Tag: Nashville TN

Cf Watkins is a North Carolina-born, Nashville-based Americana/pop singer/songwriter, who spent the past the past nine years living in Brooklyn, before relocating to Nashville last month. Performing since she was 14, she has shared stages with an impressive array of acts including Langhorne Slim, Futurebirds, Chatham County Line, Wilder Maker, Lowland Hum and Alpenglow while developing a sound and approach that draws from her North Carolina roots.

2016 saw the release of Daniel Goans-produced full-length debut I Am New, was recorded at White Star Sound, as well as the attention-grabbing single “Frances and Jack.” Watkins’ latest album, the Max Hart-produced Babygirl portrays its creator growing both as a person and as an artist. “When I think about my last album, I feel I was writing songs about weakness,” Watkins says. “With this album, I made a conscious effort to write songs about the power of choosing yourself.” Thematically, the album touches upon empowerment while being both a coming of age story and an ode to female friendship. “Romances have come in and out of my life, but through it all, the relationships that continue to open my heart the most are grounded in the women I’ve known,” says Watkins. “This is an album meant for other women to hear — with songs that are both vulnerable and powerful.”

Babygirl‘s latest single, album title track “Babygirl” is an unfussy yet slickly produced song that further establishes the rising North Carolina-born, Nashville-based singer/songwriter’s pop-leaning take on Americana. Centered around jangling guitars, fluttering flute a soaring hook and Watkins’ expressive and gorgeous vocals, “Babygirl” reminds me a bit of Nicki Bluhm and S.G. Goodman — but while being an achingly tender declaration of devotion and fidelity to a dear friend; a devotion that’s deeper than even romantic love. “I wanted to honor my female friends and honor the beauty of female friendship– the romance and freedom of female friendship,” Watkins says. “To me, that feels like the ultimate love.”

Nashville-based melodic, heavy duo Friendship Commanders — Buick Audra (vocals, guitar) and Jerry Roe (drums, bass) — have released two albums and an EP so far, 2016’s Dave, 2018’s Steve Albini-produced Bill and the Hold On To Yourself EP, which was released earlier this year.

Recorded with mix engineer Kurt Ballou, Hold On To Yourself EP finds the band crafting their heaviest batch of material to date while being a sonic and stylistic departure — with the EP’s material introducing a layered, studio polish instead of the raw, mostly lived-tracked approach of their previously released material. Thematically, the EP found the band examining the world around them, including their part in the world’s massive problems and potential solutions, and challenging the patriarchy while also delving deep and discussing being an adult, who has survived childhood trauma. Interestingly, enough the EP’s title essentially summarizes Audra’s message to other survivors — and has been a personal mantra for the Friendship Commanders’ frontperson; she has a habit of writing the phrase “hold on to yourself” every morning as a reminder. “This has been especially true during times of dealing with unsafe family members, abusers, or unwell people,” Audra says in press notes. “With a past of self-abandonment, holding on to myself has to be a focus in everything I do. It’s a good reminder and I always need it. It just seemed like the right set of words for this record.”

“Stonechild”/”Your Reign Is Over” is the first bit of new material since the release of Hod On To Yourself and continues their ongoing collaboration with the mixing and engineering team of Kurt Bailou and Brad Boatright. And although there is a sort of sonic through-line between HOTY and the new singles — with all of the material centered around sludgy power chords, thunderous drumming and rousingly anthemic, mosh pit friendly hooks. However, the new singles find the band moving into new emotional and thematic territory while tackling even tougher subjects. “Stonechild” manages to the outrage over injustice and the ache of unjust loss while “Your Reign Is Over” expresses frustration and a desire to get out there, snatch control from the old bastards fucking things up and making it a better world — right now.

“Stonechild” was written about the circumstances of Stonechild Cheifstick’s death last July 3rd. Chiefstci was a 39 year-old, Chippewa Cree man, who was part of the Suqamish Tribal community and father of five, who was killed by a white police officer. “Through a friend of mine who lives on the Port Madison Reservation, I connected to articles in local publications about his death, all of which I read with horror,” Audra says in press notes. “My brain kept going back to facts of the story: He was murdered by a white police officer . . . At the location where the community was gathered to enjoy the 3rd of July fireworks, at a waterfront park . . . Families with kids were everywhere and witnessed his death . . . And they still held the fireworks after he died. The song was written to acknowledge a life, question a death, and stand in solidarity with a community that has lost someone. We, alongside the people who knew him, demand justice for Stonechild. With this song, I am also asking questions to all of us about how we’re actually moving through this world, injustice all around us, systemic racism normalized and ignored. Are we helping, or are we hurting?”

“Stonechild” also features s spoken word section txʷəlšucid, co-written by Casey Fowler, who is a member of the Suquamish people; Zalmai Zahir ʔəswəli, who is part of the Puyallup; and Chris Duenas, who’s also part of the Puyallap people. Fowler recites the section in Lushootseed, and does on on behalf of Chiefstick’s family.

“Your Reign Is Over” encapsulates the general frustration and despair most of has have felt so deep this past year. We’ve had a pandemic that has rampaged communities, economies and entire industries with millions here in the States out of work and in danger of losing their homes. There’s the continued struggle for racial justice and gender equality, which have been on the forefront of the country’s consciousness during a summer of protest and unrest. There has been continued environmental calamities — and we’re in the middle of arguably the most consequential presidential election in the past 150 years. We’ve seen the destruction of people and the environment; the hatred and strife. If you’re like me — or like the band — you’re exhausted and fed up. And as a result the song calls out the greedy, the selfish, the destruction, demanding that they get out of the way for new voices, new ways of doing things, new thinking and new systems.

On June 19, 2020, the Tennessee legislate voted to pass the most restrictive abortion ban in the country. The vote took place in the middle of night — without the public knowing. As it turns out, Buick was in the state capitol building for the vote. “As an activist who advocates for bodily autonomy, the fact that our largely white and male Republican super-majority legislature took the extra steps to hinder the rights of so many – the middle of such a vulnerable time – really blew my last fuse,” Buick says. “There’s no way to dress that action up as anything but deliberately harmful. Such action is rooted in racism, classism, and sexism There’s some junk science in there, too. I haven’t written much this year, but I have written this work to say that this chapter is over. We can no longer allow any of the above to go on. This election needs to flip the state of Tennessee, and also the presidency.”

New Audio: JOVM Mainstay Yola Releases an Uplifting Tune for Young Black Women

With the release of her critically applauded, Dan Auerbach-produced full-length debut, last year’s Walk Through Fire, the Bristol, UK-born, Nashville-based singer/songwriter, guitarist and JOVM mainstay Yola had a highlight-filled, breakthrough year. Some of those major highlights included:

playing a breakout performance at SXSW
making her New York debut at Rockwood Music Hall
playing a live session for YouTube at YouTube Space New York
opening for a list of acclaimed artists including Kacey Musgraves, Lake Street Dive and Andrew Bird on a select series of US tour dates that featured stops at Newport Folk Festival, Hollywood Bowl, Austin City Limits Festival, Lincoln Center Out of Doors
making her nationally televised debut on CBS This Morning: Saturday Sessions
receiving a Grammy nomination for Best Artist, along with fellow JOVM mainstays The Black Pumas.
making her late night national television debut on Jimmy Kimmel Live!
releasing a soulful cover of Elton John‘s “Goodbye Yellow Brick Road,” that’s not only a staple of her live sets — but caught the attention of Sir Elton John himself, who praised the rapidly rising artist and her cover.

The British-born JOVM mainstay had hopes to build upon the incredibly momentum of 2019 with a handful of opportunities that many artists across the world would probably kill someone for: Earlier this year, it was announced that she was preparing to play blues and rock ‘n’ roll pioneer Sister Rosetta Tharpe in Baz Luhrmann’s musical drama Elvis alongside Austin Butler in the title role, Tom Hanks as Colonel Tom Parker and Maggie Gyllenhaal as Presley’s mother. Unfortunately, the film wound up being delayed as a result of pandemic-related shutdowns- and infamously, Tom Hanks contracting COVID-19 while filming in Australia.

The Bristol-born, Nashville-based JOVM mainstay finished her first Stateside headlining tour, which included a Music Hall of Williamsburg show in February, right before pandemic-related shutdowns put the entire known world on pause. In between filming, she was supposed to play a series of dates opening for country superstar Chris Stapleton and Grammy Award-winning acts The Black Keys and Brandi Carlile — with one of those shows being at Madison Square Garden. The best laid plans of mice and men, indeed.

In the meantime, Yola has made her rounds across the domestic, late night television show circuit: Earlier this year she performed, album bonus track “I Don’t Want to Lie” on The Late Late Show with James Corden — and recently, Yola was on Late Night with Seth Meyers with a soulful, gospel-tinged cover of Nina Simone‘s classic and beloved “To Be Young, Gifted and Black” filmed at The Ryman Auditorium.

Her latest single, the Dave Cobb-produced “Hold On” is the first bit of original material from the JOVM mainstay since the release of Walk Through Fire and the track features an All-Star cast backing her including The Highwomen bandmates Brandi Carlile (backing vocals) and Natalie Hemby (backing vocals), Sheryl Crow (piano) and Jason Isbell (guitar). The Yola penned song was recorded during The Highwomen self-titled debut sessions at RCA Studio A — and the track is an uplifting, gospel-tinged track with a warm yet spacious country soul arrangement and that incredibly soulful powerhouse vocal range. The sister can flat out sang, as they say. And along with the aforementioned cover of “To Be Young Gifted and Black,” “Hold On” comes from a rather personal, lived in place.

Inspired by many of the conversations and lessons Yola’s mother gave her about the racism, colorism and systemic unconscious bias she would later experience as a woman, the song finds its narrator imploring the listener — young, Black women, in particular — to be brash and bold, to stand up and take up place, and to to show the entire world that being young, gifted and black is where it’s at, as Nina once sang. Fuck yes, to all of this — and all the goddamn time, too.

“‘Hold On’ is a conversation between me and the next generation of young black girls,” Yola explains. “My mother’s advice would always stress caution, that all that glitters isn’t gold, and that my black female role models on TV are probably having a hard time. She warned me that I should rethink my calling to be a writer and a singer…. but to me that was all the more reason I should take up this space. ‘Hold On’ is asking the next gen to take up space, to be visible and to show what it looks to be young, gifted and black.”

A proportion of the profiles from sales of the track will be donated to MusicCares and National Bailout Collective. She also launched an accompanying line of merch with a proportion of proceeds from those sales also benefiting the same organizations. Check out the following:

https://www,iamyola.com/store

New Audio: The Black Angels’ Alex Maas Releases a Contemplative and Dreamy Single off His Forthcoming Solo Debut

Best known as the frontman and founding member of the acclaimed Austin, TX-based psych rock act and JOVM mainstays The Black Angels — and a member of acclaimed psych rock supergroup MIEN, Alex Maas will be stepping out into the spotlight as a solo artist with the release of his full-length debut Luca.

Named for Maas’ firstborn child, Luca, which means “bringer of light,” the Mass and Brett Orrison co-produced album, which is slated for a December 4, 2020 release through Innovative Leisure was a long time coming — with some of its material dating back almost a decade and put together piece-by-piece over the course of a couple of years. Centered around a much gentler, contemplative take on psychedelia, Luca is a decided sonic departure from Maas’ best known work, showcasing what Maas says “a whole different part of gym brain.”

“I wanted to go someplace musically that I’ve never gone before,” Maas continues. Thematically, the album is driven by the nature and quiet of Maas’ home state and by his meditations about his son, his future, the often frightening world he was born in and how to navigate through the perils and frustrations of modern society. Interestingly, the album’s first single “Been Struggling” is a dreamy and shuffling waltz, centered around strummed guitar, shimmering pedal steel and Maas’ imitable falsetto that sonically nods at the melancholy psychedelia of Scott Walker and the classic Nashville sound. Instead of the menace, madness and darkness of his best known work, “Been Struggling” is a pensive meditation on memory, fate and loss from the perspective of a narrator, who has lived a messy and drama fueled life.

Portland, OR-based The Parson Red Heads — currently Evan Way (guitar, vocals), Brette Marie Way (drums, vocals), Robbie Augspurger (bass), Raymond Richards (multi-instrumentalist, production), the band’s newest member Jake Smith (guitar) and a rotating cast of friends, collaborators and associates — can trace their origins back to when its founding members met while attending college in Eugene OR back in 2004, studying for degrees that as the band’s Evan Way once joked “never used or even completed.” 

The members of the then newly formed Parson Red Heads spent the next year writing songs and rehearsing constantly. “We would rehearse in the living room of my house for hours and hours until my roommates would be driven crazy — writing songs and playing them over and over again, and generally having as much fun as a group of people can have,” Way fondly recalls. “We weren’t sure if we were very good, but we were sure that there was a special bond growing between us, a chemistry that you didn’t find often.”

In 2006, the band relocated to Los Angeles, with the hopes that they would take music seriously and become a real band. The members of the band moved into and shared a one bedroom apartment in West Los Angeles. “Eventually the population of our 1 bedroom ballooned to 7 — all folks who played in our band at that point, too,” Way says of the band’s early days in Southern California. The Parson Red Heads quickly became mainstays in a growing, 60s-inspired folk and psych folk scene primarily based in Los Angeles’ Silverlake and Echo Park sections. “We played every show we could lay our collective hands on, which turned out to be a lot of shows. We must have played 300+ shows in our first two years in L.A.  . . . . We practiced non-stop and wrote a ton of songs, and eventually recorded our debut album King Giraffe at a nice little studio in Sunland, with the help of our friends Zack and Jason,” Way recalls.

After the release of King Giraffe, The Parson Red Heads spent the next three years writing new material and touring, which eventually resulted in their sophomore album, 2011’s Yearling. The album was partially recorded at Los Angeles-based studio Red Rockets Glare with Raymond Richards, who had then joined the band to play pedal steel and in North Carolina at Fidelitorium with The dB’s Chris Stamey. After finishing the album, the members of the band decided to quit their day jobs and give up their apartments to go on a lengthy tour with their friends Cotton Jones. After the tour was completed, they relocated to Portland. 

With their first two albums, the band had developed a reputation for performing an uninhabited live show, in which they could easily morph from earnest folk to ass-kicking rock anthems with their sound and approach being inspired by The ByrdsTeenage FanclubBig StarCrosby, Stills, Nash and Young and Jackson Browne. Interestingly, with the band’s third album 2013’s Orb Weaver, the band desired to capture the energy and sound of their live sound.  “We’re always made records that were more thought-out,” Way says of Orb Weaver

2017’s Blurred Harmony found the JOVM mainstays actively intending to do things much differential than their previously released work — with the band recording and tracking themselves. They would set up drums and amps and furiously record Blurred Harmony‘s material after everyone put their kids to sleep, finishing that day’s session before it got too late. And as a result, Way says  “the record is more a true part of us than any record we have made before — we put ourselves into it, made ourselves fully responsible for it. Even the themes of the songs are more personal than ever — it’s an album dealing with everything that has come before. It’s an album about nostalgia, about time, change, about the hilarious, wonderful, bittersweet, sometimes sad, always incredible experience of living. Sometimes it is about regret or the possibility of regret. These are big topics, and to us, it is a big album, yet somehow still intimate and honest.”

After the release of Blurred Harmony, the band’s founding member Sam Fowles left the band, and the members of the band were forced to ask themselves tough questions about both the future of the band and its creative direction. The remaining founding members recruited touring guitarist Jake Smith to join the band full-time, and then they decided to approach any new material with a completely new lens. Slated for a November 13, 2020 release through their longtime label homes Fluff and Gravy Records across North America and You Are The Cosmos across Europe, The Parson Red Heads’ fifth album Lifetime of Comedy reportedly finds the band excavating the bedrock of their well-honed sound and allowing it to be remolded. While remaining a quintessentially Parson Red Heads album, the material as Way contends in press notes are the most collaborative they’ve written and recorded to date. 

Initially starting the recording of Lifetime of Comedy earlier this year, The Parson Red Heads quickly found themselves and their plans in limbo as a result of pandemic-related lockdowns and quarantines. And once studios could reopen, sessions continued at a snail’s place for small, very intimate sessions. With the material being recorded in a delicate, touch and go period, the album’s material seems to be deeply informed by a sense of perseverance and hope. 

Earlier this month, I wrote about “All I Wanted,” Lifetime of Comedy‘s first single was classic Parson Red Heads — a breezy yet carefully and thoughtfully crafted song centered around shimmering guitars, twangy steel pedal. rousing sing-a-long choruses, saccharine bursts of multi-part harmonies, Evan Way’s plaintive vocals and incredibly earnest lyricism, born of lived-in experiences. And while superficially sounding as though it could have easily been part of the Blurred Harmony sessions, the track possessed a subtly free-flowing, jammier vibe, that evokes the sensation of longtime friends creating something new with a revitalized sense of togetherness. Interestingly, Lifetime of Comedy‘s second and latest single “Turn Around” is a shimmering and heartfelt declaration of devotion but unlike its predecessor, it sound as though it were influenced by classic 80s and early 90s jangle pop, complete with soaring organs. It’s the sort of sweet and timeless love song that’s deceptively simple yet absolutely necessary. Sometimes all that ever needs to be said to our loved ones is “I’ll be always there.”

“‘Turn Around’ started as a lot of the songs I’ve been writing these days do – as a half-jibberish sung melody line, sung into my phone’s voice memo while driving,” The Parson Red Heads’ frontman Evan Way explains in press notes. “It stayed in that form for a good year before I found it, dusted it off, and brought it to the band. This song is a testament to the strength of the bands collaborative writing on this album. Everyone’s parts are so integral to the song’s small and simple beauty. It’s a simple love song, the lyrics a statement of devotion – in many ways, it is like a classic old Parson Red Heads song, in both theme and sound, but it has this element of The La’s or The Charlatans in it that I just love. And Raymond (Richards, multi-instrumentalist and producer) was able to help us get such a great mix of guitar sounds, 12-strings, Nashville strung electric – a great balance of being lush without being over-crowded.”  

Live Footage: JOVM Mainstay Yola Performs a Soulful Rendition of Nina Simone’s “To Be Young Gifted and Black”

With the release of her critically applauded, Dan Auerbach-produced full-length debut Walk Through Fire, the Bristol, UK-born, Nashville-based singer/songwriter, guitarist and JOVM mainstay Yola had a highlight-filled, breakthrough year last year. Some of those highlights included:

playing a breakout performance at SXSW
making her New York debut at Rockwood Music Hall
playing a live session for YouTube at YouTube Space New York
opening for a list of acclaimed artists including Kacey Musgraves, Lake Street Dive and Andrew Bird on a select series of US tour dates that featured stops at Newport Folk Festival, Hollywood Bowl, Austin City Limits Festival, Lincoln Center Out of Doors
making her nationally televised debut on CBS This Morning: Saturday Sessions
receiving a Grammy nomination for Best Artist, along with fellow JOVM mainstays The Black Pumas.
making her late night national television debut on Jimmy Kimmel Live!
releasing a soulful cover of Elton John‘s “Goodbye Yellow Brick Road,” that’s not only a staple of her live sets — but caught the attention of Sir Elton John himself, who praised the rapidly rising artist and her cover.

Much like countless artists across the globe, the British-born JOVM mainstay had hoped to continue the momentum of her breakthrough 2019: she was supposed to play blues and rock ‘n’ roll pioneer Sister Rosetta Tharpe in Baz Luhrmann’s musical drama Elvis alongside Austin Butler in the title role, Tom Hanks as Colonel Tom Parker and Maggie Gyllenhaal as Presley’s mother — but the film has been delayed as a result of both pandemic-related lockdowns and Tom Hanks contracting the virus while in Australia. And although she finished her first headlining Stateside tour, she was supposed to play a run of dates with country superstar Chris Stapleton and Grammy Award-winning acts The Black Keys and Brandi Carlile. However, the JOVM has begun to make her rounds across the domestic, late night television circuit: earlier this year, she performed, album bonus track “I Don’t Want to Lie” on The Late Late Show with James Corden — and recently, Yola was on Late Night with Seth Meyers with a soulful, gospel-tinged cover of Nina Simone’s classic and beloved “To Be Young, Gifted and Black” filmed at The Ryman Auditorium.

As a YouTube commenter said “Nina and Aretha are smiling down from above.” He’s absolutely right. Of course, I hope that each rendition of the song will remind everyone of one simple, incontrovertible fact: Black Lives Matter.

Lyric Video: Nashville’s In Parallel Releases an Ambitious and Rousingly Anthemic Single

Nashville-based indie act In Parallel — Lance Black, Jesse Fine, Ryan Parrish and Mark Nash, former members of Celebrity and Hopesfall — can trace it origins back to when the members of the band got together in the back room of a local picture frame shop. That night with nothing more than a looped electronic drum sample and a few guitars, the first notes they played became the framework of the project’s first song “Bridge and Tunnel.” 

Inspired by 80s pop, 90s shoegaze, and post-hardcore, the band aims to balance contrasting melodic, expansive and ambient moments within their material. Interestingly, it took them multiple recordings for the band to get the material on their debut Broken Codes correct; in fact, they had scrapped the first two version of the EP altogether. Thematically, the seven song EP touched upon power, control and human connection. 

The Nashville-based indie act’s sophomore EP, Fashioner is slated for a September 4, 2020 release through Wiretap Records. Recorded last year in the band’s home studio, the EP was supported with the help of successful crowdfunding campaign funded by the fans of their previous projects. And as the band claims, bypassing the traditional music industry structure gave them the freedom to lean into technology — and to push their sound and approach into new territory. 

Fashioner’s latest single “Deep Dark” is an expansive and ambitious  track, centered around shimmering guitars, atmospheric synths, an angular bass line and earnest songwriting which manages to reveal an unerring knack for a rousingly anthemic hook. And while managing to bring Slowdive, Lightfoils and Foals to mind, the track possesses a swooning and urgent romanticism that evokes being simultaneously lost and desperately in love. 

New Video: Genre-Bending Artist Kitty Coen Releases a Cinematic and Psychedelic Fever Dream

Kitty Coen is a 22 year-old, Austin-based singer/songwriter, who emerged with the release of an acoustic cover of Amy Winehouse’s “Valerie.” Influenced by Tame Impala and STRFKR, the emerging Austin-based singer/songwriter has balanced a rooted commitment to the classics with a psychedelic, Western and bluesy sound — with subtle nods to disco. 

Centered around the Austin-based singer/songwriter’s sultry vocals, shimmering reverb-drenched, guitars, propulsive drumming, some fuzzy and funky synths and an infectious hook. “Dark Soul” is a sultry and self-assured debut single that to my ears reminds me a bit of Too True-era Dum Dum Girls and 80s New Wave — with subtle nods to country. But under the material’s polished sheen is a beating and sensitive heart — while being a bit of a tell off/warning reminiscent of Amy Winehouse’s “You Know I’m No Good.”

“This release of music is a coming-out party for tunes I’ve had in my soul for a while,” Coen explains. “As an artist who took some time to perfect her sounds, I feel that the music I’m putting out in the coming months is introducing my voice and style to the world. The stories and themes have been acquired over my life. Growing up in a small Texas town I was exposed to a lot of country music and influenced my a western aesthetic, but this isn’t country, it’s more like Dolly Parton on an acid trip.” 

“‘Dark Soul’ is basically a warning label to any potential suitors who might think I’m all smiles and rainbows,” the emerging Austin-based singer/songwriter adds. “Just because I seem sweet at first doesn’t mean I always am. Especially with relationships that don’t let me breathe. I’m an independent woman and if you want to be with an independent woman you have to accept one thing: they don’t need you. ‘Dark Soul’ was originally a song I wrote on acoustic guitar in my friend’s garage. But as I performed it live I realized I wanted it bigger and ultimately better. I went to Nashville to work on it with my producer and we re-worked it into a western disco dance track.”

Directed by Kitty Coen and Aaron Brown, the recently released is a psychedelic and cinematically shot visual that begins with Coen driving on an open highway with burning orange skies with her red hair mirroring the color of the sky. She eventually parks the muscle car she was driving and enters into a smoky, neon room with bubbles, palms, glitter and explosive bursts of color. We also follow her to a pool and to a futuristic Western club. But throughout we see Coen be sassy, seductive and remarkably self-assured. ‘“The vibe of the video is disco cowgirl realness. I wanted to take the viewer on a psychedelic trip through the mind of Kitty Coen,” Coen explains.

New Video: Emerging Singer/Songwriter Enoch Porch Releases a Gorgeous Visual for Plaintive New Single “Grand Army”

Growing up in a hyper-fundamentalist Christian, home-school cult, the emerging Indiana-born, Brooklyn-based singer/songwriter and multi-instrumentalist Enoch Porch was isolated from all popular and secular music: as a child, he listened to his parents vinyl collection of classical music, church songs recorded in the 70s and Sousa marches. “I remember, age 5 or so, loving the rhythm and excitement of Sousa marches, the hypnotic repetition of Ravel’s ‘Bolero’, and the drama and emotion of The Nutcracker,” Porch recalls in press notes. “Many of my creative choices are still heavily influenced by early that musical diet.” 

When he turned 11, Porch quit school and learned to play multiple instruments and to record himself. “I was more excited about this particular path than were my folks, and I found myself locked inn a battle of wills with my ex-Marine fighter pilot/electrical engineer father for several years,” Porch says. The Indiana-born, Brooklyn-based singer/songwriter and multi-instrumentalist adds that his father had a latent musical talent of his own and although he taught him to harmonize and to hear major and minor intervals — but he didn’t think that it was possible to make a living as a musician. However, his folks allowed him to work, mowing lawns around his small town to save up money for a guitar, then other instruments and recording instruments. As a teenager, Porch was a busy musician — and what he believed a recording engineer. 

Porch eventually moved to Nashville. And while in Music City, Porch had difficulty landing a job; so to get by, he gave plasma at a local blood bank to pay for his bills. He wound up landing a gig with a touring band and worked at local restaurants to keep afloat. 

The Indiana-born singer/songwriter and multi-instrumentalist then relocated to New York, where he found a partner, lost partner and fell into a deep depression. He found his way to a therapist, who taught him to un-learn false beliefs he has had since his childhood and to replace them with a certain type of care for his inner child. “It was not properly love, but the closest I had gotten to it. Eventually the seeds of care grew and I began to hold myself in high regard and to protect this precious heart,” Porch says. 

The emerging Indiana-born, Brooklyn-based artist’s solo debut single “Grand Army” is a lush, 70s AM rock-like track featuring shimmering guitars, a supple bass line, Porch’s plaintive vocals, twinkling keys and a soaring and expressive guitar solo. Centered around some quietly ambitious yet earnest songwriting, the song as Porch explains is inspired by deeply personal experience: “I fell deeply, painfully, in love with someone who was close to me but couldn’t love me back,” the Indiana-born, Brooklyn-based artist explains. “I lost contact with myself, as if my center had ripped right out of me. This song came out of exploring how this experience echoed the feelings I had as a child of my mother who, while in proximity, wasn’t able to give the kind of love her children needed.”

Directed by Gabriel Kurzlop, the recently released video employs a simple concept in a gorgeous fashion: We see Porch standing at the shore in a blue work coveralls as the camera slowly and gradually zooms closer throughout. Just before the song fades out, we see a brief flash of playfulness with Porch giving a sign to the camera.