Posts Tagged ‘Tennessee’

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Texas-based indie rocker Katy Kirby has shared the title track from her forthcoming debut album, “Cool Dry Place”, out on February 19th, 2021 via Keeled Scales Records. It’s the follow-up to her previous single “Traffic!,” “Cool Dry Place” is about finding the balance between emotional boundaries and the primal need for deep connection with others. With love being such a high-risk, high-reward venture, it poses taxing moral dilemmas, and Kirby finds herself finally committing, yet still looking back: “And once the dust has settled, then you’ll know / that you’re gonna get more of me than you bargained for / All the ways we can go wrong / Will we ever get that far?” The song’s dainty beginnings gradually morph into an untamed indie rock firestorm, as if to signify this jump into the great unknown.

Kirby says of the song: I had a very fun habit of getting involved with someone and then getting cagey once they needed or just wanted me more than I was comfortable with. I thought this was very intelligent of me, being smart enough to know when to get out, before I got close enough to lose objectivity. I suppose it isn’t a terrible rule of thumb, considering that people are statistically dangerous. But this song was me beginning to see my own needs, in an embarrassingly transparent way. I too, am nothing more than a meatbag of vulnerabilities.

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Releases February 19th, 2021

All songs written (and sung) by Katy Kirby.
Secret Language” incorporates elements of “Hallelujah” by Leonard Cohen.

Texas-based Katy Kirby roams indie rock’s outer perimeter, graceful in pace and nimble in lyrical footing, finding space for crushing guitar solos as well as moments of ambling playfulness. Inviting comparison to artists akin to Phoebe Bridgers and Angel Olsen, Kirby inhabits a singular style in her own right – lending the experience of her upbringing to a wistful pastoral sound. Indie-rock songwriter Katy Kirby grew up in a small-town Texas, where her primary exposure to songcraft came via “the pasteurized-pop choruses of evangelical worship.” On her forthcoming debut album “Cool Dry Place”, out February 19th, 2021, on Keeled Scales, the still-Lone Star State-based Kirby wrestles with the indefatigably cheery spirit of the church songs she was raised on, twisting her jangle-pop sound into subtly adventurous shapes suggestive of a roving soul. “Ten segments in an orange / Only so many ways that you can pull apart someone,” she sings on the title track, effortlessly tossing off the kind of line that makes your heart ache instantaneously. Kirby thrives in the place between easy appeal and more complicated explorations, and she’s already made believers out of us. 

Katy Kirby on “Audiotree Live (Full Session)”

Katy Kirby is a buoyant post-folk song writer whose elastic, pristine vocal delivery wraps around and within experimental song constructions. The Keeled Scales signee continues to hone her craft with each release; perfecting a divine blend of stylish song writing.

Live at Audiotree.

Tracklist;1. 00:00 – Juniper 2. 03:02 – Portals 3. 06:02 – Traffic! 4. 09:36 – Tap Twice 5. 12:17 – Cool Dry Place

Recorded on October 26th, 2020 in Chicago, IL.

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One of the first releases of 2021 comes from Steve Earle and has a tragic back story: The album, “J.T.,” is a tribute to his son, the singer and songwriter Justin Townes Earle, who died from an accidental drug overdose in August. “I’ve never loved anything in this world more than him,” Steve Earle said. “I was connected to him in ways that, you know he’s my first born, he did the same thing I did and we both had this disease.” On the evening of August. 20th, Steve Earle spoke to his son Justin Townes Earle for the last time.

In a phone call initiated by Justin, they caught up on family business and Steve, the country-rock singer-songwriter, who struggled with addiction for years, told his son a lauded musician in his own right that he would support him if he was ready to begin his own recovery. “I said, ‘Do not make me bury you,’” the elder Earle recalled in an interview. “And he said, ‘I won’t.’”

That night, Justin, 38, died alone in an apartment in Nashville of an accidental drug overdose; an autopsy found evidence in his blood of cocaine laced with fentanyl, a powerful opioid. For Earle, the death of his eldest son set off waves of grief. He had watched Justin grow from a scraggly teenage hip-hop fan intrigued by Kurt Cobain to a rising star of Americana music the fuzzy intersection in the Venn diagram of folk, country and rock, where Earle has long been a looming presence.

Justin, who released eight albums and an EP over 13 years, had a mordant song writing style that bore the influence of Townes Van Zandt, the fatalistic folk oracle who was Earle’s mentor and the man he named his son after. It also had the unmistakable imprint of Earle himself, whose best songs, whether performed in loud bands or alone with an acoustic guitar, have always had a certain rock ’n’ roll sneer.

Justin, like his father, also spent years as an addict, using heroin since his teens. Alcoholism plagued him throughout his career, and took a hard toll in his later years. Justin was hospitalized with pneumonia over the summer, having aspirated vomit in his lungs, and was told by a doctor that he would die if he did not quit drinking, Steve said. But while Steve eventually got clean after spending time in prison in 1994 on drug and weapons charges his son succumbed to the disease. Among Justin’s survivors are his wife, Jennifer, and a 3-year-old daughter, Etta St. James Earle.

Within days of Justin’s death, Earle, 65, began work on what would become “J.T.,” an album of 10 of Justin’s songs, and one new track by his father, that will be released on January 4th, which would have been Justin’s 39th birthday. Proceeds from the LP will go to a trust to benefit Etta.

“His best songs were as good as anybody’s,” said Earle, whose Greenwich Village apartment is crammed with photos of Justin, including one black-and-white shot on the wall showing his 3-year-old son chomping on a candy apple. “He was a way better singer than I am, a way better guitar player, technically, than I am. His fingerpicking could be mind-blowing.” “He was just one of those people,” Earle added, “that never felt like he was enough.”

“J.T.” Justin’s childhood nickname is the latest entry in what has become a grim specialty for Earle: the tribute album for a departed musical confidant. “Townes” was released in 2009, a dozen years after Van Zandt died; “Guy,” a homage to the songwriter Guy Clark, came out three years after Clark’s death in 2016. But “J.T.” was made while Earle’s pain was still raw. During recording sessions in October, the official cause of Justin’s death had still not been determined.

Recorded with the Dukes, Earle’s longtime backing band — including Chris Masterson on guitar, Eleanor Whitmore on fiddle, Ricky Ray Jackson on pedal steel guitar, Jeff Hill on bass and Brad Pemberton on drums “J.T.” includes some of Justin’s best-known songs, like “Harlem River Blues,” “Champagne Corolla” and “The Saint of Lost Causes,” the title track of Justin’s final album, released in 2019.

Earle’s craggy-voiced performance underscores dark themes that were there all along. “Harlem River Blues” contemplates a drowning death. (“Tell my mama I love her, tell my father I tried,” it goes. “Give my money to my baby to spend.”) “Turn Out My Lights,” about the phantom-limb ache for a former lover, takes on an eerie double meaning when Earle sings:

Even though I know you’re gone, I don’t have to be alone now
You’re here with me every night, When I turn out my lights

Recording the album “wasn’t cathartic as much as it was therapeutic,” Earle said. “I made the record because I needed to.”

“J.T.” is, in a sense, a double portrait of father and son. Justin was born in 1982, while Earle was a journeyman songwriter in Nashville. He and Justin’s mother, Carol Ann Hunter, split up when Justin was 3, around the time that Earle’s recording career began to take off. For much of Justin’s youth, Earle was touring or lost in the depths of drug addiction.

By Justin’s teenage years once Earle was clean and out of prison he was living with his father, and they developed a close musical bond. Earle recalled a pivotal moment when Justin, still a guitar novice, was stunned by Cobain’s stark acoustic performance of “Where Did You Sleep Last Night” with Nirvana on “MTV Unplugged,” unaware of the song’s provenance from the folk icon Leadbelly. Earle pointed his son to the L section of his record collection, where Leadbelly abutted the bluesmen Lightnin’ Hopkins and Mance Lipscomb.

“Next thing I knew,” Earle said, “he was playing Mance songs that I had never been able to figure out.”

Justin played in two bands, the Swindlers and the Distributors, before going solo in his 20s. In 2007, Justin’s debut EP, “Yuma,” introduced him as a stylish traditionalist with a hint of punk-rock attitude. Within a few years, he was building a reputation in New York, appearing frequently (as performer or patron) at a bar near his East Village apartment. He developed an irresistible persona for the media, dressing in retro suits and hats, blithely recounting his struggle with drugs while revelling in the notoriety it brought. “There’s really no such thing as bad press,” he told The Wall Street Journal in 2010.

Shooter Jennings, the country-rock singer and son of the outlaw country legend Waylon Jennings — recalled Justin during this period as an almost intimidating talent, albeit one who still lived under the shadow of a famous father. “When you get out there, there’s going to be this built-in audience of people that are curious to see what Steve Earle’s son is like, or what Waylon Jennings’s son is like,” Jennings said. “So there’s this bit of distrust with the audience from the very beginning. Are they here because they like my music, or are they here because they like my dad’s music?”

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To record “J.T.,” Earle, with the help of his son Ian, 33, winnowed Justin’s work to a list of 10 songs — two of them, “Turn Out My Lights” and “Far Away in Another Town,” Justin wrote with Scotty Melton and booked a week at Electric Lady Studios in New York. He worked fast, sending his band preparatory notes by text message. By the time they began recording, Justin had been dead for less than two months. (They began sessions before October 20th.) Earle, who had largely avoided speaking publicly about Justin’s death, wanted the album to be his statement.

He was also wary of being roped into anyone else’s memorial. “I did not want to be asked to be on a tribute record with several people that I thought absolutely were enablers and helped kill him,” Earle said, his words flecked with expletives. “So I thought the way to nip that in the bud was to make a record of my own.”

At this point in his career, Earle bespectacled, with a long salt-and-pepper beard is a Renaissance man for whom mortality and addiction have been perennial subject matter. In addition to his many albums, Earle has written a play about a woman on death row and a novel about the spector of Hank Williams, and contributed music to a recent play about a mining disaster in West Virginia. Lately he has been writing a science-fiction story intended for television.

The night before the first session for “J.T.,” Earle gathered the band at his apartment for a sushi meal. Ray Kennedy, Earle’s longtime engineer, recalls the time in Electric Lady as being celebratory but focused. They began each day at 10 a.m. and finished by 4 p.m., so that Earle could take care of his youngest son, John Henry, 10, who has autism. “It felt positive,” Kennedy said. “It felt like we were taking an expression of somebody’s art and creativity and giving it back to the world in a different package.”

Earle, slouching on his sofa with a green bandanna as a face mask, seemed almost bemused by the question of whether recording his dead son’s songs was difficult to get through.

“I inoculated myself to some degree,” he said. “I was prepared for it to be horrific. But the truth is, it was kind of business as usual in a lot of ways.”

Justin’s catalogue, with its frequent themes of the entanglements and disappointments of family, might seem a minefield for Earle. He did not record anything from his son’s albums “Absent Fathers” or “Single Mothers.” He also avoided one of Justin’s best-known songs, “Mama’s Eyes,” which begins: “I am my father’s son/I’ve never known when to shut up.”

Those songs, Earle said, simply didn’t hold up as well as others he chose, which showcase Justin’s economical storytelling voice. The choices also contrast the two men’s styles. “J.T.” opens with “I Don’t Care,” a jaunty, fingerpicked ditty from “Yuma.” The Dukes play it as a rollicking hootenanny, with Earle growling its sardonic twist on a folk cliché: “I don’t know where I’m going no more/I don’t know, and I don’t care.”

Steve Earle and Justin Townes Earle in 1999.

Other songs reveal an interplay between the two men and their music. Justin’s “Lone Pine Hill,” a Civil War ballad with a Townes Van Zandt-style guitar part, Earle sees as indebted to his “Ben McCulloch,” about a disillusioned Confederate soldier. For two of Justin’s earliest tunes, “Maria” and “Ain’t Glad I’m Leaving,” Kennedy dug out tapes of Justin’s original arrangements with the Swindlers, which he and Earle recorded in 2001, when Justin was just 19.

Earle said that in writing “John Henry Was a Steel Drivin’ Man,” from his most recent album, “Ghosts of West Virginia” (2020), he “deliberately emulated” Justin’s guitar part on his song “They Killed John Henry.” “It always made me incredibly jealous that Justin had a John Henry song and I didn’t,” he said.

The song that was the most painful to record is also the album’s most powerful: “Last Words,” a heartbreaking synopsis of a father’s journey, from holding his newly born son to speaking to him for the last time. Earle wrote it less than a week after Justin died, and he described it as “maybe the only song I’ve ever written in my life that every single word in it is true.”

“Last thing I said was ‘I love you,’” Earle sings, over acoustic guitar and ominous, droning feedback. “Your last words to me were ‘I love you too.’”

Steve Earle – Guitar, Mandolin, Octave Mandolin, Harmonica and Vocal
Chris Masterson – Guitar, Mandolin, 1 Finger Piano and Vocal
Eleanor Whitmore – Fiddle, Mandolin, Organ and Vocal
Ricky Ray Jackson – Pedal Steel Guitar, Dobro and Vocal
Jeff Hill – Acoustic and Electric Bass, Cello and Vocal
Brad Pemberton – Drums, Percussion, and Vocal
All songs written by Justin Townes Earle

Recording the album “wasn’t cathartic as much as it was therapeutic,” Steve Earle said. “I made the record because I needed to.”

William Tyler is a Nashville guitarist and composer. He spent years woodshedding and touring with Nashville groups like Lambchop and Silver Jews before breaking away to focus on his own version of instrumental guitar music. The concept of “vanitas” in medieval art refers to the juxtaposition of macabre symbols of death with material ephemera in order to illustrate the impermanence of earthly things. What struck me about this was not the representation of death in a macabre/morbid way, but rather that very sense of ephemerality and impermanence. Reading an article about the history of ephemera in art led me to the concept of vanitas, and I wanted to find a way to pivot that in a more, well, hopeful direction. But these paintings force us to bear witness to the contrasts of life, death, and impermanence, and if 2020 has taught me about anything, it is this concept of “bearing witness” both on a personal and political level.

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If you don’t know William Tyler you really should by now. He’s been around for a bit and has been releasing solo work for a decade. This was his second effort of the year and this seven-song set is out there. The record is all about life and death and how they are separate but also one continuous thing. On the opening track “With News From Heaven” Tyler loops chords, riffs, and sonic scapes from his guitar over one another and as they brightly jangle around one another they bring the listener into a new realm that will take them through the rest of the record. There are weird radio broadcasts on a number of songs that fade in and out, which truly make you feel like you may not be on this planet anymore even though it’s clearly a familiar signal you’re hearing.

The sprawling 12-minute epic “Slow Night’s Static” is a guitar that drones in and out of focus as more of these distorted radio signal broadcasts are just out of reach of your ear behind the guitar. It’s hypnotic, beautiful, and like nothing, William Tyler has done before. This serene track must be that feeling of literally being between life and death, just waves of ease washing over you. He leaves us with “Pisces Backroads”, another euphoric track that feels hymnal and ends on a high note. As the record ends you might feel like you have reached a spiritual awakening or wonder where you just travelled to over the last 39 minutes.

Released September 4th, 2020

Recorded and produced by William Tyler except “Four Corners” by Scott Hirsch

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 Records. 

 The band made Country Westerns with no filler, packing every song with twangy riffs and shout-along hooks. You can practically smell the sweat and beer from the crowd.

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Hi it’s Matt Sweeney, I 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 gave em a record deal.

Released June 26th, 2020

There’s something comforting about the sound of familiar music. No matter how dark the outside world may seem, we can huddle by ourselves and play our favorite songs for consolation and reassurance. Nashville’s Molly Tuttle has taken this a process a step further. The multi-talented singer-songwriter and instrumentalist taught herself how to use Pro Tools digital audio workstation to record and engineer while stuck at home alone. She then sent them to producer Tony Berg in Los Angeles, who employed session musicians to fill in the parts from their home studios. The result, “…but I’d rather be with you” is a lovely, low-key, intimate affair.

In March 2020, Tuttle experienced the devastating tornado that tore through much of East Nashville, followed by the global pandemic. While sheltering at home, she found solace by revisiting favourite songs in an attempt to “remind myself why I love music.” An idea for an album emerged, to be recorded with Los Angeles-based producer Tony Berg (Andrew Bird), despite being over 2,000 miles apart. 

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Tuttle’s list is esoteric and reveals the pleasures of having catholic tastes. She chose a wide range of material, including one track each from the National, the Rolling Stones, Arthur Russell, Karen Dalton, FKA Twigs, Rancid, Grateful Dead, Yeah Yeah Yeahs, Harry Styles, and Cat Stevens. Tuttle keeps the arrangements simple and uncluttered. She plays flawlessly here without ever showing off. The same thing is true for her voice. She lets it sparkle and shine when the song calls for it, such as on her version of the Stones‘ semi-psychedelic “She’s a Rainbow” or in the giddy moments of falling love as on Arthur Russell’s “A Little Lost”.

Released August 28th, 2020

The 5 Best Roots Releases From July 2020

Margo Price’s album is the work of a singer ready to shake up preconceived notions. The Nashville musician has been doing that all along to a degree, but That’s How Rumors Get Started is a conscious—and sometimes self-conscious step out from under the shadow of all the “bright future of country music” buzz that surrounded her previous solo work. That’s How Rumors Get Started is Price’s third LP as a solo artist, after three previous albums fronting the Nashville band Buffalo Clover. If that group had a shaggy late-’60s blues-rock bent à la Big Brother and the Holding Company, Price certainly leaned more toward the sound of fiddles and pedal steel guitar on Midwest Farmer’s Daughter in 2016 and All American Made in 2017. The latter even featured a duet with Willie Nelson. This time around, there’s as much blustery rock and hard-edged soul as there is country twang. Margo Price has paid her dues, both professionally and personally. Whereas she honours those challenges, she rejects singularity as the underlying factor in defining her music and identity. In That’s How Rumors Get Started, Price reimagines Americana’s sound as well as her position within the genre.

Some of that change is probably due to Price’s old pal Sturgill Simpson, who produced the album and assembled a band to play on it, in place of Price’s usual road band. On the other hand, the mix of sounds is more in line with what Price presents onstage in concert. When it works here, she demonstrates a certain amount of breadth as a performer. Yet it doesn’t always work. There’s a difference between upending expectations and contrarian posturing, and the song writing on That’s How Rumors Get Started isn’t consistently sharp enough to strike the right balance. Price goes for broad strokes on these 10 songs, musically and lyrically.

“That’s How Rumors Get Started”, an album of ten new, original songs that commit her sky-high and scorching rock-and-roll show to record for the very first time. Produced by long time friend Sturgill Simpson (co-produced by Margo and David Ferguson), the LP marks Price’s debut for Loma Vista Recordings, and whether she’s singing of motherhood or the mythologies of stardom, Nashville gentrification or the national healthcare crisis, relationships or growing pains, she’s crafted a collection of music that invites people to listen closer than ever before.

Margo primarily cut That’s How Rumors Get Started at Los Angeles’ EastWest Studios (Pet Sounds, “9 to 5”). Tracking occurred over several days while she was pregnant with daughter Ramona. “They’re both a creation process,” she says. “And I was being really good to my body and my mind during that time. I had a lot of clarity from sobriety.”

While Margo Price continued to collaborate on most of the song writing with her husband Jeremy Ivey, she recorded with an historic band assembled by Sturgill, and including guitarist Matt Sweeney (Adele, Iggy Pop), bassist Pino Palladino (D’Angelo, John Mayer), drummer James Gadson (Aretha Franklin, Marvin Gaye), and keyboardist Benmont Tench (Tom Petty & The Heartbreakers). Background vocals were added by Simpson on “Letting Me Down,” and the Nashville Friends Gospel Choir, who raise the arrangements of “Hey Child” and “What Happened To Our Love?” to some of the album’s most soaring heights.

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Margo Price and her steady touring band – Kevin Black (bass), Jamie Davis (guitar), Micah Hulsher (keys), and Dillon Napier (drums) – will perform songs from That’s How Rumors Get Started at dozens of shows with Chris Stapleton and The Head & The Heart this spring and summer, in addition to festival appearances and more to be announced soon.

“That’s How Rumors Get Started” follows Margo’s 2017 album All American Made, which was named the #1 Country/Americana album of the year by Rolling Stone, and one of the top albums of the decade by Esquire, Pitchfork and Billboard, among others. In its wake, Margo sold out three nights at The Ryman Auditorium, earned her first Grammy nomination for Best New Artist, and much more.
Released July 10th, 2020

New album, “That’s How Rumors Get Started” out now

Margo Price’s take on classic sounds is at once familiar and daring, an infectious blend of Nashville country, Memphis soul, and Texas twang. The release is a beautiful summary of Margo’s triumphant three-night run at The Ryman Auditorium in May 2018, and features guest appearances from Emmylou Harris, Jack White, and Sturgill Simpson.

A note from Margo: “Two years ago today I headlined the Ryman and it was something I had dreamed of since I was a little girl. We did three nights in a row and recorded all of them. I am so excited that we are releasing it – the recordings are rough and the performances are raw, but there was a magic there and the band was on fire. We played unreleased songs, alternative album versions and lots of special guests. I hope it moves you.”

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A great country voice, great songs, great guests. It makes me whish I could have been at the Ryman on that night.

Aaron Lee Tasjan, aka ALT, is a songwriter and guitarist and performer. I’d stay away from him if I were you. Big trouble. It’s tough to take Aaron Lee Tasjan seriously when he calls himself a folk singer. Though the shaggy-haired, 30-year-old Nashville transplant is perfectly capable of quieting a room with storytelling songs and acoustic fingerpicking, there’s a whole lot of other music in his repertoire—not to mention on his resume. His incisive electric guitar playing landed him prime glam rock gigs, first with Semi Precious Weapons, then a latter-day line-up of the proto-punk New York Dolls—both far better known for the flaunting of fabulous rock ‘n’ roll androgyny than for anything remotely folk-leaning.

He also secured a spot in the hard-edged roots rock outfit Drivin’ N Cryin’. The solo work that Tasjan’s committed himself to since—including his magnetic New West Records debut Silver Tears—makes use of his slouching self-awareness, bohemian intellect and wicked wit, as well as his fondness for psychedelic eruptions, sophisticated studio pop flourishes and easy twang. He’s wagering that the Americana scene, no matter its traditionalist rep, has room for such motley impulses. We’re excited to announce the new Aaron Lee Tasjan album, Tasjan! Tasjan! Tasjan!, is on its way! The fourth full-length album from the enigmatic Nashville songwriter will be released February 5th, 2021. 

The debut single from the album, “Up All Night,”  is equal parts alternative pop and glam rock stomp. 

Releases February 5th, 2021

Julien Baker has announced her third full length album titled “Little Oblivions”, which is set for a February 26th 2021. Released via Matador Records. In addition to the album announcement, Baker also shared the first single off the new record, titled “Faith Healer” coupled with a music video directed by Daniel Henry.

In Baker’s own words: Put most simply, I think that “Faith Healer” is a song about vices, both the obvious and the more insidious ways that they show up in the human experience. I started writing this song two years ago and it began as a very literal examination of addiction. For awhile, I only had the first verse, which is just a really candid confrontation of the cognitive dissonance a person who struggles with substance abuse can feel — the overwhelming evidence that this substance is harming you, and the counterintuitive but very real craving for the relief it provides. When I revisited the song I started thinking about the parallels between the escapism of substance abuse and the other various means of escapism that had occupied a similar, if less easily identifiable, space in my psyche.

There are so many channels and behaviours that we use to placate discomfort unhealthily which exist outside the formal definition of addiction. I (and so many other people) are willing to believe whomever — a political pundit, a preacher, a drug dealer, an energy healer — when they promise healing, and how that willingness, however genuine, might actually impede healing. ‘Little Oblivions’ is the third studio album by Julien Baker. Recorded in Memphis, TN, the record weaves together unflinching autobiography with assimilated experience and hard-won observations from the past few years, taking Baker’s capacity for storytelling to new heights. It also marks a sonic shift, with the songwriter’s intimate piano and guitar arrangements newly enriched by bass, drums, keyboards, banjo, and mandolin with nearly all of the instruments performed by Baker.”

Releases February 26th, 2021