2023 release. Once again joining forces with up-and-coming producer Kyle Crownover (Adeem the Artist), this ten-song effort never takes it's foot off the gas pedal. Dominant themes of wrestling with mortality, pondering reincarnation, and finding that ever-elusive feeling of contentment in this life weave gracefully through. The first half of the record is filled with traditional waltzes ("I Thought I Was the Trees", "Take Me Back to Tennessee"), haunting electric folk ("What You Want Comes to You"), and 60's R&B style ("Milk & Honey") cuts. It's deep, mellow, and the lyrics are contemplative. It draws you in while not letting the listener get too comfortable. Beginning with the aforementioned rip-roaring lead single, the back half of the record brings with it an altogether different vibe. Greasy, distorted guitar licks pepper the back half of Where the Flowers Meet the Dew. "Playing House" fully displays his creative dexterity, and would be right at home on a post-grunge rock radio station, circa 1998, sandwiched between Matchbox 20 and Third Eye Blind numbers. Later, on "Nothin' to Haul", he boldly calls out the posers and wannabes that fill the Nashville scene.
Free shipping on orders over $75. Standard shipping takes 3-7 business days. Returns accepted within 30 days of purchase.
2023 release. Once again joining forces with up-and-coming producer Kyle Crownover (Adeem the Artist), this ten-song effort never takes it's foot off the gas pedal. Dominant themes of wrestling with mortality, pondering reincarnation, and finding that ever-elusive feeling of contentment in this life weave gracefully through. The first half of the record is filled with traditional waltzes ("I Thought I Was the Trees", "Take Me Back to Tennessee"), haunting electric folk ("What You Want Comes to You"), and 60's R&B style ("Milk & Honey") cuts. It's deep, mellow, and the lyrics are contemplative. It draws you in while not letting the listener get too comfortable. Beginning with the aforementioned rip-roaring lead single, the back half of the record brings with it an altogether different vibe. Greasy, distorted guitar licks pepper the back half of Where the Flowers Meet the Dew. "Playing House" fully displays his creative dexterity, and would be right at home on a post-grunge rock radio station, circa 1998, sandwiched between Matchbox 20 and Third Eye Blind numbers. Later, on "Nothin' to Haul", he boldly calls out the posers and wannabes that fill the Nashville scene.
