Astronomy Club debuts ambitious full-length ‘Technicolor Room’

14368775_1164621213623418_6147190332715978376_nAstronomy Club, Bowling Green’s up-and-coming psych rockers, released their debut record “Technicolor Room” today.
The ambitious 11-track release draws heavily from 1960s and 1970s era psychedelia and is arguably the best record from any Bowling Green act in 2016.
Album standouts ‘Technicolor Room’ and “The World Disappears” (the latter a reworking of a song that appeared on Astronomy Club’s 2015 EP) are sounds of a band that is confidently coming into its own.
Read an interview below with Astronomy Club frontman Dylan Graves. He talks about inspiration for “Technicolor Room’, his favorite cuts from the record, influences and more.
Talk about the recording process for “Technicolor Room”, how long did it take to put it all together? Where did you record it? What does it feel like to finally put it out there?
Dylan Graves: We wrote the songs together starting in december of 2015. We practiced to get them all polished up how we like and then hit the studio early this September. Our good pal Nathaniel Davis provided the space, equipment, and brains to make it all happen. It is most definitely a great feeling now that it is out and other people can finally hear what we’ve been up to this year!
Who comprises Astronomy Club?
Dylan Graves: Astronomy Club is Sara Benyo on backup vocals and rhythm guitar, Titus Smith on drums, Justin Hull on bass, Anthony Joiner on keys, and I play lead guitar and sing.
Is there a song you are most proud of on the record?
Dylan Graves: The songs that have the most sentiment to me personally are ones like “Everyone’s Aware” or “One Big Shelter”.
I love the way you’ve reworked “The World Disappears” and “Captain Obvious” from your first EP. When did you realize you wanted to put those on the record. Did you feel like they didn’t reach their full potential on the initial EP?
Dylan Graves: The reason for re-recording those 2 ep songs is that we weren’t really content with the production style after hearing it back for so long. We wanted to revamp them and make them reflect who we are more basically.
Now that you have a record out, what’s next? What are your goals moving forward. Do you hope to start booking a tour soon?
Dylan Graves: Now that the record is out the goal is definitely to play out and get this album some exposure in places that are foreign to us. Booking a tour will definitely be something to expect from us next year.
Were you responsible for all the lyrical content? Or was that a collaborative effort?
Dylan Graves: I definitely wrote mostly all of the lyrics, but pretty instantly after doing so, I would ask each member what they thought and when everyone was on the same page we would stick with it.
Were you influenced by any other acts in the BG music scene during the process of creating this? Or were you more interested in making your own mark, in terms of crafting a sound that was different than what has been represented in BG previously?
Dylan Graves: We definitely didn’t really gain any inspiration from local acts. We started visiting Nashville and Louisville a lot more often and discovering lots of really good music that way, be it from local acts there or traveling bigger names. These were the most inspirational artists for us during our writing for this album.
Can you just touch on bands, musicians, records, etc that were influential during the period when you were writing and recording?

Dylan Graves: Old Artists: Velvet Underground, The Association, Seals and Crofts, The Doors, Buffalo Springfield, Iron Butterfly, Steely Dan

 New Artists: My Morning Jacket, Mystic Braves, The Growlers, Mild High Club, Beach House, Alex Calder, Sunflower Bean, The Clientele

Witchy Woman: An interview with genre-bending songbird Kim Logan


Nashville-based songwriter Kim Logan. Photo by Mikaela Frizzell.

Nashville-based songbird Kim Logan pairs haunting vocals with a sonic palette that draws from a gamut of influences and bygone eras. In her music you hear tinges of outlaw country, swampy delta blues, psychedelia and soul–just to scathe the surface. Though sounds of yesteryear are palpable in her sound, Logan’s tip of the hat to an eclectic array of styles is crucial to harnessing her own unique voice.

Logan sings often of ill-fated romances and star-crossed lovers. The Sarasota, Fla. native  ditches regret and somberness, emotions that often riddle the minds of scorned lovers,  with a raw swagger that recalls poetic alt-country legend Lucinda Williams. Like Williams, Logan confronts toxic relationships and mines her Southern roots masterfully (in addition to owning a pure talent for penning catchy kiss-off songs), crafting mysterious and macabre portraits that capture the spirit of the Deep South.

The genre-bending songwriter has followed her 2013 self-titled debut with a new, equally stirring project. The endeavor, a 7″ single series titled “Pseudoscience”, began with an 8/26 release and will feature five chapters culminating in an LP.

On “Cadillac,” she recounts the wounds from a freshly acquired heartbreak in a way that feels both empowering and profound.

“Staring at the TV like my brother just a cleaning my gun,” Logan quips in good-girl-gone-bad fashion.

“I want a boyfriend In every state , I want a long black Cadillac / It won’t matter about the things you hate because baby I ain’t coming back,” she howls in the song’s chorus.

Check out an interview with Logan below. She talks about her admiration for rising Nashville stars Margo Price and Nikki Lane, a love for “macabre and occult shit” and much more.

I feel like women have stolen the show this year in music. Or at the very least have put out a consistent collection of resonant records this year. Whether it be indie rock or alternative country, there have been so many uniquely profound female voices to release albums this year. Artists like Mitski for her record Puberty 2, Angel Olsen’s My Woman and Margo Price’s Midwest Farmer’s Daughter immediately come to mind and just scathe the surface. Are you particularly inspired or influenced by any contemporary musicians or records that have been released recently?

Kim Logan: During my formative years in Nashville, I toured and played with both Margo and Nikki Lane, and learned a lot from both.  Both women inspired and educated me in their own way during their rise to success — I could never replace that knowledge and experience from either!  I’m glad I got the chance to learn from women in the business rather than men, who are so often handed what they have, and much earlier than we are.  
From listening to your music I can tell that you draw from everything from southern rock to blues to to indie to tinges of country that sound somewhat reminiscent of a much different bygone era. You don’t necessarily seem to perfectly fit into one single genre, in a way that sort of reminds me of prolific alternative country artist Lucinda Williams. How would you describe your sound? Constantly evolving?

Kim Logan: Constantly evolving” is definitely true.  There’s rock, psych, blues, country, soul, a ton of different things mixed up in what I do.  And lately I’ve just been listening to a lot of opera, hip hop, R&B, and then stoner metal like the Black Angels and Acid Witch.  So who knows what will come out of that.  I guess what I am really always trying to find is fusion, some kind of blend or juxtaposition.  

Seeing that you grew up in the south, I definitely notice tinges of southern gothic elements in your music. How much does your southern upbringing and experiences living in the south influence your artistry?

Kim Logan: I was actually brought up a snowbird, going to school in Florida and heading north every summer to New Hampshire.  Steven Tyler grew up the same way, which is think is cool, even in the same town in New Hampshire.  It affords an artist a lot of time and space, and experience in different kinds of nature and around different types of people.  Both the coast of Florida and the Lakes region of New Hampshire are tourist meccas, seasonal people, sort of half-transient people.  It definitely influenced my need to travel and draw from both areas for inspiration.  The gothic thing just comes from my love of macabre and occult shit, be it Northern or Southern.  I love Cormac McCarthy and I also love HP Lovecraft… they’re both equally American and horrifying.  

I’ve found two recent song releases of yours, “Neighborhood,” and “Cadillac,” to be extremely catchy and empowering kiss-offs. These songs seem to be pretty autobiographical, touching on heartbreak, but not in a mournful tone. When you are a penning a confessional song that is drawing from painful life experiences, how therapeutic is it to get the hurt on pen and paper, then into music in the studio?

Kim Logan: I think this is kind of a chicken or the egg thing.  Artistic people often have tumultuous personal lives… is this because our temperament attracts this, or because our creativity seeks out the chaos for inspiration?  I don’t know.  But yes, writing is how I get through things… I think that’s the case with all of us.  When a song is done it feels like I’ve taken something tangible out of my body and released it into the wild… like it’s not weighing me down anymore.  

Can you talk about what we can expect sonically and thematically on Pseudoscience: Chapter 1? How many chapters can we expect?

Kim Logan: Pseudoscience will have 5 chapters, and once they’re all finished it will become a really magical LP with a lot of art and a poetry collection.  Through the lenses of my 3 producers I hope to still link you through, keep you coming back to the themes of magic and the occult, female empowerment, energy and spirituality, quantum theory, personal freedom, sexual freedom, the state of the earth and the human experience.  Love has always been the message.  

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Mona bassist Zach Lindsey dishes on ‘In The Middle’ EP

Mona’s 2011 self-titled debut, a heartfelt collection of rock anthems fit for at-capacity arenas, garnered the Nashville-based band an impassioned fanbase across the United States and abroad. Frontman Nick Brown’s fiery vocals coupled with the band’s southern roots quickly drew comparisons to fellow southern crooners Kings Of Leon. Mona returned Oct. 28., three years removed from their 2013 album “Torches and Pitchforks,” with an EP of six catchy songs that recalls the sound that thrust Mona onto the national scene, while also exploring new soundscapes. In short, “In The Middle” proves to be well worth the wait.
 Mona’s first single from the release, “In The Middle,” finds Brown pairing his trademark powerhouse vocals, alternating masterfully between glass-shattering intensity and a soothing drawl, with lyrics that quickly warrant repeated listens.
“Strung out on the floor, sitting there naked / You’re shaking like a chill, you’re shaken up for sure,” Brown belts with belligerent swagger, imploring someone close to him to reassess the implications of an addiction they’ve found themselves trapped in.
The addition of former Sleeper Agent drummer Justin Wilson to the band’s lineup adds alluring layers of thundering percussion that helps drive the EP to another level.
 Another standout “Ain’t It Sick,” blends a subtle electronic vibe with lyrics tinged with regret, recalling a relationship too far gone to mend.
“Ain’t it sick how the sweet get bitter, ain’t it funny how you’re talking talk / All the things that made me remember, then you open you’re mouth and it’s gone,” Brown sings in the song’s earworm chorus.
Mona embarks on a tour with July Talk beginning this Wednesday, 11/23 with a show at Commodore Ballroom in Vancouver, British Columbia.
You can download Mona’s “In The Middle” EP here:
Check out an interview with Mona’s bassist Zach Lindsey, a Bowling Green native who has gained a reputation for juggling countless side projects adored by locals, below.
Q: It’s been a little over three years since Mona released “Torches & Pitchforks”. Three years isn’t necessarily abnormal for a band between releases, but I’m sure Mona has been anxious to build upon the momentum created with the band’s first couple records. What’s it like to finally put out “In The Middle”? Do you feel it is a strong progression from previous releases?
Zach Lindsey:  It’s been an interesting three years to say the least. We’ve recorded this new EP & album, lost a member, gained two more, change mangers/labels/booking agents & have grown a ton as songwriters and players. In the Middle is definitely the natural progression from where we were to where we are headed. We actually wrote the title track right before we signed our first record deal and have played it live sporadically on tour, so to finally be able to deliver a proper recorded version feels great & like the perfect “reintroduction” to the band. We’ve always had a very spontaneous approach to writing, but we took a little extra time with the new songs to cultivate the sounds and moods that each one needed. I definitely think we’re sonically traveling in a somewhat new direction, but we write what we write so I don’t think we’ve gone so far in another direction that it would alienate anyone that already enjoyed what we do
Q: Outside of Mona, you are apart of countless other projects in the Bowling Green music scene. How important is it for you to throw yourself into side projects during downtime with Mona?
Zach Lindsey: I do play with a lot of people, haha. It was never a premeditated thing, it just so happens that about 90% of my friends are also musicians. When we get together it more often than not turns into a jam session and on occasion that has also turned into new bands. I feel that if you don’t branch out and challenge yourself as an artist you’ll never progress. So wether it be MONA, pizza riot or the Josephines; I’m constantly trying to evolve and figure out new approaches to my instrument and songwriting.
Q :Lead single “In The Middle” seems to be gaining some traction on Sirius XM’s ALT Nation channel (and it has over a million listens on Spotify.) To me, it definitely packs the trademark punch (infectious melodies, catchy lyrics) of Mona’s most recognizable songs, but also seems to be a step in a different direction sonically. Am I right on that assumption?
Zach Lindsey: In the Middle is definitely the peek behind the curtain of what’s to come from MONA. For the first time on this EP & forthcoming album we approached recording in a new way. Before we would all sit in the room together and just play the song till we got the perfect take, the only real over dubs where keys and vocals. This time around we recorded everything to a click track and really dove into trying to build sonic landscapes & themes for each song. There are lots of synthesizers, drum machines, layers of guitars and vocals, really anything we thought of, we tried. But at the end of the day the flourishes were there to emphasize what each song was, so it definitely still sounds like MONA. All that to say, yes, you’re absolutely right in that assumption, haha.
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Best Albums of 2016: Margo Price’s hard-luck masterpiece ‘Midwest Farmer’s Daughter’

It’s the time of year where music blogs and publications detail the music that defined the past year. Now, throughout the end of the year, I’m going to review the records that made the biggest impact on me. They all happen to come from female voices. First up is country singer Margo Price’s Midwest Farmer’s Daughter. 


Margo Price’s breakthrough debut record “Midwest Farmer’s Daughter,” is a hard-luck country masterpiece. On the record she balances rowdiness and remorse, liquored-up antics and wisdom you inherit only when you’ve been dealt a gut-wrenching hand time and time again. 

Price is no doubt the realest, most compelling female country voice of 2016–and arguably of the last decade. So it should come as no surprise that Jack White’s Third Man Records took a very well calculated gamble when they released her debut (a record that was critically adored and even lead to an appearance on Saturday Night Live).

Her lyrics cut like a razor blade and are delivered through changes in tone that range from wistful to remarkably resilient, immediately conjuring the catalogs of legends like Tammy Wynette and Loretta Lynn. 

The record is heavily autobiographical, drawing from her rural Illinois roots and a decade of paying her dues in Nashville’s smoky, boozy honky tonks and barrooms. She deftly details the unforgiving nature of life on the road and the deplorable, charismatic folks she’s learned are quick to welcome her “with a viper up their sleeve.” Price’s power seems to stem partly from the fact she never flinches from detailing the darkness she’s encountered. We learn in album standout “Hands Of Time,” that Price has endured the agony of losing her firstborn child. “Weekender” details addiction, how her penchant for hard liquor at one point landed her in the Davidson County Jail. She paints these gritty scenes in a way that would make Merle Haggard and George Jones very proud. 

The brand of country music that Price crafts is an antithesis to the overwhelmingly bland, trite country songs that now rule country radio’s increasingly female-deprived airwaves. “Midwest Farmer’s Daughter,” may well end up being her Magnum Opus (however recently released song “It’s Not Drunk Driving If You’re Riding A Horse,” proves to be as powerful as any of her previously released material.) It’s the kind of record that comes along rarely, the kind of record so strong from start-to-finish it never leaves your car stereo’s six-disc CD changer. “Midwest Farmer’s Daughter” is a bold fuck you to Music Row. It’s a tale of redemption and of living to see the light again. A story of fending off demons that hover in every corner. It’s country music. The kind your grandparents were raised on. The kind that raises the bar for musicians who attempt to claim the genre. 

Rating: 10/10

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Perspective: The Charles Martinez and his Internet Boyfriend

Internet Boyfriend is the name 20-year-old Bowling Green, Kentucky resident Charles Martinez has used to leave a trail of queer pop anthems in 2016. His small, but developing catalog includes songs about unrequited love and the pangs of growing up queer in the Bible Belt.


On most recent release “No One,” a dramatic kiss off of sorts, Martinez is smarting from the antics of an on-again, off-again flame.

“Now I love to spend my nights alone / Peep this line but I’ve blocked your phone,” he quips back.

Check out an interview with Internet Boyfriend below.

Q: How long have you been making music? I know you were under the moniker de kahlo for a while and recently switched to internet boyfriend. Can you talk about what major influences you’d draw from and also influences that maybe have crept along recently?

A: I grew up in theatre accompanied by voice + acting lessons from 4th-11th grade. I started writing my own material last year and getting the hang of producing what I feel and see, sonically this year. April to be exact. Major influences are probably NYC and the beautiful artists I’ve met within the queer community there. Influences that’ve crept up recently? Kentucky and the roots I have here.

Q: Identifying as a queer artist, how does growing up in a Bible Belt town like Bowling Green influence you? How much of internet boyfriend is a voice to combat narrow mindedness or just express an identity usually so repressed in the south?

A: It’s made me more socially aware than anything else. Being active with the music/art scene in town, I kept looking & never felt represented or satisfied. It’s very vanilla here, that’s not a bad thing but damn, people need to taste the dirt once in a while and hop on something that’s trendy and less traditional at the same time TBH. So, yes Internet BF is a beautiful tool of expression for me.

Q: How many tracks do you have for this project? Is there a song you are most proud of? Are you responsible for most of the production of your material? Is it a learning process learning all the software, or do you have a firm grasp?

A: I have 3 songs publicly right now & I like “No One” because it’s hella poppy and dramatic but the new mix I’m working on right now will set a standard. For the most part yes, I’m slowly gaining independence from my friends who’ve been helping me. It’s been a total learning process ha, it’s still in progress. It’s more of a game of confidence than anything else.

Q: Do you have an EP or album in mind for this project in the future? What are your goals for the end of the year with this project in general in the near future?

A: Yea, I wanted to do an EP earlier this year but scrapped that because the concepts didn’t feel right but I’m working on demos for a mixtape right now. I just want to get my gallery show over & done with so I can commit more of my time to music. I still plan moving to NYC very soon.

Q: You have a show coming up Dec. 2 at Gallery 916 in Bowling Green. What details can you offer up about that?

A: I see it as my debut as a visual/performance artist. I’m showing work I did with my friend Hobbes Ginsberg in LA & local work I did w/ two of my PJ friends at WKU. Also, I’m doing a v political performance piece that night too. So deff come out, say hi and I’ll wine you up boo❤


Astronomy Club releases single ‘Technicolor Room’ from upcoming record

Bowling Green indie psych rockers Astronomy Club quickly became a band to keep your eyes peeled for last summer, much thanks to a catchy self-titled EP that skillfully captured teenage lust and aimlessness.
Astronomy Club is on the heels of releasing a proper full-length. Today, they released a trippy gem “Technicolor Room,” the first single from their upcoming album of the same name. The band draws from a slew of 1960s and 1970s psychedelic rock influences, but they aren’t simply a tribute band to an era of acid trips and hippie counterculture.
“Past era songwriters that inspire the sound are groups like The Monkees, The Velvet Underground, Seals and Crofts, Iron Butterfly, Jefferson Airplane and Strawberry Alarm Clock,” frontman Dylan Graves said. “We also pull a lot of inspiration from garage and indie rock/pop stuff like Beach House, DIIV, The Growlers, TOPS, and Mild High Club.”
“Technicolor Room” cements Graves as one of Bowling Green’s most promising new indie voices. Switching from a giddy, upbeat psychedelic sound to a more sinister soundscape towards the end of the (3:40) track Graves proclaims, “All the people come and go, all passing in their time/All the while we look past ways to push back all the grime.”
Graves, given the divisive nature of the current political climate, said he believes it’s as important as ever to create. “I look at it as modern counterculture against all the violence and hate we experience right here today,” he said. “The fuel behind my passion in music is the message of the psychedelic era and counterculture of the 60s. It was all of the young people saying no more to a generation preoccupied by war and fear. We need that presence in our modern society just as badly as we needed it in this era.”


Pocket Fever debuts single “A.I.P”

Bowling Green’s Pocket Fever, formerly known as All Deeds Done, dropped single “A.I.P.” in October. The uplifting tune at times conjures 80s synth-pop soundscapes and marks a significant change in direction for the band.

Frontman Lucas Loyd started the project a little over three years ago with Alex Loyd and Parker Hanna. Lucas said the band’s change in sound and lyrical content stems from a desire to craft songs that strongly resonate with live audiences.

“Pocket Fever is definitely the new us,” he said. “Not just in the songs and sounds, but the personality of the band and the friendship behind it. We want to pick people up rather than bring them down. A lot of inspiration for the new music comes from a place of positivity and love rather than heartbreak and loneliness.”

Loyd said Pocket Fever will spend the upcoming fall and winter months concocting their debut release, an EP or potentially a full-length depending on progress . In the interim, the band plans to release a new song each month.

“With the process of making music always comes the doubt and fear that it won’t have longevity and will eventually fade,” Loyd said. “We are constantly rewriting and digging up the ideas that get overlooked and forgotten.”


Q&A with Chicago’s V.V. Lightbody

V.V. Lightbody, the moniker Chicago musician Vivian McConnell has coined for her ethereal debut solo project, performs in Bowling Green Wednesday at 10 p.m. at Tidballs. She shares the bill with fellow female acts Homme, a Chicago avant-garde rock duo, and Bowling Green’s Rose Hotel.


McConnell also lends her talents to Chicago’s critically adored indie rock band Santah, in addition to being the front woman of four-piece Grandkids.

With V.V. Lightbody, McConnell said she’s keen on producing a sound that soothes. Her hope is that V.V. Lightbody’s debut record “Bathing Peach,” (which has an unofficial summer 2017 release date) can serve for listeners as a therapeutic escape from the myriad of battles and struggles we confront each day.

“I want V.V. Lightbody to be something somebody can put on if they want to be rocked to sleep, step away for a moment from the shit-show that we face every day,” McConnell said.

Check out an interview with V.V Lightbody below, and follow her on Facebook for tour dates and live videos.

How long have you been making music under the moniker V.V. Lightbody?

I believe I performed under the V.V. Lightbody name for the first time about a year ago, but the solo project has been around for a while (in my head, at least). Being able to choose a name to perform under has been an important transition for me as a musician; it allows me liberties that I felt I didn’t have playing under my real name.

I love the song that you performed for the SNARLED session. I was really struck with how you described the feeling you want your solo project to evoke (how after a day submerged in the ocean you still feel the sensation of waves rocking you). Would you say that is still an accurate description?

This feeling is something very dear to me. On family trips, I would swim in the ocean for so long that I would go to sleep rocking in the waves still. Even though I grew up in the Midwest, I’ve always felt connected to the ocean. I love music that is soothing and cyclical, make it reliable and comfortable. I want V.V. Lightbody to be something somebody can put on if they want to be rocked to sleep, step away for a moment from the shit-show that we face every day.

I also really loved “Fish In Fives,” on your bandcamp page. Is there currently any other place to hear V.V. Lightbody music right now? Can you offer up any details about your debut release?

I am currently recording a solo record, “Bathing Peach,” and all I can say is that it should be no later than summer of 2017. There will be live videos popping up in the near future, but I’m keeping things contained on purpose (although I’ll be touring to get the word out).

You’ve described V.V. Lightbody as nap-rock on your Facebook page. From the small bit of music I’ve heard I’ve come to understand that means tranquil soundscapes paired with equally dreamy lyrics. Am I off on that assumption?

This project has been a really exciting lyrical project for me because I can write from a first person perspective but maintain certain fictional aspects. That being said, I tried to keep my lyrics direct but maintain a certain level of “dreaminess”. I am a huge dream person – I dream every single night and sometimes I wish I didn’t. A lot of these songs mix real life experiences with my subconscious, human life vs. nature, etc. Some lyrics just paint the environment around the person in the song.

Are there any albums/musicians that you would say have been particularly influential throughout the process of writing songs for V.V. Lightbody?

I’ve always had such a fond spot for Devendra Banhart. He’s so delicate and light-hearted at times. His album “Cripple Crow” has been one that I can lean on when I need it, but it still gets weird/groovy in certain spots. I also had a big Brazilian music phase – was crazy about Caetano Veloso, Cartola, Gil Gilberto, Guilherme Coutinho, etc. for a while. Jessica Pratt was really big for me and of course, forever and always, Queen Joni.

What’s it like to reunite with former tour mate Rose Hotel and also just share a bill with a collection of talented female talent? What can attendees expect from your set?

Jordan has been an incredible and inspiring person in my life from the moment we met. Buffalo Rodeo and Santah were touring together about 2 years ago and we instantly bonded. I am honored that she’ll be playing with us at Tidballs and I think the night will be truly special. Home has never been to BG, so I can’t wait to show them a wonderful time. They are one of the best bands in Chicago at the moment and some of the most talented musicians i’’ve ever met. Lots of powerful women doing badass things! This is one of the shows that I’m maybe looking forward to the most on tour.12924534_548090295372603_4641786031239138245_n

rose hotel debuts music video for ‘Worries’

rose hotel, the side project of Buffalo Rodeo singer and keyboardist Jordan Reynolds, released a compelling visual for song “Worries” today. 

The introspective track touches on the pangs of growing up with the vividness of a diary entry, as Reynolds attempts to catch her breath amid the relentless anxieties that play in her mind. 

“Spending each day stoned out in a haze and longing for the things to say / How I feel like I’m slowly fading away, a phantom of my younger days,” she laments. 

The video, shot by videographer Cody Duncum, features Reynolds in front of a projector, black and white family photos flashing on the screen between close-up shots of the Buffalo Rodeo songstress. 

Reynolds said it’s the first of two videos she’s completed and will release for her debut EP ‘flowers by the window”. 

“I’ve never really been a visual artist so it’s brand new for me,” she said. “Working with Cody has helped me see those possibilities so much more. Honestly, being on camera makes me super uncomfortable and I don’t really like looking at myself on video, so it’s kind of a challenge I’m trying to overcome and be more okay with that. This video specifically is so honest, no hair or makeup or special lighting or anything, and being that honest in a medium like video where it’s all right in front of your eyes is terrifying to me by also exactly what I want to do.”

Reynolds has taken her “flowers by the window,” EP, which she released in May, off bandcamp. The promising EP was recorded over this past winter with Scott Gardner when Reynolds was enduring major life changes. Now, in retrospect, Reynolds looks to go in a different direction with rose hotel.

“I’m proud of these but I realize I see rose hotel taking a different direction, one I’m still not even 100% sure of where yet, but I think ‘flowers by the window’ was meant to be a snapshot in time but not a long-lasting representation of the project,” Reynolds said.

“Plus, I’m trying to learn about growth and evolving and letting go of things, and letting go of the EP (at least as far as having it online) felt like the right thing to do. I still love the song and I’m super happy with the video Cody made, so I’ll let a couple of them live on YouTube and that be it.”

A Q&A with Hen’s Alex Kandel



Former Sleeper Agent songstress Alex Kandel brings new project, Hen, to Bowling Green Aug. 5 at Tidballs. Nashville band Moseley and local act Dan Luke and The Raid will also perform.

Check out a Q&A with Kandel below. Kandel discusses her path since Sleeper Agent parted ways (including a stint on NBC’S “The Voice”) and finding her voice in country music’s capital.

When did Hen form?

Hen formed a few months ago when Brian Zaremba and I decided to take all the songs I had stored away since Sleeper Agent ended and make something of them.

How have your experiences post-Sleeper Agent influenced you as an artist?

I think Sleeper Agent ending forced me to grow as an artist. Tony was primarily the writer in Sleeper Agent, so from the age of 16 on I always had him around. I was suddenly alone in an apartment in Louisville with no upcoming tours, no interviews, no internet. So I started writing. ‘The Voice’ was a weird detour on my road to discovering my voice away from Sleeper Agent. It was a strange, surreal experience that more than anything made me realize a lot of things I didn’t want as an artist, and that I wasn’t emotionally ready to just jump into some sort of solo career.

Can you describe Hen’s sound and what you are aiming for lyrically?

It’s always difficult to talk about your own sound, but I think it’s hooky. I think writing my own music has really given me the chance to push my vocals. Lyrically, I’ve been writing a lot about sexuality and a particular break up that left me in Nashville broke and starting all over again. But more than anything I want my lyrics to express my version of femininity.

Would you say you are drawing from different influences for this project?

I think Brian brings a whole new set of influences and and instincts that it would be crazy for me to worry that Hen is too similar to Sleeper Agent. But at the same time of course the influences I have as a vocalist are tied to me, not just Sleeper Agent.

What kind of energy can fans expect from the live show?

It’s still me so there is a lot of hair moving around. There will always be sweating and dancing.

Can we expect a proper release from Hen in 2016?

I have no idea. We’ve been recording at a proper studio, and have some ducks beginning to get into rows, but no definite timeline. I’ll probably put out a video for a song or two soon.

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