Comprised of husband wife duo Aslyn and Kalen Nash, the Joshua Tree, CA-based synth pop duo DEGA features two accomplished, veteran musicians: Ashlyn had released two solo albums — Lemon Love through Capitol Records and The Dandelion Sessions through Lemonade Records, as well as spending some time as a touring keyboardist and backing vocalist for Grammy nominated artist Kesha. Karen Nash was guitarist and vocalist for Athens, GA-based indie rock act Ponderosa, a band that released their critically applauded, Joe Chiccarelli-produced album Midnight Revival, which was released through renowned indie rock/roots rock label New West Records. Interestingly, the origins of the Nashes latest project can be traced back to 2008 when they first met — and although they got married in 2011, they were so busy with their own projects that they hadn’t really considered working together. Eventually, the loneliness of the road led the Nashes to consider a different path. “I remember a phone call when I was out with Kesha and Kalen was on tour with Ponderosa,” recalls Aslyn. “We were a country apart and hadn’t seen each other in months. I told him that we needed to start collaborating so, at the very least, we could see each other more often.”
The Nashes then formed DEGA with the idea that they could shed any of their preconceived notions about their previous work and freely explore new sounds — in this case, anthemic, synth-based indie pop in which they merged their talents and ideas into a unique sound and approach. Their forthcoming self-titled debut is slated for a February 23, 2018 release through Lemonade Records and the album reportedly is one of the most personal works either have released to date, as it focuses on their highs and the lows, as well as the love they have for each other; in fact, album single “Phoenix” focuses on Aslyn’s pregnancy and miscarriage during the recording sessions. With both Aslyn and Kalen touring, the duo would record whenever they were in the same city and had free time and although the album took two years to complete with sessions helmed by Justin Loucks and Jon Ashley at various studios across the States.
The self-titled album’s latest single “Don’t Call It” is a an ethereal, 80s inspired synth pop confection reminiscent of Stevie Nicks’ “Stand Back,” St. Lucia, Washed Out and In Ghost Colours-era Cut Copy as layers of shimmering synths are paired with a sinuous bass line line, propulsive yet African-inspired percussion and a soaring hook. And while being slickly produced, the song possesses an urgent and swooning romanticism that belies a careful attention to craft.
Directed by Scott Lansing, the recently released video for “Don’t Call It” consists of a fairly simple premise — the duo performing the song in a darkened room, in front of bright, lysergic lighting effects.