Megaturquoise
At long last - after months of prelude, three singles, and endless yelling on social media - Megaturquoise is OUT, baby. It’s on Spotify, it’s on Apple Music, it’s on Bandcamp and the iTunes Store for anyone willing to actually pay for their music in 2021 (special thanks to that one sucker who bought Josephine for ninety-nine cents; no other takers so far, but fingers crossed that I find a way to cross that coveted $1 threshold for this project), and it’s even on YouTube, if you’re kind of person who enjoys staring at a static picture of album art while a song plays.
For real, though, it feels awesome to get this thing out into the world. I’m very proud of the finished product, although if I’m being honest I’m also experiencing a bit of cognitive dissonance as a result of these endless, ongoing attempts to promote an album that I actually wrapped up quite a while ago. In my mind, I’ve moved on to the next thing already - I have two new songs packaged up for inclusion on The Wirelight’s sophomore effort, and I’ve also cobbled together a couple of dangerously sick covers that I may release as a tasty l’il EP in the relatively near future.
That said, there’s so much on this album that you, my audience, haven’t heard yet, so I hope you take the time to check out those five non-single tracks, as I think they’re every bit as good as the singles (they’re all my babies, so I’m biased, but seriously - if you liked the three I released, you’ll like the five I didn’t). Josephine’s got crazy banjo courtesy of Nashville session musician Tim Galloway; Miss You features all manner of woozy synths and Bon Iver-esque vocal processing; Cardinal Red is a lengthy drama in three acts; Paris Again contains the only authentically live drumming on the album (it’s only in the bridge, but still); and the verses in Bend (just the instrumentation, really) get the superlative for “Most Likely To Be Ripped From A Death Cab For Cutie Song, Specifically ‘Your Hurricane’, Because Lewis Really Likes It And Secretly Wishes He Wrote It”.
There’s plenty more to say about all of these, but tackling all five at once would be a lot, so the best thing you can do is go listen to them. Pour yourself a brandy. Enjoy.
With that out of the way, what’s cruising down the content pipeline now?
Glad you asked, because there’s some vinyl in the works, and it’s really fucking cool, and you can probably guess what color the actual record is (hint: it is vibrantly teal), and setting up a pre-order system is on my to-do list. I won’t charge you that much for it, and you’ll have an object to pass down to your grandchildren.
Lewis + Lana at Summit circa end-of-2011. This is a thing that happens every few years.
Also, it’s 2021 now, which means that live music is back on the agenda, so I’ve got some of that coming up too: first up, on June 26th, is an acoustic-ish show at Summit Coffee in North Carolina, where I’ll be performing with Lana Sims, known for his subtle piano contributions to Columbia-area powerhouse Dump Truck and the Backhoes, but also of Stalking Louisiana fame; and Tim Helfrich, coffee-slinger and famed drummer for the late Cast Iron Filter (to be clear, he drummed for CIF and is also Summit’s COO; I’m not aware of him having slung coffee for CIF, although he certainly could have; I should delete this entire parenthetical).
Following that Summit show, keep an eye out for The Wirelight coming to friendly Atlanta and/or Athens venues near you.
In summary: hell yeah. More to come.