098: Aubrie Sellers
On Episode 098, I'm joined by singer-songwriter Aubrie Sellers where we discuss the ins and outs of her latest album, the atmospheric Far From Home. Sellers and company recorded the sharp, bold, and stark Far From Home at the secluded studio Sonic Ranch right outside the desert town of Tornillo, Texas. The results are a mix of fierce rock and roll anthems such as the gritty "Drag You Down," and sugary and swaying "Lucky Charm" to the vulnerable ease of "Worried Mind" and the intimate smoky postcard of "Haven't Even Kissed Me Yet." Throughout, Sellers shines as a vocalist and moment capturer--especially on the aforementioned "Haven't Even Kissed Me Yet." Sellers and I talk about growing up on a tour bus, songwriting--in Nashville, in the modern era, and when collaborations click--Led Zeppelin, and recording an album out in the desert.
This episode's presenting partner is Smith Iron & Design and Wicker's Mesquite Smoked Jalapeno Jelly.
Interview Transcript
Note: Transcripts aren’t always accurate since they are computer automated and haven’t been edited for spelling, grammar, etc.
Thomas Mooney 0:00
Hey, everyone, welcome back to New slang. I am music journalist Thomas Mooney, your faithful host, you're listening to Episode 98, where I am joined by one of my favorite songwriters are resellers. Aubree released her second album, far from home way back in early February. What I really like about every songwriting sound and style is just how it's fierce. And there's typically like a huge force behind these elements. Now, I don't want you to confuse her being bold for just like bashing you over the head with these like rock and roll rock star kind of moments. That's not necessarily what I mean, there are those moments but that's not necessarily what I mean by bold. There's these intimate moments, there's these times where she kind of jobs back the curtain and shows that natural vulnerability of like the human condition, but even in those moments, there's this sharpness to him. There's this kind of this shimmering, steely glow. What I really like about this album is how the sonic qualities really channel what she's singing about. If she's being really really bold and really confident, the music reflects that she's being really, really vulnerable or talking about an intimate moment. She's kind of putting them in this like atmospheric bubble, where it's almost whispering in a way, they went out to Sonic ranch to cut this record. So there's this desert aura to it as well, that they kind of capture and they, they really embrace that, that warmth. I know Aubrey has often dubbed her music as quote unquote, garage country. And she really hones in on what that is like what the heart of what quote unquote garage country is, what I think that is, is like they focus in on these like really raw elements, one of them being Audrey's vocals, and in turn, that means there's a focus on her lyrics. I really love how crystal clear her vocals typically are, they're always out in front and she never gets lost in the mix. And another one of those really raw elements is how sharp the guitars are, they're really steely, and sometimes, like they just feel like shards of glass coming at you. At times, all of those can feel like the mood setter, the tone setter of a song and then at other times they can feel like they are just part of the puzzle far from home is really kind of like if you took the dead weathers first album and blended it with the redolence vanleer Rose. As a fan of albums I encourage you to start every album from the beginning. But if you insist on a sampling First, check out the song haven't even kissed me yet. It's really kind of like the epitome of all those vibrant elements that I've been talking about before we get started. If this is your first time listening to new slang, I highly encourage you to hit that subscribe button. New slang is currently on virtually every podcast platform there is so you'll be able to find it on iTunes, Spotify, Google podcast, and so on. I'd also highly appreciate if you gave the podcast a five star rating write a review. If you do tell me who have been your favorite guests and then also mentioned who you think I should be trying to get on. Follow me on all the social media platforms to further the music conversation. I'm at underscore new slang on Twitter and Instagram is just new slang on Facebook. And sorry, no Tick Tock. That's just a bridge too far for me. All right, I hope y'all enjoy it. Here is Aubrey cellars. I guess we can start out with? No, obviously you just released this new record at the beginning of the year. You released it well before, like the quarantine, or anything like that. But it's obviously affected. You having to pause going at all going on tour and everything. or whatever, like have you done, too, I guess like, have you just had to like just put everything on pause? Or has it been more like just up in the air or water? What's kind of been your
Aubrie Sellers 4:05
the record came out February 7, so it was before it but it wasn't too far before. I mean, it was just a couple of weeks and that it started becoming apparent that things were canceling, you know, like the NBA canceled and then South by Southwest. And I kind of had a feeling pretty early on that. Even if we could go on this tour that or you know, I had really three tours that I was doing, what one was my tour, that was the big one, you know, as far as how many shows I was playing and all that but and that was the my headlining shows with Willie Mae. But it kind of became apparent to me that even if we could technically go on tour that you know, I didn't think that people were going to come out. And so I remember saying pretty early on, I felt like it wasn't going to happen and then you know, but of course we didn't want to jump the gun on it. So we just waited and kind of waited to see what was happening and then more and more festivals. We're canceling all the way into next year and, and then it just became apparent that it obviously we couldn't physically couldn't even do it, we wanted to, but I'm not sure I would have wanted to anyway, just because, you know, for the health, health and safety of not only people coming out with the shows, but my band and us and so we've been, you know, doing live streams like everybody else and doing interviews and things like that, but it does kind of feel like it just stopped everything. You know, and I know, it's a weird, weird year to put out a record, I know, I'm not the only person that's, that's going through that. And so, you know, is lucky to have be able to play a few shows at the beginning of the year, but the majority of my touring has been canceled for the for, you know, for the foreseeable future into next year, Probably so. So yeah, it's it's a weird time. And I've been spending a lot of time doing other stuff as well, you know, I'm going back to school. And, you know, I've been working on my camper, I have a Shasta camper and just kind of trying to stay busy and, and my grandmother started a mask business on Etsy, she's been selling masks. And so I've been helping her with that and just kind of adapting.
Thomas Mooney 6:13
Yeah, it seems like the, the people who have just adapted well to this has had been the ones who have found something else to fill the time with. Obviously,
Aubrie Sellers 6:25
I would be going nuts if I was only focused on on, you know, my record. And of course, that's obviously a huge focus for me still, but there's just only so much you can do, you know, most of our business now as artists as his touring centric, you know, and, and so it's just kind of like, there's, there's nothing we can do about it. So you got to gotta adapt.
Thomas Mooney 6:45
Yeah, it's, I guess, like, back in the day, you know, you made a record. So you could go on tour, or you go on tour, because you made a record. And then now it's way around. So it's been it's been interesting seeing people talking with people lately, because, yeah, they have like, they've found other things to fill their time. And whatever it can be to create some structure in their life. Because like, even with me, like doing more podcasts has given me structure because like writing has kind of just dwindled down simply because, you know, there's not as much it seems weird, because there's a lot more stuff to write about, but like, there's less places to write about this stuff. So then it's been, it's just been doing more podcasts and stuff, and more interviews. But, you know, you're not like the first person to have mentioned finding other stuff. Other things to occupy their time. Have you what, how has it been, artistically though, have you has it meant more writing? Or is it meant more? Doing anything, musically, or artistically?
Aubrie Sellers 8:01
You know, I've worked on a couple demos for things, which is not something I normally do, I don't normally make demos, before I make a record, I normally just have the word type of the song and then go in and record it. And so I've been doing a couple things that I don't normally do. And I've been working on another project that I'm going to put out as well, during this time, um, but yeah, I've really kind of taken, it's hard for me, since I just put out a record and was so geared up to go into promo mode and like, touring and all that, that, that I don't really feel like I'm in the space yet or ready yet to like work on a new record, or, you know, I just don't feel like I'm ready for that. So I've been working a little bit on it, but it's not like that's where my head is at, really, at this time.
Thomas Mooney 8:46
Yeah. But I imagine that whenever you're whenever you put out a record, because like, okay, like for me, after I finish an article or something, I always feel like my brain is mush, like, right after I just like, yeah, okay, I've, I'm exhausted by putting all this energy into this idea. I imagine that's the same way for a song or, you know, tenfold when it's when it's a record, because you're just kind of like you had put all this creative juice into this one thing and then you know, obviously released this record and but it's such a weird time, obviously now because of the just like a simple pause, like, it feels like everyone wants you to put a pause on on live totally, like, there's not really it's weird, because like, there's time is still passing, you know what I mean?
Aubrie Sellers 9:42
Yeah, I mean, that's for sure out is for me. Like, you know, I get I kind of put my brain in two different modes. You know what I mean? And for sure, when I'm spent a lot of creative energy on something I definitely have to get. I'm going to like work on things and kind of bursts. You know, and so I'm definitely not the kind of steady, slow and steady kind of worker, you know, work on something for two weeks and work on it more intensely than anyone who has ever worked on something before. You know, like, that's kind of how I work. And so, you know, I feel like I have to be in the right headspace to do that kind of stuff. And so, you know, and I just don't feel the inspiration right now to fully throw myself into making a new project, like you're saying, and yeah, and I feel like when I work on something, it can be kind of, yeah, draining, like you said, like, I don't feel like I have the inspiration or the creative juices or whatever flowing that I need to, to create something that I'm proud of.
Thomas Mooney 10:39
Yeah, you. You mentioned your camper, like, I know, you've been posting some photos and stuff like that. I was actually gonna ask you about that. Like, what what's what's I guess the camper story? Are you? What is your your goal with with having the camera and everything?
Aubrie Sellers 10:56
Yeah, I bought it. I've had it for a while. Actually, when I was younger, I was obsessed with RVs. I don't know if it's because I grew up on a tour bus or what but like, I just love the idea of having your house on wheels. And so I, I found this Shasta camper, maybe five years ago. And you know, it was it was a they only made about 100 of this specific one that I have. And then the company that made them got bought out. So they just stopped making them. So it's actually kind of hard to find them and find information on them. Because they're so rare. But yeah, but I was obsessed with our reserves literal. I remember calling like the, there was like an RV commercial that used to play on TV. And I called and got their brochure and stuff. And so I've just been obsessed with with that stuff since I was a little girl and, and so anyway, when I found this one, I was super excited about it. My mom had an Airstream, and so I'm just you know, I'm kind of used to the camper lifestyle. And I just find it really fun to have your house on wheels and take it wherever. So I've had it's been sitting in my I moved out to California two years ago. And it's been sitting in my dad's house in Tennessee. So I picked it up finally, and I'm taking it out there. And I'm kind of at the halfway point right now in Texas and I'm just fixing it up and cleaning it out and getting it ready again, because it's been sitting for a while and and since uh, you know, touring probably isn't gonna be thing for a while, I just figured I'd have more time to travel and, and do that kind of stuff for fun this year, and, and maybe I'll be inspired and kind of Fill my cup again.
Thomas Mooney 12:30
Yeah, is that part is partly part of this, like, I don't know, like the the decluttering of life stuff, you know, like the is it Marie Kondo like the
Aubrie Sellers 12:43
it's like saying, what are they called spark joy?
Thomas Mooney 12:44
Yeah, like, yeah, this is Yeah,
Aubrie Sellers 12:47
I mean, that always feels good to me to kind of clean everything out and kind of take care of all that. I think a lot of people right now are taking care of a bunch of stuff that they, you know, kind of put on the back burner or whatever. And I've been wanting to do this for a while. And I thought that I would, I was kind of like, having trouble figuring out how I was going to get all the way out to LA from Tennessee, because I didn't want to drive my truck all the way to Tennessee, and then all the way back out to California and blah, blah, blah. So it just kind of worked out perfectly. My dad ended up bringing it to me at the halfway point. And so it just worked out and gave me something to do and I'm excited to bring it up and down the West Coast because I think like the Northwest some of the prettiest scenery in our country.
Thomas Mooney 13:30
Yeah, I've always kind of liked RVs and camper trailers too. And like we had one growing up. And it just felt weird, though, when like my dad sold it. Like I felt like slightly betrayed. Could you give this up? You know, and I think he ended up getting another one soon thereafter, but like it's, I don't know, I've always kind of been, like, super, I probably too attached to things to, to, like fully live in a camper trailer or anything like that, or in a mini home.
Aubrie Sellers 14:01
Oh, yeah. I mean, I'm not gonna live in it full time. I mean, I, I could but you know, my boyfriend is a musician and has a ton of studio gear and stuff like that. And so I mean, we could I mean, even if I wanted to, you know, I can I can pretty much live without stuff. The only thing I have a lot of is books. And I also have two cats, and I don't think they want to live in a little camper. Yeah,
Thomas Mooney 14:25
I do you know, Emily Scott Robinson. By chance.
Aubrie Sellers 14:29
I know of her.
Thomas Mooney 14:31
Yeah. Okay. So she I did a podcast with her a couple weeks back and she and her husband live in a trailer and they've lived in it for a couple of years but we like we had like this hour long conversation about the tiny home aspects of it all. And yeah, like they're, I think she said like they're looking to like not live in it anymore soon after, after this, but like it was a good experience. And, you know, I don't know it's I still like when I was talking to her I'm like, I don't know if I can just give up all this stuff
Aubrie Sellers 15:09
steadily. I mean, you put in storage I thought about it I thought because you know honestly having this work insulin, everything I thought Good Lord, I don't know what are in LA is expensive to live in, you know, and I just didn't know and I thought if I had to kind of move everything into storage and live in this, you know and and you know, I think I could but mine's pretty small, there's probably bigger. And I would also say if I lived alone, then I might be able to do it. But with with the both of us and the two cats. I think I might, it might drive me insane. We we like to have our own space to do stuff and decompress. And I'm pretty introverted. So I need like, an absurd amount of alone time. And like, time to recharge. So I'm not not sure if I could do it full time and stay sane with someone else. Right?
Thomas Mooney 15:53
Yeah. Like, it's, it is so weird. Because like, I feel like you have to have like that. You have to have like, your own little space within that space. And if it's so small than it, you're just like, on top of each other. And, you know, I guess like one of the aspects of that is it the tiny home is supposed to push you out into the into nature and stuff. But, you know, I don't know, like, it's, it's so easy to like, just sit in front of the TV or like it. Or just wherever you can listen to music or anything. I don't know. Anyways. Yeah, I let's move on to your record you. Were you recorded this over? Near El Paso at Sonic ranch? Yeah. I've obviously heard like, there's plenty of stories about how amazing that place is to to create a record. Just like the atmosphere and the, the scenery or lack thereof. And what was that like for y'all making this record out there. And just kind of getting away from the usual to make a record
Aubrie Sellers 17:05
for sure I am was very inspired, you know, kind of leading up to this record by a lot of what I call desert music very kind of like Quentin Tarantino soundtracks, and like the ventures in space record, which, you know, I know there's surf rock, but I feel like that record in particular is kind of spacey and desert sounding to me and, and so I've been listening to a lot of stuff like that. And, and when I heard about the studio, I was like, this seems like the perfect place to go. And also, I just love the fact that, you know, you all go there together and you stay there the whole time you're tracking and so you know, there's no you're fully in making this record, and everybody's getting outside of Nashville and, and, you know, I really do think that your surroundings affect what you're making and you know, kind of help you get into a new headspace. And it felt a little bit like, especially in Nashville, since everyone, you know, makes music full time, it can get a little routine, I think there and become kind of more like a regular job. And I think doing something like this going somewhere, like Sonic ranch kind of takes you out of that and, and just put your head into a new space. And so it was really fun. And I like the fact that we could all be there and, and immerse ourselves, you know, so that was the first time I've done that the first record we made was a Nashville studio there. And that was great, too. But, um, but yeah, I just thought not only was was it cool for us all to be together, but, but it was cool to that there was a studio that kind of fit that vibe that I was feeling and I really do think that it influenced the way it sounded. And, and I think it fit kind of what I had in my head is a vision for this record.
Thomas Mooney 18:44
Yeah, there's something very just special about a quote unquote, like destination record, you know, it feels very much like you. You have to like focus, like, it's great, but that is like the focus of the time that you spent there. And it's not necessarily feeling like you're, you know, cut and pasting a record together, but more feels like you're, you know, you're recording a an event or something.
Aubrie Sellers 19:17
Yeah. You know, I was talking to someone about that the other day and for me, like I love records records that sound cohesive records that sound like they were intentionally a record if that makes sense. You know, they they're sonically cohesive and, and they feel like you want to sit down and listen to the whole thing and those are the records that I loved, like Robert Plant and Alison Krauss raisin sand and the you know, the record that jack white produced for redlin vanleer rows and records that really feel like albums and, and cohesive pieces of music. So anyway, yeah, I love records that you can sit down and listen to and so, you know, I know that maybe I won't always be able to maybe I won't be able to make another record like that. I mean, it's it's something that you know, it's To I know, it's a way of recording that a lot of people don't do anymore and sometimes isn't accessible because, you know, it costs money to track like that. And I happened to be on a major label when I made this record. So you know, who knows if I'll be able to do it again, but but it was a really great experience. And if you can make a record that way, it's it's, you know, the way I like to do it, for sure.
Thomas Mooney 20:24
Right, yeah, the, you know, you mentioned like, the desert II kind of qualities I like, I feel like that's something that really sticks out on this record. The I don't know like, then it gets it's very atmospheric, it feels like you guys like you guys. Just kind of what I think this is something that I don't know, that's maybe. But sometimes we don't do. When we're making records. I say we I don't know, I'm saying we but like, something sometimes like the the out the outside the box idea is to just know exactly what this record is going to be. And then use like the the tones and the textures that are in that box, you and I'm saying it felt like, like this record, is something that you guys used these seven or eight colors, and like, that's what you guys created this record out of without trying to be too far out on a certain song or you know what I mean? or trying like be, or like, make a record that's super, totally diverse, just for the sake of diversity and showing that you can do eight different kinds of music stylings or something.
Aubrie Sellers 21:44
Totally, you know, what's interesting to me is that, you know, I tell everybody, you know, I co produced record, and I tell everybody, when I'm making a record, kind of what I'm going for, and a lot of it just comes down to listening to the songs or whatever else. But, you know, I don't want to give too much direction to players, I think it's more about getting the right players in the room and letting people play and letting it kind of happen organically and then kind of nudging it in one direction or another. But what's funny to me is how much the record lines up with what I kind of, I guess envision for it going in, without having to kind of lay it out black in black and white Does that make sense? I think a lot of it's about getting in the room and getting the right people in the room. And when I have these people in the room that I've written a lot of the songs with, then you know, that you naturally kind of line up as far as what your Sonic influences are and, and everybody just kind of got it, I think on on another level. And so it's really cool, I think to be able to get the right people in the room and, and have that happen organically and, and make sure that you're just working with people who inspire you and and, you know, are willing to play around and experiment. And that's what I think is special is when something comes out of it that you know, to me, that's I've had people ask me, like, would you like to add this song to this record for a bonus track or blah, blah, blah, you know, after the fact and, and, you know, I'll consider it but then I just think you know, that was a moment in time. And I don't think tacking something on to the end of it would would feel right to me because it was such as a moment that I feel like you can't really recreate and I don't want to tarnish it by, you know, throwing something else on there a year later or whatever, you know.
Thomas Mooney 23:27
Yeah.
Unknown Speaker 23:29
It's,
Thomas Mooney 23:31
it's interesting to think of like, I guess like, this is one of those of the arts like to have the that idea of your envision of what you want it to sound like, but then trying to get that across to actually make it happen. You know, you mentioned that like this, this record sounded like what you wanted it to sound like what you had in your head?
How did that vision
I guess, morph over time, and evolve?
Aubrie Sellers 24:04
Yeah, um, you know, I made this record three years ago. So it's, you know, remembering the entire process leading up to it is kind of difficult for me because I have a terrible memory. But what's really funny is, you know, almost actually everyone that played on this record, played on my first record, except for one addition, who's Ethan Ballenger, who plays my live band and who's my boyfriend and has been playing with me for five years and and he was an addition on this record, and I think really added a lot to it. And so I think that's really a testament to how much one the environment we're in to the songs that I have for this record, and three, just adding one person and who, you know, is bringing a little bit different flavor and new influences can kind of all make that much of a difference between when I first record sound and like and what this one sounds like. I don't think it's that different because it's still me, you know, it's still kind of in the same world, but, but you can definitely hear kind of different touches and overlays, I think, because of those reasons. And, and so yeah, I think that it's interesting how much little things can can have a kind of make a big impact. And like I said, at the moment in time, you know, it was, let's see, I made my first record in 2013, or something. And that was four years before I made this one. So, you know, even that space of time, and all of these different factors can come in and really help you. So it's not like I got a new producer, and, you know, a whole new band and anything like that. It's just all those other factors, I think, really came in to make this something special and different from the first record.
Thomas Mooney 25:49
Yeah, I do think that like Ethan's playing, has like, a different a definite like texture, attitude record. I guess like I, I don't really know him or anything like that. But where I know him is his work with Ryan Colwell. And that last record that Ryan did, and I just felt like that, you could just, I don't know, like, I've known Ryan for a while. And that new record that he put out a couple years back, you could just, there was just something this extra element that was added. And I can I think it's the same thing that you can apply to your record. Just that, I don't know, like, it feels like sometimes we like people can just like fall fall into the same kind of guitar tones and like people can just like it. I feel like especially like in like local music scenes. You you wind up having it we're like this, these people like us the same guitar players the same drummer. Yeah. And like just all of that, at some point. It sounds like the same people because it is the same people and it feels like this was such a just a little bit more of a fresh feel. And I don't know I just I really like how, how that, like his his guitar, just kind of like, like I said, it's very atmospheric and just refreshing and a lot of ways.
Aubrie Sellers 27:24
Thank you. Yeah, well, first of all, that Ryan colo record is one of my favorite things I've ever heard of Ethan is an incredible producer and Ryan's incredible artists. And I feel like those two together made something so super cool, I will still listen to it on the regular. So yeah, I'm a huge fan of that. And even on my first record, you know, like you're just saying, you know, I lived in Nashville grew up in Nashville and, and it was really important to me to have people play on my record that weren't playing on everything else, you know, for the exact reason you said because people have a voice and also a lot of people and Nashville becomes kind of like a job to them. And they go in and they just throw down the track as fast as they can. And it's not about it's not the same creative process. And so, for me, you know, making music bringing in people like Ethan or Adam Wright, who played on both my records and I write a lot with you know, I also wrote with three of the people playing on my record, you know, and so I'm really inspired by people who are artists who have a really distinct voice, like they're all great guitar players, but they don't play they're not really session players as much you know. And I love I love that because they have a really distinct voice and I feel like it brings something unique to the to the music and, and I just, I love to listen to all their music and all the stuff they make and just really inspired by by the other stuff that they do as well.
Thomas Mooney 28:44
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Aubrie Sellers 31:04
Um, well, you know, when I'm writing, I just write whatever's coming to me. And I think the narrowing down process definitely comes when I'm putting the record together. And, you know, I went in to make this record with over 20 songs and, and didn't know what I was going to put on, you know, I had a strong feeling about most of the songs that ended up on there, you know, but you know, a few extras that I wasn't sure about and didn't know, you know, what was gonna end up on there. And, and I think I'm a very emotional writer, and a very personal writer, you know, I am, I write everything from a kind of personal perspective and an emotional perspective. So I've been feeling really strongly about something, you know, it could be that I'm angry or whatever else. And I think a lot of those kind of, maybe tongue in cheek are kind of more rowdy songs come from that. And, and then same thing for the intimate moments. And so yeah, I think when putting the record record together, there's a little bit of balance in there. But a lot of that I think, just happens naturally, with the songs that you're feeling inspired by and, and, you know, I love that stuff, especially when we're making records to do some of those more intimate songs. And I used to be really uncomfortable playing those types of songs live. It's really fun to me to kind of rock out live and play some of the more rock stuff live but, but like, haven't even kissed me on this record is a super intimate one. In one I've been playing pretty much solo acoustic on tour, which is something I don't normally do and, and so it's a it's definitely a process after the fact just becoming comfortable with, with playing some of that stuff live that's felt so intimate to me.
Thomas Mooney 32:40
Yeah, that one's specifically like the I don't know if I could say like, it's like a flash of like Polaroids or something, but it feels very, like, where a lot of songs I guess, like where you can pull off, or you can draw from old experiences or feelings, that one feels like that It's exactly like, a specific experience without like, adding drama or detail or, like, fabricated detail to make it bigger. That one just felt like really, just, I don't know, intensely raw, and, like, highly emotional.
Aubrie Sellers 33:21
Yeah, I mean, it is, it's a true story. And, you know, like you said, there's no embellishments to it. And, and, you know, I worry sometimes about songs like that, because I think because anyone else gonna connect with something that was such a literal or personal story, but it seems like, people really lean into that. And I feel like they're able to imprint their own emotions and whatever overlay their own experiences onto it, you know, and so, it's been one that I've gotten a lot of positive feedback about, I think people really connect with it for that reason. And, and, you know, I has kind of like, a little bit of a different song structure, you know, as far as like, it's just so simple in that way, but I wanted it to feel like I just sat down and wrote it in one sitting on the couch because that's what I did you know, and I feel like that's what gives it that that feeling because it's just that's how it honestly went down. You know?
Thomas Mooney 34:16
Yeah, it's it has a very cinematic and I feel too, and this is a little bit like this. This is not anything like this the story remotely. But what it reminded me of is the way Have you ever watched what's the blanking on it out? Oh, Eyes Wide Shut.
Aubrie Sellers 34:40
I actually have never seen that movie. I know what it is obviously. Okay.
Thomas Mooney 34:43
So like Nicole Kidman in that movie, is like explaining or telling a story to Tom Cruise's character and they're like a married couple. And it's a very, very intense scene, but like they're just in their bedroom. And she's telling this story to tell Who's like sitting, she's sitting on the floor. He's sitting on like the edge of the bed. And she just like they're just smoked some pot. And like, just the way she told the story really is like, it's very soft and very intense. And that's what it reminded me of mostly is that same but the thing is, is that like, if you go watch it, you're gonna go well, that's not any like the story is like, the story is like that she's telling tells him is like, the how she almost cheated on him once. Like, but like, it's a very like, just the way how soft she is, is like, yeah, a lot of the things that you I don't know, like you pull from that song.
Aubrie Sellers 35:43
I have to watch it for sure. No, I get it. It's the vibe of it. That's cool. Yeah.
Thomas Mooney 35:47
Now, like the one question, I just, I thought of this earlier, because I was listening to the record. The very beginning of that song. It sounds similar to kiss me by sixpence none the richer. That I'm assuming like, that's not like on purpose. Or maybe
Aubrie Sellers 36:07
that wasn't intentional. I had someone else someone else said that to me. And I thought, No, it wasn't intentional, but maybe I should pretend like it was. Because, you know, there'll be like, an homage to that song or like a like a, like, Stranger Things when they call the other world. It's like the it's like the flip flip side of that. Yeah, yeah. Yeah.
Thomas Mooney 36:31
Yeah, I don't know. Like, it's
because it's, I guess that song right, there is a little bit more upbeat. But there's like these little like, I don't know, like, the atmosphere. The it feels very, very similar. But and then I didn't know just because like they're both about Kiss me. So
Aubrie Sellers 36:48
yeah, I wonder if it has if it didn't have words, kiss man. And
Thomas Mooney 36:56
now also, on this record, you you go into, like, mental health and anxiety and some like really intimate aspect aspects of, of yourself that aren't like, I think like most people think of like intimacy as relationship wise. But like, those are very intimate and very vulnerable places as well. Is it easy? Is it easy for you to write about stuff like that? Or is it? Is that part of like, more or less, helping you cope with anxiety? and etc?
Aubrie Sellers 37:33
Yeah, I think, you know, when I'm writing songs, like I said earlier, I'm not really thinking about because I don't ever have to play for anyone, you know what I mean? when I'm writing and if I choose so later, so I think it's more when I'm putting together a record, or maybe even when I'm releasing the record that I start thinking, maybe this is too intimate? I don't know. But But for me, yeah, it's just, it comes from a place of writing, you know, everybody says, the cliche that writing is like therapy, but it really is. I mean, if you're, you know, sometimes it's just a way to express yourself and get some that stuff out. I'm a huge journaler, too. So you know, that's been a way over my life to kind of just like get things out of yourself and put them on paper or put them in a song really, for some reason seems to kind of release some of that energy. And so yeah, I read worried mine about nine diety. And then I also wrote a accompanying piece in the African post about it that was kind of goes into a little more detail. And it's just been something that, you know, I've dealt with my whole life looking back, I think, didn't realize it, you know, growing up that I was like, an overly anxious individual until I got older, and it became more prominent, but But yeah, I think the reason I write songs like that, and love to play them live is just because, people that's another one that people really mentioned a lot to me, because, you know, they'll they'll do say, it's something they've been through or something, you know, had somebody come up and say, I'm going to play this song for my wife, because she, she goes through this and, you know, it's just really nice to know that when you share those experiences that can maybe help someone or at least help them know that they're not alone in that experience.
Thomas Mooney 39:12
Yeah, yeah. Like it's Yeah, I don't know. Like, I feel like I was talking with with someone the other day about how now this is like coming from like, a male perspective, how like, growing up, like, you're kind of like never told to, like express any kind of like those those doubts in yourself when it comes to anything like that. But like as this this new, this newer generation, it's been a little bit more easy to, to talk about therapy and talk about being like, not a quote unquote, you know, strong man, you know, or just a strong individual.
Aubrie Sellers 39:57
For sure.
Thomas Mooney 39:58
I think gets, it's very important and kind of like, you know, essential to, for other people to understand that, like, everyone kind of goes through these things and that like, I think for so many people, songwriters, and artists are heroes, and you can easily get, like a sense that, you know, these people aren't, you know, just, they're superheroes. They're not flawed in any kind of way. And just, I guess, like, you know, pulling back that curtain is, it can be, you know, essential and very important and profound for people in their lives.
Aubrie Sellers 40:38
For sure, like he said, normalizing, and I think that's a really good thing, because especially therapy seems like such a normal thing to me. And I hope that it becomes more and more that for other people becomes like going to the doctor or whatever else, because I think it's something that everyone can benefit from, you know, and, and, yeah, I think the more we talk about it, the more people realize, Oh, this is normal, you know, other people go through it, and they're not ashamed to talk about it or, or go get help or whatever they need. So, like you said, yeah, it's like, and of course, gender stereotypes can play into that, too. And so the more we talked about, that can can kind of lend itself to fixing some of those issues, hopefully, and help everybody just get better and be kinder to one another and feel more secure and safe.
Thomas Mooney 41:26
Yeah, it's strange, because like, I guess, also forever, I've always heard and you'll see a lot of people on social media talk about how, you know, listening to music is there is the best thing that that can happen when they're going through these rough times. And it's like, Yeah, absolutely. But you'll also see them talk out the other side of their mouth and act as if, like mental health, or, you know, even admitting to having these hard, like, going through struggles, is like, a weakness or something. And it's like, no, like, You're, you're finding a way to cope. By listening to like, music that makes you feel better, or like, makes you feel like you're being understood. So, I don't know, if sometimes maybe, like, talk with somebody, or like, you know,
write all this down.
I don't know, like, find something that works for you. Also, you know,
Aubrie Sellers 42:22
certainly I think, like you said, People probably have coping mechanisms that they don't even realize or are what, you know, coping mechanisms. And so, you know, people don't, I think don't understand that, to varying degrees, these are things that everybody goes through, and they just, you know, may not understand how much or how little and they may not be aware, they may have grown up in a family or something that that didn't kind of, like you said, encourage talking about stuff like that. And so I think a lot of people kind of suppress it until it becomes too much to bear later on in life. So it's good to pay attention and be open to these things. And kind of watch for patterns and just be aware of what helps you and kind of what you need and not put other people down for what they need.
Thomas Mooney 43:07
Yeah, it I, I'm 100% Sure. Like, it's one of those things where, you know, for forever, you would see, like, these guys just dropped dead from a heart attack at 50. You know, and it's like, well, what was oh my gosh, what happened is like, yeah, there's probably because they're holding literally everything in without, you know, somebody so yeah.
Aubrie Sellers 43:31
And then, like you said, it's a generational thing to like, you know, it used to be much more you know, people used to be much more closed off about that, for whatever reason, and and I definitely think it's, as time is going on, people are opening up more and more.
Thomas Mooney 43:48
Yeah, now as for like, obviously, I guess let's, I'm gonna make a little break here. Like I tried to tell myself before so like, for you like what is like your best space for for songwriting? Like, what do you try and like, have it even like if it's not not necessarily a routine but you try and like create a certain I don't know space for songwriting, certain like notebook or what have you.
Aubrie Sellers 44:22
I don't have any routine. The only thing I do fairly consistently is I just have a running list of notes on my phone. Or, you know, I'll record little snippets on my voice memos. Those are the kind of the only things I do consistently as far as just oh, I had a little melody idea. Had a little line ID or whatever, and I'll write those down and, and, and then when I'm feeling inspired to write maybe go back and use some of those pieces, especially if I'm going to co write with someone else and you know, but I'm not a huge co writer. I've done a lot of CO writing the past as far as like the kind of more traditional go to your 11am appointment Nashville and right It was, you know, to other writers or whatever. But for me, it's more about, like I said earlier writing with people that I love and love to work with, and, and feels more like a collaboration in that way. And so, um, yeah, I don't have any specific routine, I tend to write just when inspiration strikes, or if I feel like, let's say like, you know, six months from now, I'm feeling like, Okay, I'm feeling kind of inspired, I, like maybe have an idea for a new direction for an album or whatever, then I'll kind of get a fire under me and start writing more intentionally, you know, but it does happen for me and kind of burst more so than consistently.
Thomas Mooney 45:38
Yeah. Are you like a notebook writer? Or is it? You know, on the Do you have the laptop out? Or do you know what, what is the,
Aubrie Sellers 45:47
it's different every time I have, I haven't written songs. And I have written songs in notebooks. I have some, like, a lot of the songs in the first record that are written in notebooks. But then yeah, a lot of the time I read on my computer or my iPad, or whatever else. And it's, it's changed over time, I used to have a app on my iPad that I don't even think exists anymore. So I was actually trying to play some of the files out there the other day, and couldn't even get them to play. So be careful with the kind of technology that you use. Because, you know, it could be default later. But um,
Thomas Mooney 46:22
yeah. But
Aubrie Sellers 46:25
yeah, and I'm not a huge network writer, just because I travel so much. It's hard to carry a bunch of crap with me all the time. You know, so I try to keep it pretty light. But But yeah, sometimes I do sometimes I think I mix it up. Because for me, like, Okay, I get out a pen and paper this time, and maybe kind of unlock something different in your brain, you know, same thing with a new environment, or a new, you know, person you're working with, or whatever, I feel like mixing it up for me is the key to keeping things fresh and keeping things new.
Thomas Mooney 46:56
Yeah, it's this weird, like, I guess, like the weird balance between like romanticism and practicality as far as, like, how you write, because it's obviously so much easier to write on a computer, but then also at the same time, you know, are they going to someone said this, the other day was like, I just can imagine them like, you know, the Country Music Hall of Fame Museum, and like, having someone's laptop.
Aubrie Sellers 47:27
Exactly. And I've had actually lyrics in the Hall of Fame. And they were written in a notebook, you know, so like you said, they use by lyrics for like, a day from a notebook because I wrote them in a notebook, but some of my other songs I definitely did not so I don't know. Yeah.
Thomas Mooney 47:44
Yeah, I think it would be kind of funny to see like,
Aubrie Sellers 47:49
I need my computer. So you're gonna have to use a fake one.
Thomas Mooney 47:53
Yeah, just here's a jump drive that you can something like that. I don't know a Dropbox link. I think like that's what reminds me of that is the I don't even know where maybe like Reddit or something like some kid sending in a Santa Claus letter with like a hyperlink address, but it'd be like have a photo or something. So it just had like a lot of random numbers and letters and stuff. Maybe just like a photo of that and be like this is I don't know Amarillo by morning. You know. This episode is sponsored by Smith, iron in design. It's owned and operated by one of my good friends Aaron Smith, and his dad sonny. As the name implies, Smith iron and design specializes in creating custom metal and woodwork. Them vast array of metal signs that are perfect wall decor that will tie our room together. They design everything from welcome signs to family crests, flags and Texas cutouts. They have a series of these metal reads that are perfect for your front door, and you're able to change them out depending on the season. Are you a sports fan? Well, there's nothing better than having a giant logo of your team on the wall of your dinner office. When it comes to signage. The possibilities are really endless. What you should really do though, is head over to Smith art and design comm to get a look at their vast portfolio. That Smith, iron and design comm I'll throw a link into the show notes as well. They don't just do science either. Some of the smaller items are custom bottle openers and key chains. Then they also have bookshelves, TV stands, nightstands and fire pits. You know it was about a year ago, Aaron built me a custom shelf. I needed something new to store some of my vinyl and everything I'd come across. Either the shells weren't big enough for LPs where it looked too bland or cheaply made or to be perfectly honest, too expensive. So I wound up talking with him. And about a week later, I was able to pick up this custom shelving unit, that's just been amazing. It's incredibly sturdy, has a bit of a rustic feel. In my opinion, one of the best parts was just having so much control in the process, you can get them as tall as you want with the shelves at the perfect depth and length. Again, for me, this was for storing vinyl, so they had to be a certain height and depth. I've been thinking about getting a custom bookshelf companion piece soon as well. Now, for the most part, they primarily serve the Lubbock area and the South Plains. But for some of their smaller pieces, they're able to ship nationwide as well. Again, Smith, iron and design calm.
Now back to the show.
Yeah, like I guess like what also like I was gonna ask about the, you know, you mentioned doing like the 11am natural rights. Do you kind of like, think of like, oh, here are the, I don't know, two or three ideas I have that maybe work in this or, like, I guess like, Well, what do you do to prep for something like that?
Aubrie Sellers 51:14
Yeah, I mean, like I said, I always have my running list of ideas, and I have those available. And then thinking about a co ride, I think sometimes you can go in like, I've found that for myself, because I don't write for other artists, I really only write for myself that it helps if, especially from writing with a newer person to have a song like maybe half finished or almost done like one times trash on this record. I'd pretty much written a lot of already before I wrote with Brendan mentioned and of course, he brought a lot to the song as well, but I had never written with him before. And that's a little bit different. Because that's not your typical go sit down and co write I mean, you know, this was me seeking out artists that I love and want to write with, it's a little, it's a little different than if your publishing company or label or somebody sets you up to go right with a stranger. That's a professional, full time songwriter, you know what I mean? It's just, it feels like a different vibe. But, um, but yeah, I mean, I always have ideas with me, but, um, you know, hopefully the person you're writing with does as well and you just kind of go in open minded and roll, you know, run through some ideas that you have some ideas that they have, and kind of just feel the room and feel what everybody's feeling. And that's just kind of happens organically in that way. And people are just different. Everybody writes differently. People, some people are really impatient and like to write it really quickly. And I'm more of a slow, slow writer for sure. And, and also, like, if I'm not feeling something that's going down in the room, I tend to just kind of shut down. And, you know, one thing I've learned about myself for sure, is that lyrics have to be really driven by something that I've been through or something that is said the way that I would say it, you know, otherwise, I just have a hard time singing it. And so, for that reason, I think I haven't gotten many songs. If any looking back that have been on my records that came from those kind of sessions. You know, a lot of my stuff that I end up recording tends to be stuff either I wrote with myself or wrote with people who I've written with a lot or artists that I admire, people that I just really feel like I vibe with and, and feel like more of a musical collaboration rather than for writing appointment, if that makes sense.
Thomas Mooney 53:39
Yeah, it feels like probably like the word like I would maybe describe the the most is like, there has to be a level of trust. Because, you know, it's it, you're kind of like, if you I don't know, like, not necessarily like that you're wasting an idea because you can always rewrite that idea later. But like, you know, are you wasting that time? Or are you like, what, what if there's not going to be something out of this? Like, is it you know, I don't know, like, it feels like you. You said like having maybe like, a song already kind of like, not always finished but you know, going in a certain direction. That first time it's like almost like a testing process if the worker you know what I mean? They're like, you know, you pass or you fail you don't know like it cuz it feels so weird. Because like I have, you know, I wouldn't almost I mean, like there's people who do write articles together on something right, but that's so rare. It feels like I that's something that you're like giving up so much power. When it becomes half or something like that. I don't know. It's
Aubrie Sellers 54:57
I don't think people write books together and I've actually read a book that was written like a fiction book that was written by two people when I was like, how in the world? I can't even imagine how it's so difficult to write with people that you, you know, a song that's three minutes long. Imagine writing an entire novel together. Yeah, that's right. Yeah, it's a, it's definitely an interesting process. And like you said, I mean, you just kind of feel it out. And sometimes something magically comes out of it, or some, you know, it doesn't and, but I've just learned about myself, the kind of things that I, the circumstances, I guess, that I tend to get more songs out that I like, and, and so that typical route hasn't really been one that seemed to serve me musically.
Thomas Mooney 55:42
Yeah. Do you try and like, hang out beforehand?
Aubrie Sellers 55:47
A lot. I mean, I mean, I work with a lot of people that I know, from whatever, you know, from sitting around, or maybe they have a publishing company, or whatever else, I mean, of course, but but some, you know, occasionally to have written a good bit with people that I don't know very well, just because people wanted me to write with them, or recommended them or whatever else. So I've been in all circumstances.
Thomas Mooney 56:09
Yeah, yeah. The just, I don't know, it's just, I found that like, the the CO writing world, maybe like, more interesting than, like, even just like, just songwriting in general, because it just feels like it's so many. Like, obviously, it has to do with like, just that trust, like I was saying like egos and like just the chemistry between people and just I don't know, like, even just simple things, you know, that. Like you said, like people wanting to just like do it really, really quickly. And then other people being a lot more of a slow burner process? Or? I don't know, it's just, I don't know, maybe that's the book that I'll ride with somebody is like, the CO writing code?
Aubrie Sellers 57:03
I don't know. That would be funny. Yeah. I mean, you know, it's hard to, like I said earlier, I write for my, my records, you know, so it's a very different than someone who writes full time as a songwriter for other artists. And it's becoming kind of a dying art in that way. Because you can't really make money doing that anymore. Unless you're writing for radio, which is very narrow, you know, platform, there's only kind of a couple things you can write for that platform. And so when you're when, when most of the Songwriters in Nashville, which I'm not even in Nashville anymore, subs doesn't really apply to me anymore, because I don't really exist in that world. But when I did, you know, it feels like, you know, they're, they're writing, they're kind of, there's too much business bleeds into it, does that make sense? Like, it feels like you feel uncomfortable, because you're like, this person doesn't want to write a song for my record, they want to write a song, you know, that she got on the radio, or to make a name for themselves as a songwriter to make money, which is totally a valid thing to do. But, you know, that's not really where my head's at, when I'm making music. And so, just for that reason, it felt like, you know, didn't really line up with, with what I'm trying to do as an artist. And when I want what I love about music,
Thomas Mooney 58:18
yeah, like, obviously, like, I think it's very, very easy to just, you know, get on the soapbox, and just talk about how bad you know, top 40 country music, radio is top 40 whatever the pop music is, right. But like, there is something to there's definitely like, I felt like we could all like just get really angry about it. And but it's so exhausting. But like, there is obviously something to criticize about it. It feels like so many songs for like, it's just like the algorithm of like, what is popular with, with people like 18 to 25 and like, you know, you have to use keywords and then I don't even know if that's really even the case. But you know what I'm saying like, it feels like an algorithm of those are the things like this, the six things we can sing about. And
Aubrie Sellers 59:20
exactly, and we'll just recycle it and just put it in a different order 400 times. But you know, and that's fine if that's what people want to do cool is just doesn't speak to me. And it's never been what I'm passionate about. And I think growing up around the music business has made me even more kind of averse to it in a way rather than the opposite, you know, so, yeah, I just I've been lucky to grow up around family and people who really love music for music sake. And even if we're, you know, even if we weren't doing it professionally, we would still be doing it just because we love music and care about it being real and honest, you know, and so that's where, you know, my inspiration comes from and so just, you know, I don't sometimes align with with that world For that reason, and that's fine. Everybody has their own thing. It's just not my thing.
Thomas Mooney 1:00:14
Yeah, no, I, I would, I would pretty much agree even though I didn't grow up around there. I was gonna ask about that, though. Like, how, how is that? I guess like, how, how aware, were you growing up that like, you know, you had family that were you know, just obviously, famous people, you know, are just, like, super involved in like the act like the, the music business.
Aubrie Sellers 1:00:47
Yeah, I mean, it was I was really immersed in it. I wasn't. You know, I know, seeing other kids who grew up with parents who were in the music business. People really are to varying degrees involved. You know, maybe they grew up in one place going to traditional school their whole lives, and maybe were more separated from and maybe they had one parent that stayed home or whatever. I didn't have that, you know, everyone in my family does music and I grew up on the road on a trip, I was homeschooled, you know, so. So I was very immersed in it. You know, when I was with my dad, I was riding in his car to go while he goes in and sings demos or goes to play with Ricky Skaggs, you know, and then when I'm with my mom, we're on tour, and she's open up for George Strait. And then she's coming back on the bus and getting out the tackle box full of my school supplies and doing school, you know what I mean? So it's like, I was just around it all the time. And then, you know, my mom got remarried. And my stepdad is a producer and the publisher. And so I saw him build his publishing company from literally a basement room to what it is now, you know, and so I've just seen, been very involved in and around it and very aware of, of all of it, you know?
Thomas Mooney 1:01:53
Yeah. Like, I was talking with somebody the other day about how it would feel like, I guess like Nashville is like, very similar to, like a comparison to like Las Vegas, where it feels like, this is like what each of those cities is known for, like, there's where like, most, almost everyone is, within that realm of what it's not like a city like New York, where there's just so many different kinds of industries happening. Like you, almost everyone is touched by this one. I don't know, like octopus of, you know, like, the legs go everywhere, right? And I don't know, like, it just seems like, it would feel like growing up around Nashville would be like, he just kind of like no, I don't know, like, I guess where I'm going with this is that like, growing up, you would realize that there's like, so many different levels of, of not necessarily fame, but like, of success, and like what the music industry is, it's not just, you know, like, not everyone's Alan Jackson and George Strait. And Reba, you know, it's, there's a, there's just so many other jobs that you don't really think about, because they're not on a tour poster, you know, we're on the back end or something? Yeah.
Aubrie Sellers 1:03:19
Yeah. And I was around all that, you know, when I was, I'm gonna get a record deal until I was seven years old or something like that six or seven. And my dad was playing, you know, with Ricky Skaggs and you know, we lived in a little apartment and and there's a middle and and like I said, I saw Frank build his business from the ground up to so just kind of like, I've experienced and been around every aspect of this business. Really, I feel like I have, you know, and so, and what's ironic though, about that, is that it's so different now. You know, it's so different now from even when I was growing up, so so I still feel like I'm learning so much. Every time I'm doing anything in this business.
Thomas Mooney 1:03:59
Yeah, how much did you feel like that you? Because obviously, like your sound is not a like a NEO traditional country sound or like a you know, it's more new Nashville as far as like, you know, you mentioned Brandon, Rec and tours and obviously, there's a real garage rock kind of app aspect to to what kind of music you make. Did you did you feel like you I don't want to say rebelled against like, what? Like, especially like your mother sound or something like that. But how much of was it you finding your own lane without? You know, like, I guess people thinking that like the only reason you're a songwriter is because your family ties? Totally.
Aubrie Sellers 1:04:50
Well, you know, like I said, first of all music is like in our blood on a different level than just the business part of it. But yeah, like, you know, growing up, I was there. Round a lot of bluegrass and a lot of traditional music and traditional country music, and I love that stuff. And that's a huge influence on me. And I thought when I was a teenager and still think someday I'll make a bluegrass record because I, you know, I play a little Banjo and Ralph Stanley is my favorite singer. And so, you know, I'm really influenced by all that stuff. But also, you know, I, when I was a probably in middle school, two teenage years, listen to a lot of rock music, not just traditional rock, like Led Zeppelin and CCR, but you know, that era of rock, like the strokes and the white stripes, and, you know, Franz Ferdinand, I love their first record. And so those two kind of areas of rock really influenced me as well. And I live in Iran and that area, too. So, um, a lot of it was just truly me sitting down writing, saying what came out of me naturally, and then also just the stuff that I really love and making sure that I was representing all of the aspects of music that I love, you know, and so, I think it all kind of came together and created this new thing and feel like it's really representative of me and, and I think some people can see that as a, especially on the business side of things is a flaw because you're not fitting really neatly into a category that has a built in fan base, you know, can be harder to kind of build up your career when your music is living in its own space. But um, but you know, I feel like to do anything else would not be representative of who I am. I love traditional country music. I love bluegrass music. I don't think doing just one narrow thing full time would be representative of all my influences and who I am as an artist, and what I love, you know, I think about a little too much fire and edge to be doing that. And feel like I'm doing everything I want to do.
Thomas Mooney 1:06:52
Yeah, you know, it's weird, I feel is that okay, so like, you'll see this on people's Facebook, on like, their, the pages that they have, whatever, insert artists here. And then like, under their influences, they'll list like 150 people. And you're like, No, no, you're confused and like, being influenced and just liking those bands. Like your influences like No, of course, like I think like you can go either way of like I am. You're informed by just popular music in general. You know what I mean? Like nuts. But you know, I find it so strange where you're, you see, like, especially here in Texas, you see, Townes Van Zandt and guy Clark listed under everyone's influence? And I'm like, I don't hear that. I don't know what you're talking about. But
Aubrie Sellers 1:07:49
yeah, I think you can draw a pretty clear line to some of my like, I can name you you know, the people that really like you know, I love Steve roll. I love Led Zeppelin. You know, I love Like I said, all the music Jacobite produced I love the Allison Crossman Robert Plant record. And I think you know, as much as my music, I think, drawing all his influence together created something new. But I think you can also hear those things and my music and hear how much I really listened those records because I'm, I'm somebody who I do listen to a ton of music across all genres. But like you said, there's certain things that kind of dug into my soul and really, really are my favorite buddy Angelica Miller, probably one of my biggest influences, you know, so. So yeah, those are things that I can feel like, definitely directly affected the kind of music I make.
Thomas Mooney 1:08:38
Yeah, you mentioned, you know, like, the raising sand. Like that is like just say, eight, again, like a very atmospheric record. And, you know, it's what, what's interesting, those two about just going back to Led Zeppelin is Yeah, like, obviously, there is like the, the the rock and roll, if we're just like, even just looking at like the song rock and roll ride, or like, immigrant song being like, these hard rock songs, but like, obviously, like those, those guys were, like, so influenced by British folk music, and it's not too far away from bluegrass, you know, so
Aubrie Sellers 1:09:21
I feel like, there's a common thread I can, I can draw through like, bluegrass music that I love, like they're really raw, good stuff like raw family and, and then like, even blues music that was influenced, that I was influenced by, like Robert Johnson, and that kind of stuff. To me, that all kind of has a similar raw, like, just super emotionally soul driven music, but also simple. The songs and the music are so simple, especially in blues and bluegrass, and that really influenced me as well as I think with songwriting and just the kind of songs that I've listened to naturally. The kind of songs that I write, you know?
Thomas Mooney 1:10:03
Yeah. Yeah. The, it's it's sometimes so funny how like, I think sometimes we can like overcomplicate stuff, right? Like sometimes like the best music, like just think about you mentioned Robert Johnson or like Hank Williams, they captured a very specific raw emotion. And sometimes you just you can't get any better than, than that. Just them
Aubrie Sellers 1:10:30
just saying. Yes, about that, for me, and that's people, you know, when people say like, are you driven by lyrics or melody, like, I'm a huge melody person, because I think that's what makes music music. And so for me, it's more about the the impression that you're putting on a song when you're listening or that you're getting from the song when you're listening. You know, if you know that band sigur rose, I'm gonna say their name wrong. They're from Iceland, or whatever, made a whole record where their lyrics were gibberish. Like, which sounds silly, but it's a beautiful record. And they're not saying any real words. You know what I mean? And so I think there's like, there's something deeper than just being overly wordy and flowery with your lyrics that that speaks to me as an artist, but I know that's not the you know, that's not how everyone loves to consume music or listen to music, but, but I love music, for music sake. And I love simple stuff.
Thomas Mooney 1:11:26
Yeah, like it was one of my favorite bands is explosions in the sky. And of course, like, you know, that's just post rock. And I think like, the, the thing about it, though, that people have a hard time. Because I don't know, like, I think that they can, they definitely people can draw and feel like the emotional swell of that kind of music. But it's hard to describe why. You know what I mean? Like, it's because like, even like, with me, like it's sometimes I'm, like, you just kind of at a loss of like, why you have this emotional pool from a song without any lyrics. You know? It's it's very easy to just like, Oh, well, I reason I like this song, or, you know, it makes me feel this way is because of these lines. You know, it's so easy to make those connections while sometimes like just the fish's music, it's hard to just to describe it.
Aubrie Sellers 1:12:26
Totally. Nuts. It's like, when you're listening to music like that, and you have like, a moment with yourself and the music you'd like. Yeah, it's indescribable. That's like the magic of it, you know? So yeah, that's the stuff. You know, like, driving late at night listening to a song that, like you said, the melody touches you or whatever, I just feel like there's some magic there, then there's no need to explain it. It's just who knows where it comes from? It's it's great, you know?
Thomas Mooney 1:12:54
Yeah, yeah.
It's just it's, yes, the mystery of it. All right. It's just, I don't know. It's just something. I don't know. It's a part of me, like, as a journalist wants to know exactly why, but then also, like, just let it be like, you don't have to figure out everything. So anyways, um, yeah, it's been really great talking with you about your music and just music in general.
Aubrie Sellers 1:13:22
Thank you so much for having me. Because I got to speak to you I would like for you.
Thomas Mooney 1:13:30
Alright, guys, thanks for listening to new slang. Be sure to check out our resellers latest album far from home, check out episode sponsor Smith, iron and design and wickers jalapeno jelly. I'll see you next week for more nice length episodes.
Transcribed by https://otter.ai