic leap forward for Liza and her band, mixing accomplished full-throttled art rock anthems with playful new wave jams and power pop earworms. Produced by Micah Tawlks Kyle Ryan and co-produced by Liza and Justin Meldal-Johnsen, arrangements are poised and fierce to match, fuelled by muscular guitar hooks, retro synthesizers, and wry, incisive and insightful lyrics.


Bad Vacation marks a remarkable development in her sound and vocal performance – a collection that calls to mind everything from St. Vincent and Sleater-Kinney to Kate Bush and Talking Heads.

Released July 24th, 2020

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Expanding beyond the homespun rootsiness of her critically acclaimed debut to incorporate a grittier, more experimental palette, Becca Mancari’s captivating new collection, ‘The Greatest Part,’ lives in a liminal space between grief and joy, pain and forgiveness, sorrow and liberation. The record, produced by Paramore drummer Zac Farro, marks a significant sonic and emotional evolution, balancing unflinching self-examination with intoxicating grooves and infectious instrumental hooks fueled by explosive percussion and fuzzed out guitars. The lyrics are raw and gutsy to match, peeling back old scars to explore the emotional and psychological turmoil Mancari weathered growing up gay in a fundamentalist Christian home, while at the same time examining the ties that continue to bind her to the family she loves. Though personal reflection is nothing new for the Nashville-based songwriter, ‘The Greatest Part’ finds Mancari digging deeper than ever before, excavating new layers of her psyche in an effort to make sense of where she’s been, where she’s headed, and most importantly, who she’s become.

“This record was the hardest thing I’ve ever had to write,” she explains. “At the same time, it was also the most freeing.”

Born on Staten Island to an Italian/Puerto Rican family with strict religious beliefs, Mancari spent much of her childhood wrestling with issues of identity and belonging. After college, she set out on her own, following the wind from Appalachia to Arizona, from south Florida to India, drifting in search of purpose and community. Mancari eventually found both in East Nashville, where she garnered widespread acclaim for her strikingly honest song writing and emotionally riveting performances. ‘Good Woman,’ her 2017 debut, was a critical smash, praised by NPR for its “exquisite self-awareness” and hailed as one of the year’s best by Rolling Stone, who lauded its “confident vocals [and] spacious, hazy production.”


Songs from the record racked up millions of streams on Spotify and helped land Mancari dates with the likes of Margo Price, Hurray For The Riff Raff, Shovels & Rope, Natalie Prass, and Julien Baker among others. On top of her solo work, Mancari also teamed up with Alabama Shakes frontwoman Brittany Howard and fellow songwriter Jesse Lafser to form the supergroup Bermuda Triangle, which earned similarly glowing reviews as they performed sold-out headline shows across the country and landed festival slots from Newport Folk to XPoNential.

Released June 26th, 2020

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This is an exquisite set of cover songs by Nashville-based Sunshine Pop band, The Explorers Club. Features guest vocals by former Barenaked Ladies front man Steven Page, and Drive-By Truckers member, Jay Gonzalez. Songs include huge pop hits originally recorded by The Turtles (“She’d Rather Be With Me,”) Manfred Mann, (the Bob Dylan penned “Mighty Quinn,” Tommy Boyce and Bobby Hart (“I Wonder What She’s Doing Tonight”) Herb Alpert (“This Guy’s In Love With You”) and Paul Revere and the Raiders (“Kicks.).
Exquisite set of cover songs by Nashville-based Sunshine Pop band, “The Explorers Club”. A Ten-song-set is chock full of hits, misses and other delights from the 1960s. Brainchild of Charleston, SC native Jason Brewer, the only constant “member” of The Explorers Club over the band’s lifespan
Album features guest vocals by former Barenaked Ladies front man Steven Page, and Drive-By Truckers member, Jay Gonzalez.Three previous albums: “Freedom Wind” (2008), “Grand Hotel” (2012) and “Together” (2016) and of course their “self-titled” album (2020) which is being released around the same time as “To Sing And Be Born Again”Brainchild of Charleston, SC native Jason Brewer, the only constant “member” of The Explorers Club over the band’s lifespan, Brewer re-unites with Freedom Wind and Grand Hotel producer, Matt Goldman (Copeland, Underoath, Smalltown Poets, etc). New contributors to this set include Shane Tutmarc (Dolour, Sean Nelson,) Page and Gonzalez, as well as vocals from former Explorers Club member Wally Reddington and past contributor Brian Langan. 


Brewer, Tutmarc, and Goldman recorded most of the album in Nashville, at Columbia’s legendary Studio A. Additional work was done at Gem City Studios on the  more

Released June 12th, 2020

Matt Sweeney, produced this Country Westerns album. Singer-guitarist Joey Plunkett left NYC for Nashville after making a name for himself in legends The Weight & hustling bass in Gentleman Jesse. In 2019, Sabrina Rush joined on bass. Nashville drummer Brian Kotzur was a member of Silver Jews and David Berman encouraged them to record with me and Fat Possum Records gave them a record deal.


Country Westerns is a three-piece rock band from Nashville that sounds nothing like its name. Drummer Brian Kotzur (Trash Humpers, Silver Jews) and singer-songwriter-guitarist Joseph Plunket (The Weight, Gentleman Jesse) began working on songs together in 2016, after bonding over the shared desire to be in a band in a town full of solo artists and guns-for-hire. Following a couple of years writing and playing shows with varying lineups, Sabrina Rush (State Champion) joined the band as bassist. The now complete Country Westerns recorded their debut album in New York and Nashville, encouraged by friend and producer Matt Sweeney. Plunket’s raspy bravado and subtle twang, his insistent 12-string guitar riffs, Kotzur’s dynamic and metronomic drumming, and Rush’s harmonic bass playing create hyper catchy rock songs, with lyrics that bend towards poetry and punk rock sneer in equal measure. Their self-titled debut is slated for release in 2020 on Fat Possum Record. This is guitar-driven garagey americana that doesn’t sound like anything else out there right now.
Released June 26th, 2020

Country Westerns played a private set at Grimey’s Music in Nashville to celebrate the release of their self titled debut album on Fat Possum Records. Love everything about this. It’s got the primo vocal gravel with an infectious rhythm and upbeat tone. Great mix of punky twang polished and mixed like a modern Manhattan in the calloused hands of an urban cowboy gone rogue.
Slow Nights 00:14 It’s Not Easy 3:32 TV Light 6:47 Gentle Soul 10:17 I’m Not Ready 13:19 Close To Me 17:35 Guest Checks 20:16 Times To Tunnels 23:48 At Anytime 26:51 Margaritas At The Mall (Purple Mountains) 30:15

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Rock ‘n’ roll lifers Sabrina Rush, Joseph Plunket and Brian Kotzur have played with State Champion, Gentleman Jesse and Silver Jews to name a few great bands. Now like Voltron, they have taken their skills to make a big giant rock ‘n’ roll robot and I am here for it.

Big guitars and a ripping rhythm section is like a belt-high fastball on a 3-0 count. From beginning to end, this album delivers the goods. I’ve tried to put a label on them but I always just wind up going with straight up rocking, sort of like a great Reigning Sound album. Plunkett’s vocals are raspy with hints of twang; again belt-high fastball for my tastes.

If you don’t like this album, you don’t like rock ‘n’ roll. This album literally pulled me out of funk and I’m grateful for its existence. It’s Not Easy, Gentle Soul and Two Characters are among my favourites.

Don’t go into Country Westerns’ self-titled debut expecting twangy back-porch music. Calling the group Country Westerns is a misnomer. The three-piece band from Nashville delivers riotous rock ‘n’ roll leaning more towards the Replacements than Dwight Yoakam. Drummer Brian Kotzur (Trash Humpers, Silver Jews) and singer-songwriter-guitarist Joey Plunkett (The Weight, Gentleman Jesse) began collaborating in 2016. Writing and performing music was meant to be an outlet for the two musicians, a method to release pressure, write songs, and hit-up Nashville’s DIY party scene. Shortly thereafter, Sabrina Rush (State Champion) joined as a bassist, although she was inexperienced with the instrument. Despite the blasé beginnings, Country Westerns delivers a musically rousting album that is at once catchy and gritty.

If not listening closely, the fierce musicality can obscure the sensitive and affecting lyrics. “Gentle Soul” is wistful, especially when Plunkett laments, “I don’t want to fight with you anymore.” Whereas the vulnerability is short-lived, the righteous indignation is palpable throughout the track. “Gentle Soul” is as angry as it is sad, an accurate portrayal of heartache. Country Westerns are decidedly self-aware. The band know they are blurring vulnerability and rage as exhibited in “Times to Tunnels”. The lyrics, “It ain’t a boast in the least / It’s just a plea for grace / Full of honesty, this rage and me”, provokes authentic self-consciousness.

On top of the engrossing lyrics, Country Westerns uses the album to showcase their musical alacrity. Kotzur’s drums on “Guest Checks” is rough and shrewd, the ideal counterpoint to Rush’s melodic bass. Plunkett’s guitar accentuates their stability with a rawness that melds into while deflecting Kotzur and Rush. Their musical charisma is extenuated on “It’s on Me” and “Anytime”. Whereas the former is comparatively understated in its rock ‘n’ roll energy, the latter roars.

“I’m Not Ready” off upcoming Country Westerns “S/T” album, out June 26, 2020, on Fat Possum Records.


All Them Witches will return with a new album, their first as a trio, called “Nothing as the Ideal” on September 4th. All Them Witches boarded a flight to London on February 27th and spent nine days recording at Abbey Road. “It was incredible. We have a studio south of Nashville, and it’s an amazing sounding space, but it just wasn’t the right time to record this record there,” McLeod says. “I decided that I wanted to do another album with Mikey Allred, who produced and engineered and mixed Dying Surfer Meets His Maker. We started writing more in January and February, and Mikey and I were talking one day and we both just came up with the Abbey Road idea. Robby and bassist Michael Parks were totally on board, and something like later that afternoon, we booked our dates.”

According to McLeod, the studio is as magical as fans would expect. “I walked in and it was like one of those out of body experiences,” he remarks. “Robby got there like an hour before I did and he looked at me and was like, ‘Dude, I almost cried three times.’ It’s a huge room, and the vibe isn’t in the vintage microphones that the Beatles used, it’s not in any of the gear, the old compressors and all that stuff … you go there because the room sounds good. For me, that was the icing on the cake. This studio actually just sounds amazing.”

The record is their most experimental work to date. It’s also their heaviest album and we’re very much liking the sound of lead track Saturnine & Iron Jaw, a near seven minute slow, bluesy burn that takes off from a looping, chiming intro and gentle guitar into a hypnotic, full-on psychedelic wig out crescendo. Time for some heavy, heavy psych – channeling their inner Sabbath, Zeppelin and Pink Floyd – All Them Witches deliver a masterpiece of throwback 70s riffola on The Children of Coyote Woman.

We’ve been fans of Nashville psych-rock outfit All Them Witches for a while now, their lysergic, riff-worshipping sound striking the perfect balance between reverent throwback and forward-thinking experimentation. Shades of Sabbath, Zeppelin, Blue Cheer, Pink Floyd, Moody Blues and others abound, but All Them Witches are on their own unique trip. Nothing as the Ideal, the follow-up to 2018 LP ATW and last year’s standalone single “1X1,” and the group first full-length since they slimmed down from quartet to trio. Recorded at the iconic Abbey Road Studios, the eight-track album features some of the band’s heaviest moments and some of their quietest.

All Them Witches deliver a masterpiece of throwback 70s riffola on The Children of Coyote Woman.

“‘The Children of Coyote Woman’ is a retelling of the founding of Rome through a southern perspective,” ATW frontman Charles Michael Parks Jr. tells us. “Two brothers fight to see who will control the region after the passing of their mother, a woman so fierce and legendary that people would rather leave their homes than get in her way. Though powerful, though fierce, their lives exist in a minuscule blip in the universe and are still tied to the struggles and hardships of trying to survive in the poor rural south.

“In my mind, there are a lot of similarities between the Roman empire and the USA. The same essence of power and ingenuity, as well as it’s brutal conquests for resources. The founding fathers undoubtedly studied the reign of the Caesars and chose it as a model for their new republic.”

All Them Witches are offering up a nice respite from all the chaos going on in the world. The Nashville rockers have announced the forthcoming release of a new album, Nothing as the Ideal. Moreover, the band share a taste of what’s to come with opening track “Saturnine & Iron Jaw”. Regarding the song “Saturnine & Iron Jaw”, guitarist and songwriter Ben McLeod tells us, “We very specifically wanted to lead with this track. I think it’s the most well-rounded track on the record; it’s constantly changing, it has a lot of different vibes to it.”

He gives a hint at what to expect with the rest of Nothing as the Ideal, as he adds, “Obviously there are way heavier songs on the record,” but “Saturnine & Iron Jaw” should let fans know All Them Witches are still very much rooted in psychedelic and bluesy rock. “This is our first record without keys,” he continues, “but in this song, there is something for everyone.”

With a slow-burn of an opening, the track builds into a crescendo of psychedelic rock. “That whole intro is a compilation of about five or six loops that Robby Staebler, drums had made on tour,” he explains. “He gave them all to me and we knew that we wanted the album to start that way. The only thing I added, production wise, is a little after the one minute mark, the pitch drops and then there’s a bell that rings five times. It’s totally cheesy, but I thought it would be cool to have it ring five times before the guitar comes in, kind of representing our previous five studio albums. And then on the fifth bell, the sixth album begins.”

This album for me is a return to center, and not in a way that is repeated by countless social media influencers or retail giants trying to improve their score. It is a return in the fact that even in the lowest moments and even when I’m shoveling past rock bottom, I have a choice, and it shows up when it shows up. My job is to catch the moment of action when when it arrives and to see it as neither a burden or a blessing, but as “the way.”

We love you, please enjoy the music that we have made, and please love yourself, your neighbours, and your planet. Parks, ATW

The new album available September 4th, Nothing as the Ideal will arrive on September 4th via New West Records The album was recorded at London’s Abbey Road Studios, where the Beatles famously laid down most of their iconic catalogue.