POSTPONED: KACY & CLAYTON
Kacy & Clayton
“We were raised on cattle ranches where we learned how to play traditional country music because that’s what everyone wanted to hear.”
The music Kacy and Clayton make is inextricable from where they grew up. They sing about the kind of people you’d find in Wood Mountain, Saskatchewan (population very few). The hills, barns and remoteness of the area are in these songs, with a bittersweet acknowledgement that this music has taken them far from home.
Kacy Anderson and Clayton Linthicum’s new album Carrying On follows the international acclaim for their previous records Strange Country (which Q magazine called, “A beautiful album that nudges a classic past into a brave future.”) and 2017’s The Siren’s Song (described by Uncut as “Ageless and beguiling. A classic record for this or any other time.”)
Their sound is equal parts homespun, coming from a family and community where playing music is an ever present part of social gatherings, and the rare country, blues and English folk rock these second cousins obsess over and collect. For Carrying On, Clayton cites as influences: Bobbie Gentry’s The Delta Sweete, Hoyt Axton’s My Griffin Is Gone, Cajun fiddle music, and the steel guitar of Ralph Mooney who played on many of the records that defined the Bakersfield country music scene of the 1950s. Sixties psych has also woven its way into these new songs; Kacy enjoys telling people that they live 250km from the mental hospital that coined the term ‘psychedelic’.
Having toured almost nonstop for the last two years, Carrying On was conceived and honed on the road and recorded immediately after a jaunt across Western Canada, mostly as live takes with the minimum of overdubs – the songs having been tried and tested before audiences each night. The album was produced once again by Jeff Tweedy of Wilco and Uncle Tupelo fame, at his Loft studio in Chicago.
The result is a sharpening of what Mojo magazine summed up as “A beautiful mix of Kacy’s crystalline vocals and Clayton’s inventive, deep-groove country guitar.” And a greater attention to detail in their songwriting; with narrative tales of loss, regret and yearning alongside vivid portraits of the Northern Great Plains and its isolated inhabitants. The songs “The Forty-Ninth
Parallel,” “The South Saskatchewan River,” “Providence Place” and “That Sweet Orchestra Sound” were all written with local settings in mind – with the latter a tribute to the rural dance bands of the area, who referred to themselves as ‘orchestras.’ One such band, the Romansky Orchestra from Fir Mountain featured Kacy’s Grandpa Carl in their line-up when he was in his teens.
Of Carrying On, Jeff Tweedy said “When I first heard Kacy and Clayton, I was struck by how much detail and nuance they had absorbed from what sounded like a large swath of my record collection. When I told them that they were as good as the artists they were drawing from, I’m not sure they believed me. On this record I don’t hear those influences as much as I hear them taking the things they love so intimately and telling their own story. I think they’re a truly great band.”
“Our songs for this album are inspired by rural living of the past and present, highlighting the toll that urban dwelling can take on first generation kids moving out of the country into the city.”
Devin Tuel may consider herself to be an artist meant for a different time, but she now finds herself inhabiting her own true place. The singer-songwriter is at home in Upstate NY reflecting on her third album, Happier Now, released under her nom de plume, Native Harrow, as well as the difficult sojourn the former ballerina and classically trained singer has had to traverse to become the writer and performer she was meant to be. “This record is about becoming your own advocate. Realizing that maybe you are different in several or a myriad of ways and that that is okay. And further, it is about me becoming a grown woman,” Tuel says.
After nearly two decades of rigorous training in ballet, theatre, and voice, Tuel needed to break out of the oppressive rules of academia and find her natural voice, write from her heart, and figure out what kind of performer she truly was rather than the one she was being molded into from the age of 3. “I spent my early twenties playing every venue in Greenwich Village, recording demos in my friends kitchen, and making lattes. I felt very alive then. I was on my own living in my own little studio, staying up all night writing; the dream I had of being a bohemian New York City artist was unfolding. I wanted to be Patti Smith. I was also heartbroken, poor, and had no idea what I was getting myself into. My twenties, as I think it goes for most, were all about getting up, getting knocked down, and learning to keep going. I never gave up and I think if I told 20 year old me how things looked 9 years later she’d be so excited”.
Happier Now (out April 12 on Different Time Records), is a set of nine songs recorded and mixed by Alex Hall (JD McPherson, The Cactus Blossoms, Pokey LaFarge) at Chicago’s Reliable Recorders. The album was co-produced by Hall, Tuel, and her bandmate, multi-instrumentalist Stephen Harms.
Native Harrow cuts out clear and vibrant narratives on fear, love, the open road, ill-fated relationships, and coping with the state of the world. “I wanted to share that I made it out of my own thunderstorm. I had experienced the high peaks and very low valleys of my twenties. I saw more of the world on my own, got through challenges, reveled in true moments of triumph… but all the while the world around me was growing louder, wilder, and scarier. Music for me is a place to be soft. This album was my place to feel it all.”
Happier Now’s nine songs were written during three back-to-back tours across North America supporting the band’s second album, Sorores. The album was recorded in just three days in March 2018 during what Tuel jokingly calls “downtime” in the middle of the grueling 108 date tour. Tuel approached the sessions like a musicians’ workshop, each morning beginning with the songwriter presenting her collaborators with the day’s material. The trio rehearsed and documented each song live on the floor, tracking as a band through each take. No click tracks, scratch tracks, or even headphones; just three musicians in a small room, captured with Hall’s collection of vintage mics and some subtle retro production techniques. Overdubs, including vocal harmonies, B3 organ, Rhodes, and the rare lead guitar were added to decorate these live performances. The creative energy of the tightly-knit sessions spilled over into Tuel’s songwriting as well – she skipped lunch on the third and final day of recording to pen the road-weary “Hard To Take”. Four days after arriving in Chicago, Native Harrow was back on the road and Happier Now was complete.
Happier Now oscillates between feeling the sting of uncertainty (“Can’t Go on Like This”), the beauty of California (“Blue Canyon”) and the ache for lavish stability (“Way to Light”). You could say Tuel wears her heart proudly on her sleeve, but that’d be underplaying the exact gravity of her stories. Each starlit image is framed within her warm, enveloping vocals and the careful, profound considerations of Harms’ musicianship. Start to finish, the new record pours forth from her very bones, and you get the overwhelming sense she has never been more daring and honest than right now.