151: Molly Parden
We kick off 2021 and Episode 151 with singer-songwriter Molly Parden. Parden released her latest EP, the stunningly sublime Rosemary, this past Fall. Throughout the six songs, she pairs her velvety vocals with a dreamy soundscape that's just right for her intimate and richly detailed folk songs. Standouts like the introspective "Kitchen Table" find Parden chronicling her day as she begins to fully recognize, rationalize, and break down a recent breakup. She pulls you in near to those ordinary routines and addresses the void that's now a part of her present and how she'll eventually be fine. Through that routine, there's fine detail, complexity, and a rush of varying emotions.
During this episode, we talk about releasing Rosemary, recording, songwriting, space, r&b albums, and much more.
This episode's presenting partner is Desert Door Texas Sotol. In addition, this episode is sponsored by The Blue Light Live and Hot Damn Coffee.
Interview Transcript
Note: Transcripts aren’t always accurate since they are computer automated and haven’t been edited for spelling, grammar, etc.
Thomas Mooney 0:01
everyone welcome back to New slang. I am music journalist Thomas Mooney. I hope you all had a great and wonderful new year's weekend. Me personally, nothing too crazy here. But yeah, it was solid. I won't bore you with all the details. Yeah, this episode right here it's Episode 151, the first episode of 2021 and it is with Nashville by way of Georgia singer songwriter Molly pardon. Not that each of these podcasts needs an origin story and, or like an introduction to where I first heard this artist. But I guess the first time I heard Molly, she was on this song called easier by the band sons of Bill back in 2018. It was from this album called, Oh, God, man. It's really like one of my favorite records of the last 20 years or so just a gorgeously written and sounding album, and that song easier. That's just kind of like the epitome of that album. Like I said, just some of these incredibly gorgeous Sonic textures. And then, of course, from there, I had to go back and check out her own solo material, and just really enjoyed her songwriting and her style, which on this podcast right here, we're talking primarily about her latest EP called rosemary. She released it back in the fall. It's just mesmerizing. It has these really gorgeous moments built around Molly's intimate songwriting and her stunning vocals. I also just love the space and how a lot of the songs breathe, you get these little moments, these little pockets of reflection, I feel, like I said the songs, they just kind of breathe. And one of the standouts is a song called kitchen table. It's soft and dreamy. And she highlights all these things that make up a relationship and the dissolving of a relationship, and how you can just kind of take all that, for lack of a better term, the monotony and like the routine for granted, the ordinary suddenly shifts because there's this obvious void and with kitchen table, she essentially breaks down this break down how she held out for a moment, she kept herself composed, but eventually all that pressure, it mounts and it becomes too much. So you just break down. There's these lines about how she knows she's better off without you, but how those days they're often the future and in a lot of respects. Well, that really just doesn't do any good for you in the present. Anyway, I really enjoyed speaking with Molly about her writing process and kind of what this year has been like, today's presenting partner is our pals over at Desert door Texas Soto.
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Molly Parden 6:18
Well, it was pretty easy, I just kind of decided to release all of the singles that I had previously released, I decided to lump them all into an EP. So that my, I had released three singles from the record. Before I really had a release plan. I just wanted to put, put new music out, stay on the scene. And then the fourth song ended up being on my first EP was a re recording of an older song that had already been released. So I just wanted Rosemary to be all brand new songs that no one had ever heard. Except a live show. Yeah, that, that helps. That helps me decide how to split it up.
Thomas Mooney 7:20
Yeah, cuz I find like the this year has just been so obviously difficult and frustrating, especially when you're an artist. And I know it's challenged a lot of people's plans on what they were going to be doing this year. And you know, a lot of people, they they put off the records, or they've changed their release plan. So I don't know, I find, like, I guess like with you putting out as to EP, as I guess what I'm saying is like, I've not really heard of a lot of a lot of people doing that, though. I can like recall, for a lot of artists in the past, doing more EP EP bass releases versus albums. And like, I don't know, if, like, you mentioned, like, you know, just kind of, if you're releasing EP, typically you're releasing them at a more frequently than a record, and just kind of staying more in the, you know, just, I don't know how it's how to say like, other than by just staying relevant. And yeah,
yeah. Yeah. Is that something that you because you do really you have released a lot of material in, in space is, is that something that you are typically kind of concerned with?
Molly Parden 8:49
No, it does not concern me. I have partnered with a digital distributor who found me in my one of my weakest moments, musically, when I had no idea what I was doing. And I didn't know I like had these four songs that didn't know how to release them. I just, I just didn't know what to do. I didn't, I didn't know and he came to me and took me under his wing offered me his. He just took me on as a client. And so I've really looked to him and for advice and really trusted his advice. And so he has encouraged me to steadily and steadily as I can release songs, one at a time three at a time. The smaller the body of work, the easier it will be to digest. For today's music consuming person, let you know in this Spotify dominated world streaming dominated music world. So that, you know, I, I still want to release albums. And I want to release large bodies of work that tell a story that's longer than, like, five minutes. But if if this is the way that I need to play the game, then I'll play it. Because I love music.
Thomas Mooney 10:29
Yeah. And also, like, I wonder, just like, I think sometimes, like, I love a record, I'll say that, like, I think that everyone loves an album. But sometimes, like, I wonder if, if you're just thinking in that way, that it that it can be where I guess like, what I'm saying is, like, we've heard plenty of albums that are, you know, there's like four or five great songs, and then the rest is not up to the same level. And I think like, sometimes it can be a hindrance for for an artist to some ideas are just VPS or some, like themes are just in that format. I feel I don't know. Yeah. One of the things that really grabbed me that I found, I found really, really interesting was in that Forbes article about you about how your writing process is, you know, just, you know, it can take years to write a song. I don't know, like, I feel like, so often. A lot of artists, they they talk about how quickly songs can come? On what I guess, like, Can you talk a little bit more about that about the how, like, a song can just kind of be worked on over the course of years, or like the, or an idea. And like, can you, I guess, talk a little bit more about that? Sure.
Molly Parden 12:09
I told myself about a decade ago that I didn't want to make music unless it made me happy. And I started to realize that I was a slow songwriter. And kind of resolved to have a non musical line of work to pay my bills, so that music could be a I don't need to do in order to make money. I didn't want to I didn't want it to be my slave, you know, because I I just realized how putting a time crunch on a song really hurt it. When it came to me writing me creating the music. So I have just told that story to myself for the last decade that I write songs slowly, I write songs slowly. And only recently have I realized that I can do things to speed up the process. But still, it seems like my preferred way to come to any sort of musical conclusion to let ideas simmer. I just I just like it I like that things take a long time. And I don't mind waiting. So I'm thinking of probably two different songs that of mine that were written over the course of about three years. And I just didn't before it got to the before they were finished. You know, I really enjoyed the notion of the song as it was, but I knew that it wasn't complete so I just kept tinkering with it any anytime I would make time to work on my songs. I didn't always make time. I think that's one of the reasons why it has taken a long time for me to to grow my song collection. Because I for a long time I would just rely on inspiration just striking because it did a lot of times and I thought to myself, well, I don't need to practice at this, you know, I don't need to set aside time during my week because it'll just come to me. So thankfully, I have learned that that's not always the case. And But anyways, these these two songs, I'm thinking of that have taken a couple of years to write they yet they just they just weren't ever great until I until I finally put the stamp of approval on them. They were okay, you know, but some lines would make me like, roll my eyes. More. I don't know, a melody wasn't quite right, or a chord wasn't interesting enough. So I just kept it. Kept it around and kept toying with it.
Thomas Mooney 15:55
Yeah, yeah. Like the, it's really this weird thing with with art and creation about, he talked about like, the the inspiration being inspired to write a song and kind of just riding that wave. But then also, like, structure helps in a lot of ways to to where you do, I guess, set that time to be, I guess aware, let like, let inspiration come in. Even if it takes a minute to come in. I think like, you can apply that to a lot of things in life of if you're just like, I mean, I think like we just in general romanticize the, you know, it's so effortless to, to do anything, and I just got good at it naturally. But, you know, I'm the exact same way as far as thinking like, Oh, you know, I can just write this, or I can do this without needing to, you know, practice or like, set some time aside. So it is it's really interesting and seeing how, you know, it takes part of both, I guess, like that structure and that just inspiration. Yes.
Molly Parden 17:19
I enjoyed both. I mean, I used to not enjoy practicing. Because it was probably just me being prideful. I was like, Oh, I can do this. I don't need to practice. I've got the book. But it was a nice, humbling moment, when I realized that I needed to practice to.
Thomas Mooney 17:48
Yeah, like, I don't know, it's just, I think it goes to that whole just, you hear stories about, oh, this person wrote, I guess, like, a great example is how, you know, like Dolly Parton wrote, I'll always love you and Jolene the same day. And it's like, that's an incredibly amazing day for one artists. But then like, you know, like, that doesn't happen for everyone. And then I get how rare is that? Just in general. If we like, it's, you know what I'm saying? Like, it's this. I don't know if you can, and I would, I would expect her to also mention or say, like, you know, you can't rely on on that part. Just like, just the, the chances of that happening.
Molly Parden 18:38
Sure. And those weren't the first two songs she ever wrote. Yeah, it wasn't just like Dolly Parton was born in when she was five years old. Or, you know, when she turned 21 she wrote these two songs, you know? Yeah, she, she probably worked her butt off. doing other things and just living life. And then everything led to that one moment, that one day where she wrote the songs.
Thomas Mooney 19:07
Yeah, like, I find like that what you mentioned just the, I guess, like the life experience of, of, you know, a songwriter. I think like so often early on, like you just rely on like, the, like, the piss and vinegar of like, the excitement of just writing a song and you can do a lot of great work that way. Just like trying to capture that raw emotion of, of when you're young and just thinking like, it's new. It's fun still. But then, like, you know, I always try to remind myself that like a lot of your favorite songwriters didn't like start writing, like, the songs that you consider your favorite until they're much older. This episode of Newsline is brought to you by the blue light live here in Lubbock, Texas. Blue Light has undoubtably been my home away from home over the years, and has played such a vital role not only for my development as a journalist, but obviously it's been one of the foundational pieces for a lot of your favorite songwriters and bands who have made it out of the Lubbock area over the years. And of course, as a music venue, they've played such a pivotal role for a lot of your favorite bands just in general. One of my favorite parts about blue light is just how versatile the place can truly be. I've seen it crowded and rowdy on a Saturday night for a rock and roll band. And I've seen it dead still on a Wednesday when a legendary singer songwriter rolls through town. What you should do is go over to blue light, Lubbock calm and check out all the new merch they've added hats, t shirts, both short and long sleeve. They also have hoodies and koozies and just added some sweatshirts that are very much an homage to the college sweatshirt that john Belushi wore an Animal House. And then of course, maybe the crown jewel of their new merge is the varsity club style jacket and blue satin. I got one the other day. And yeah, it's just one of my favorite things I own now. And yeah, I don't know, I just love it anyway, you can check out all their new merge over at blue light, loving, calm, as always, I'll throw a link into the show notes for easy access. Okay, let's get back to the show. You mentioned like the whole, like, marinating process, like just like letting it simmer? How often is it? Like were you just kind of I guess like, you know, the songs these these ideas? They don't just, you you? I guess is it does it go hand in hand with I guess with the attacking them? Like, right when you get the idea? or How often is it where it is just lasting for a long time and you're just kind of creating it all in your mind before picking up pen and paper.
Molly Parden 22:07
Oh, um, you know, every song is a little different. The way that it is born, the way that it comes to me, some I have a have a couple songs that have all all of the elements have been there at the same time. They've, you know, presented themselves to me simultaneously. And I was able to work with the words in the melodies for a couple days or like 15 minutes. And there it was, those songs make me really mad. Because I'm just kidding, they don't. But those are really cool moments. I love those moments. I wrote a song this this spring that it just came to me when I sat down to sing the song and I when I sat down to just just play something and it wasn't. There weren't phrases that I had been thinking a lot. It was just a phrase that came to me and I was like, that is what I'm that is what I'm feeling. That is what I'm like trying to think to myself right now. So I just followed it. And I really liked the structure of this first verse that came to me so I wrote two other ones that sounded like it. But then other songs. Like another song that I wrote this year. And melody came to me. As I was listening to my friend's instrumental music, he plays instrumental piano music, it's so beautiful, called Boone River. I was listening to that a lot. And actually, I was listening to some instrumental piano music from oberdorfer. And I heard over hofers tracks are a bit more nonlinear than Boone River. river has like stuff that is repetitive. But remember hofers music is just kind of like, Well, like I said, nonlinear. So I heard a melody in the piano that he was playing, and I sang something to it. And then outcomes this. No, no, I'm sorry. I sang something to it. And I found chords that that went really well with it. And I actually i mean i loved it. It was beautiful, but I had no idea what words were do justice to that melody. So I just kind of recorded it and put it in my phone. And I would listen to it over and over and over and still, like no words seemed like sacred enough for that melody. So a couple months later, I pull out a notebook of, of writings that I've collected, not a lot, maybe like 10 over the last year, and I, I just kind of skimmed through the words, I do these, like 10 minute free writes, where I just set a timer for 10 minutes and write. That's one of the exercises that I try to do. So this year has been a lot more writing than actually on composing songs. But anyways, I pulled out one of my free rights from last October. And I, I paired it with this song that I had come up with, and it fit so well. So I worked at it for the rest of the day. And and yeah, it's probably one of the best songs I've ever written.
Thomas Mooney 26:14
Yeah, I love like, the free writing stuff I've been to I've seen a lot of art not seen, I guess, like I've tried to think of I talked with someone earlier this year, who was on my podcast, who mentioned them getting into more, like free writing stuff, and how that just kind of, again, is like, it's kind of like massaging that part of the brain and where you don't have to. You're not putting so much pressure on making it all rhyme at the beginning. You know, like, yeah, even if it doesn't, even if you don't end up using it for a song. Like I think it's like all part of the process.
Molly Parden 26:53
Yeah, I think so.
Thomas Mooney 26:55
Yeah, so like, so you 10 minutes, like, how often do you do that?
Molly Parden 27:01
Well, not to like, tell you a schedule. Um, but I just made a goal of doing two a week.
Thomas Mooney 27:19
Yeah. I mean, like, that's, that's still a lot, you know? Especially as opposed to the alternative, you know, of just not doing it. You mentioned like, the two songs. You had like two songs in your head that you were the ones like that were in that three year kind of period. Yeah. What were those songs? Where are those?
Molly Parden 27:45
Yeah, so on the water and weather.
Thomas Mooney 27:51
Yeah, so like with weather? I mean, you have you did that one previously, and then you have like the new weather 2020 version. I went into like a like deciding to re record it. And I guess like, that's the other thing. Anything other than just like that question, I guess.
Molly Parden 28:16
Yeah. What? Like, what made me decide to record it?
Thomas Mooney 28:19
Yeah. Like what what was it that made you Was there anything like specifically that you were like, that was urging you to re record?
Molly Parden 28:34
Obviously, just my vocal performance. It is. Yeah, I wanted to tone down the drums and my voice I wanted to employ a softer vocal delivery. And I just think it's such a cool song that I wanted to let it live again. In a in with Yeah, just a different different performance all around. I use the same guitarist, and, and harmony vocalist, but everything else is different.
Thomas Mooney 29:20
Mm hmm. Did you was that some of that was just like, kind of always bothering you. Or?
Molly Parden 29:29
Um, I mean, it didn't like keep me up at night. But, um, yeah, I just it's one of my more. I mean, it's my most popular song on Spotify. And I just cringe at the thought of someone like, you know, I tell someone about my music. They're like, can I find you online? I'm like, Yeah, totally. They look, they look me up on Spotify, and go The first the top, you know, they listened to my five most popular songs and the first thing they hear is me like squeaking out a song. So to try to change that. Yeah, that was really just my pride again, dictating, dictating my career moves.
Thomas Mooney 30:27
Yeah, I have a friend who, I guess like, they, they're this band called rattlesnake milk. And they put out a record back in like for 2014. And then, like, their newest one just came out this year. And my friend who's like the lead vocalist was, he said, you know, anytime they'd play, they're playing on the new songs. And like, since like, let's just say for the last three years, they're, they're all the new songs that were on this new record. And of course, like people asking him, oh, like, are you guys have anything online? And he's, but always hesitate to say yes, because he's like, I know that they're gonna go and listen to the first record. Yes, the only thing that's out there gonna be thoroughly disappointed. Then you're just kind of like explaining. Yes, but um, wait another couple months or? And then of course, like. It's just, I think, like, sometimes. It's human nature to do so. But like, I think sometimes, y'all like, you guys worry about that. Too much.
Molly Parden 31:35
Oh, for sure. Are you kidding me? You absolutely do.
Thomas Mooney 31:39
Because like, I don't know, like, it's the same thing is, like, whenever you're playing live, and let's say there's like, little hiccup here or there or whatever. And most of the time, like, no one in the audience realizes, unless you pointed out yourself.
Yep. You know, it's that or it's the, what I think is always I don't like when people do this is. I mean, I say that, but when they say this is a new song, like that I wrote, especially if they say like, this is the new song I wrote today. So don't like judge me too hard or anything like that. Oh, my God, taking? Like, no one. No one's going to, like, say, Oh, you know, this is a horrible song. I guess. Like you're, you're more you think you'd like taking the pressure off of the song, but like, what you're right or so is like allowing them to go to the bar.
Molly Parden 32:39
Right? So Oh, my gosh, you're right. That's funny.
Thomas Mooney 32:43
Yeah. One of the things that I really have, like appreciated about a lot of your songs and like the the sonic palette is that feels like you really appreciate space. When it when it comes to, like the arrangements and stuff like that, how often is that? Like, I guess in your how often are you thinking about that when you're actually like writing the song?
Molly Parden 33:15
Um, well, space for what?
Thomas Mooney 33:19
Well, like for, like, obviously, other instruments, but I guess like, what I'm saying is, how are you? Are you thinking of like other instrumentation? When you're writing when you're just when it's just you and an acoustic guitar? Or if you're on a piano or whatever the case is?
Molly Parden 33:39
Actually, no, I don't think about other instruments a lot. Um, so yeah, I any space that you hear is, is is likely thanks to my producers. And not that they've had to like, you know, take any lyrics out or anything. But yeah, I rely pretty heavily on collaborating with the people that I choose to take the production reins when it comes to my recordings. Also, I just like I like quietness more than I like loudness. And I like when there's a break in art, when there's a break in a song, when you're not just being bombarded with with a vocal performance or with a guitar solo. So I try to put that My song so that I will enjoy listening to my own music.
Thomas Mooney 35:05
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Molly Parden 36:55
Yes.
Thomas Mooney 36:57
So like it's, I guess like from what I love about it so much is it kind of gives you like that time to think about what was happening before. You know? Yeah.
Molly Parden 37:11
Yes, exactly. You're not immediately. I mean, it's not sensory overload. You. You have Yeah, time to reflect on what just happened. I like that a lot.
Thomas Mooney 37:23
Yeah, it's like, what I'm thinking about too, is like whenever you're at like a show or something and your friends like oh, listen to this next line. And like they're just talking over that line. Yeah. Like you're gonna love this. Right, right. It's coming up like right now and then like,
Molly Parden 37:47
Oh, I missed shows. I miss being talked over. That shows.
Thomas Mooney 37:51
Yeah. I was. I've asked a few people that about, you know, like, do you I mean, no one's been playing shows and like, Do you miss like, just even like, the, like the the pieces like being talked over? Or likely heckler?
Molly Parden 38:13
No, actually, I don't at all.
Thomas Mooney 38:15
I kind of figured that's
Molly Parden 38:16
such a horrible feeling. Yeah. Such a belittling feeling.
Thomas Mooney 38:22
I wonder though, if, like, if in I don't know, I don't know if this is, this is like just the half like thought out theory. But I wonder if like, of course, like whenever shows come back and you're able to like go and listen to performance and all that kind of stuff. People are going to appreciate it right out the gate because of something that they haven't had. But I wonder if like, also, they're going to like be way more familiar with your, your catalogue. Especially of like new songs because they've kind of they've been at their house. You know what I mean? I wonder if like, you're gonna have just more in tensioning intentional listeners, I guess.
Molly Parden 39:13
I see. Hmm. I guess we'll find out.
Thomas Mooney 39:19
Yeah, I don't know if like, this year is just, I don't know. It's weird, because like, I'm down here in Texas. And in some, in some cases, like, people are just acting like it's not any different than any other year. Yeah, I've had a lot more shows. Then. Probably like the average date but also like a lot more cases of so it's it's this is obviously really frustrating.
Molly Parden 39:54
Yeah,
Thomas Mooney 39:54
but I think that I don't know. I'm Typically, like really pessimistic about things, but I don't know, I feel kind of. I don't know, I feel like we're gonna be okay after this. Like, it's like, I think people are gonna be like, a little bit more was like they're gonna realize just how resilient they are, I guess.
Molly Parden 40:15
Oh, I like that. Yeah. I feel like he doesn't like it doesn't like a virus to turn a pessimist into an optimist.
Thomas Mooney 40:24
Yeah, well, I don't know. Yeah, I guess, go back to talking about songwriting. One of the things that I really, I guess I could the song that I kept on going back to and keep going back to his kitchen table, I feel like you just really capture like this really, what I would almost kind of describe is like a despondent fog, or like a haze. Because like, it feels like you're kind of like, on the verge of tears, and a lot of ways, but you're kind of like, keeping composed at the same time. Can you can even go a little bit further on into that song, like what was I guess, kind of like the the origin story.
Molly Parden 41:23
The origin story was I was mulling over the the ending of a relationship that I thought would last the test of time. And I was trying to pick up the pieces of my life and figure out how I would make music again, and figure out how I would eat breakfast again, and look at myself in the mirror when I went to the bathroom. And do all of the simple everyday things that used to not really bother me or used to not really require much thought. But it felt like with the, with the exiting of that person from my life, all of those things seemed infinitely harder and less attainable. And it, yeah, it really just crushed my spirit. And I was trying to put it into words so that I could move on from it because I at that point, songwriting was was therapy for me. Right? Yeah, it still is, in a way, but I rely less on it, to process things. Now it's but at the time, I really, really needed to just say those words and like describe what I was feeling and why I was why I felt so stuck. And that helped me just putting those thoughts into words and like, making it into a song that I could sing helped helped me move on from it so much. Not immediately, but after a while.
Thomas Mooney 43:38
Yeah, well, like that's, I find that really specifically interesting about how you know often I guess like often like, you know, songwriting is can be therapy it can be cathartic right but also like it's it's interesting to see how you know, some songs are like that were like you are kind of just you're taking that raw emotion and putting it into words and then song and then other times like it it takes like already getting past that emotion and just having some distance from that person or event to actually be yeah right
Molly Parden 44:29
yeah
Thomas Mooney 44:32
yeah, I don't know like it's it's weird how and I don't know if that has anything to do with like just it just being a case by case thing or it's like a just kind of how like you You grow as a person or like if you I hate to say like you if you get used to it or anything but I don't know it's it's strange.
Molly Parden 44:57
Yeah, there's no concrete rhythm to it. I like that about, about music and artistic things. Yeah, like, Yeah, I was just gonna say it takes shape as you take shape.
Thomas Mooney 45:18
Yeah. And I don't know, like, I know I said, you know, there's like that it felt like you're kind of in that despondent fog, but also at the same time, like, it's interesting how you're talking about after this person exits your life and there's that void and how, like, you're trying to figure out how you're, you mentioned, like go to the see yourself in the mirror and like eat breakfast and all that kind of stuff. It's interesting to see how all of those everyday tasks become super heightened. You know, I've noticed that like, there is a lot of that in, in your writing is like you, you have like, a heightened sense of like, awareness, I guess of like, just some of the most mundane tasks of, of just everyday living.
Molly Parden 46:16
I just cherish them. I've grown to cherish them anyway. Because that's where real life happens. For me,I think I'll go ahead. Just because it's not only the the mountaintop experiences or the you know, the valley experiences, it's, it's everywhere in between, I think that's where I find the most beauty sometimes.
Thomas Mooney 46:52
Yeah, I agree. I think that like, I think it can also go back to like what we were talking about earlier about, if you're just waiting for inspiration to strike, you can go a long period without writing something. It's, I think it's connected to that because I think that sometimes the the job as a writer is to take those overbit ordinary moments and make them a little bit show showcase. Like I guess like the the beauty and or like just even like the sometimes things are special special just because they're not special. If that makes it right. You know? I guess like I've also read you mentioning how like, you know, you you're inspired and influenced by some like r&b stuff. I think that like maybe that they like a lot of r&b especially like, if you think about the the delivery of a lot of r&b artists, like is a very heightened sense of emotion as well. I don't know. Do you see that too?
Molly Parden 48:13
Um, I've never thought that thought what what what are you thinking of?
Thomas Mooney 48:23
I'm thinking of like, anything from like, you know, Motown, r&b kind of stuff. If you think of like James Brown to like some more like r&b when it comes to like edit James or someone or even like in a lot of modern stuff with like Frank Ocean or like, even the weekend or I don't know, even more like contemporary I guess r&b artists.
Molly Parden 48:58
Yeah, like I said, I've never thought about that. But I can I would agree.
Thomas Mooney 49:13
What was it like I guess like I didn't just make that up did I about like you also like appreciating and liking a lot of r&b stuff, right.
Molly Parden 49:22
Um, you know, I have such a finite palette of music period. And when it comes to r&b and hip hop, it's even smaller, but I have really grown to love Frank Ocean and Solange and probably like two other people I can't think of but yes, I I grab it. toward toward non like non folk. I'm just I just think r&b is interesting and fun. And I'd rather put a sad song against a fun backdrop. Then a sad backdrop. So
Thomas Mooney 50:28
yeah, what's it like? What's kind of like your go to when it comes to Frank Ocean?
Molly Parden 50:34
Um, his singles are really like the symbols you put out after blonde. And then after I listen to those, I would listen to blonde. I haven't spent a lot of time with what's called channel orange. I have not but yeah, big fan of, of the signals he put out from like, 2017 onward.
Thomas Mooney 51:03
Yeah, the I, one of the things I love about especially like modern, r&b is I think so often, like, we have like these quote unquote rules about music, or like, you know, you have to rely on tradition. And, like r&b just kind of like, doesn't care. Yeah, hip hop doesn't care in general.
Molly Parden 51:28
Yeah.
Thomas Mooney 51:31
I don't know. It's, it's this thing where they, they just, you just don't care. Like, even with, obviously, like with song structure, but even like, with time and stuff. Like, one of the songs I'm thinking about is, it is from Channel orange, but his pyramids, it's like almost like a 10 minute song. And it's like, in two different parts. And like, you know, everyone's tells you you can't do like a 10 minute song. You know?
Molly Parden 52:03
Yeah, it's like three minutes. 30 seconds. That's the goal. If you want to be on the radio, anyway.
Thomas Mooney 52:09
Yeah. That's like, I don't know. Like, I feel like I'm always like, way too wordy in general. I don't even know how I could even cut down anything into a song to begin with. But then like, trying to cut it down even further. to like, if I was I don't know if I was writing singles, I guess. I don't know. It's just really? I don't know.
Molly Parden 52:39
Yeah, I appreciate the the kind of I don't give a fuck about what, what the industry says, we'll make a popular song. I like that attitude. Like, how nonlinear a lot of Frank's songs are in this is probably why like, Solange as well.
Thomas Mooney 53:08
Yeah. Yeah, she's like, I think that i think there has to be a part of the why she is so yeah, like, doesn't give a fuck about that kind of stuff has to be because, you know, she sisters with Beyonce and just being compared that entire time your entire life basically. I have to think that like has to play into it. I what I kind of remember with I'm a little bit more familiar, Frank stuff. But I remember whenever I think he was on the Grammys a couple years back when channel orange was nominated for Grammy. They all thought he was going to play one of the singles and during his live performance, and he played I think it was like Forrest Gump or something like that. It was just him on stage. And it was just really weird. And people were just so pissed off. Like angry.
Yeah,
Molly Parden 54:12
he Oh my gosh.
Thomas Mooney 54:13
Yeah. It's just like, what are you gonna like? What are you gonna do like they can't make you play something? I don't know. I can't Yeah, the the big singles. I don't know I personally I love just like the especially again like the long song. I know like the weekend he's more of a pop star now. But if you go back and like listen to his first three mixtapes each of those records or each of those mixtapes had like a song on each of them that were like what I would call a kind of like an epic Song as far as length goes, you know, there would be like a 10 minute song. And you see that still with Frank, as well. But I find that really, really interesting about how you can you know, just make a song that long and just again go with like the I feel like there's like that aspect of it being kind of ethic or epic or mythic of mythic proportions. This episode of new slang is brought to you by new slang. So obviously, you're listening to new slang right now. That probably means that you enjoy it, or at least you enjoy some of the conversations with the artists that are on here. Well, you may be interested in helping support new slang a little bit more by doing one of a handful of things. One, stop by our new slang merch store and order some merch. Right now there's t shirts, koozies buttons, stickers, magnets, and a handful of T chains and the like to if you like new slang just a little bit more, you can join the new slang Patreon. What is Patreon? Well it's like a subscription service since new slang is free. It's a great way to get some extra bonuses and additional content. For example, if you subscribe to the postcard pal tier for five bucks a month, you'll get ad free episodes, updates on upcoming guests and monthly new slang postcards. The postcards are essentially little mini show posters that I started designing to highlight that month's roster of guests like right now we just ended the month of November. So November show poster is a denim jacket where all the episode guests are individual buttons pinned to the jacket. Right now if you sign up for the Patreon, I'll go ahead and make sure you get all the back prints. Again signing up for the new slang Patreon or purchasing something from the new slang merch store are great ways to help support new slang. Another easy simple way is to give us a five star review over on iTunes and share these lines with all your friends and family who you think may enjoy new slang. links to both the Patreon and the merch store. And all of our social media stuff is in the show notes. Okay, let's get back to the episode. What I was going to, I guess go back to though is like you know, you mentioned like the you know how like, you, you also have gone into not necessarily being tied to the the verse chorus, verse, chorus, bridge, chorus you've done other. You're not like been just like, married to that I guess the, the format. How freeing is that whenever you're, you kind of like take that off.
Molly Parden 57:52
I'm completely praying. And it helps affirm the notion that I want to make music that I enjoy. First and foremost, like, My music is for me. So I don't care if other people don't like it. I'm doing this like, for myself, because it's like, it's my gift that I have. And the I mean, I'm lucky I'm really lucky that people like what I do. But I prioritize my my preferences when it comes to crafting a song. So it's really I never I never felt that like boxed into that format. I'm because I've never set up my life in a way that forced music to to pay the bills. So I've never felt the need to like write a pop song or write a radio hit. I've never like I've never made that a goal. So it's, it's always just been like cool. Okay, that's all I wanted to say. And it's just two verses. I guess I'll I guess that's a song. That like one of my songs I wrote this year is is that it's just two verses. Nothing else. And I have a song on my Rosemary EP called within a dream. And for a long time, that was just this little vignette this little song idea. And then finally, I was like, You know what? Let's just take idea off and call it a sock. So we did.
Thomas Mooney 1:00:09
Yeah, like I was gonna mention that song being, you know, just very short vignette. Yeah. I like that. I always like whenever this is like, obviously not the same thing. But when there is those, it goes back to space too, I guess is like when they when you do have like those little, I guess like bookends of a song or maybe like, a prologue to a song, if you will. And it just is something super short. Before a song. Kind of like, I think one of Okay, so like one of my friends here in Lubbock, his band, they when they were playing live, I think, what what they were doing initially was doing it because he didn't want to talk to the audience. Like, not necessarily not talk to the audience, but like just that the stage fright of the that experience. So what they what they would do is like they came up with like, these little I don't know, like, intros that were not part of like the song initially, and it would be just kind of like, sometimes it would have like a line from that song before, or like the of the song. But it'd be like, remix, remixed, I'll say it that way. I'll put it that way. And I thought like, it was really, really interesting. We're like, no one was doing that in there, like a Texas country band. So no one was really ever doing that ever. But I thought it kind of like, was interesting to see how it kind of prep the audience. They kind of got them like understanding like, Oh, you know, this song is coming up, or you know what I'm saying? Like, I don't know, if is this really interesting thing that I've not really seen a lot of people do this, again, especially like, in like, you know, Texas country kind of stuff. So,
Molly Parden 1:02:18
like that?
Thomas Mooney 1:02:18
Yeah, I don't know, it's, again, like, it's, I don't have like any specific examples, like I can just like draw to, as far as like them doing it, like what they were doing, but like, they would just kind of take a line, and wouldn't even necessarily be like a chorus line. But they would just kind of reword it, in a way. Kind of play it like something that was in the song that was a little different. And then they'd go into the song. And it was also there
Molly Parden 1:02:45
wouldn't be saying it wasn't just instrumental.
Thomas Mooney 1:02:48
Yeah, like it would sometimes it would just be instrumental stuff. Or like, sometimes he would like, sing like just this, something in it, something from the like, the lyrics. Sometimes it was like just the course, half of the chorus line. Or, like, sometimes it was a line from the beginning of a verse or something, but it would always be a little bit off. And then it only be they would these were all like, you know, 35 to 35 seconds to like a minute long, kind of like intros, and I just kind of call them like little prologues and like outro kind of things. I don't know, I don't even know if they really even do it anymore. So gotcha.
Yeah. Yeah. What I was gonna ask you though, too, is like, you know, you've mentioned a lot of the songs that you've been writing this year. What? How have How have you like, I guess? done this year, as far as the creative process and writing and stuff has it been? I don't know if I want to use the word normal, but has it been like the same as like any other like the previous years? Or have you had more time or space to create? Or has it been where you've focused more on some of that others like the, the free writing stuff to get started on anything?
Molly Parden 1:04:27
Well, this year I've focused on my identity outside of music, which in turn has created fodder for my musical side of me. Um, so I would say that I have been quite creative this year. But not directly, musically, kind of, indirectly for music. But I just know that I take so much inspiration and influence from my life within and without music. So I've tried to prioritize just like life like reading and trying, trying new coffee and making time to have phone calls with people. What else have I been prioritizing? Just like riding my bicycle or walking, tinkering with with houseplants. Yeah, those those things have, in turn. Made me creative, I think. So, while I haven't been on the road at all, I've still been able to, like play music. I can, I can, like, pick up a guitar or sing whenever I want. Just because I'm not in another state, you know, in a venue doesn't mean that I'm, I haven't been creative or musical. I'm actually worked on some new, like recording some new songs. A couple of times this year, not a lot. I've probably done five or six studio, like session vocals, for other artists. So I have been musically active this year. It's just been a little different. It's not well, I don't know what it's not.
Thomas Mooney 1:07:14
Yeah, no, I think that like, initially, especially, you'd see a lot of people online talking about, well, you know, how there's going to be so much music, so much great music released out of out of this and like, because, you know, you're not on the road, you have plenty of time to write a song and, or, you know, write a record. And I think that like, that's just not really how it works. Like, I don't know, like, if you can't just necessarily be like, okay, these next it's not like you're locked in a cabin to like, write your a book or something. I don't know. I found like a lot of songwriters have more done what you're talking about doing more of the the other stuff I've seen, or I've heard of, just like in this podcast stuff, people taking up like painting or like working on writing. Like short stories, or, you know, gardening or, you know, learning new instruments or cooking, you know, all kinds of stuff like that, that I think is all can classify as, like, artistic expression. And at the end of the day, like somewhere down the line, it's going to help when you write a song. So I find that really interesting.
Molly Parden 1:08:44
Yeah, that's an interesting.
Thomas Mooney 1:08:48
So, I think it's also like the it takes a lot of pressure off you from my just again, like having to write a song. And it's also like, you know, a lot of the, you know, like The Walking stuff or like riding your bike or that kind of stuff. You I feel like a lot of times, disciplining for to myself, if I'm doing something around the house, and I might have like an article that I need to get finished or something. Sometimes it just takes, you know, doing the dishes or like the laundry to have like the shower thoughts. Yes. Time. So, yes, I think that helps.
Molly Parden 1:09:33
I think so too. Yeah, that's that's one reason why. I've always, not always but that's one reason why I enjoyed having a serving gig. I was a waitress for the last decade, until Sorry, I was a waitress up until two years ago. I was what am I trying to say? I quit my waitressing job two years ago, but before that I was waitressing for the last seven years before that. And it was so nice to just kind of go on autopilot. And we tables and there I was able to do a lot of thinking and a lot of good people watching and like those shifts created space for me to think about music. And just like doing something physical like walking or carrying or, you know, interacting with other people that all like, helps my helps my brain run more smoothly.
Thomas Mooney 1:10:45
It's been really, really great talking to you today.
Molly Parden 1:10:48
Thank you. Me too. Thank you so much for for your time and for having me.
Thomas Mooney 1:10:53
All right, thanks so much for listening. That is it for this one. Be sure to check out Rosemary by Molly Parton. If you haven't just yet, go give our presenting partners a visit. That would be desert door the blue light live and hot damn coffee. Alright, hopefully I'll see y'all Wednesday over at the neon neon and Thursday for another episode of newslink
Transcribed by https://otter.ai