Catherine Traicos - The Nashville Record (2023) Hi Res

This record was forged in the depths of lockdown, recorded across two continents, and completed after the borders opened. ‘The Nashville Record’ serves as a chronicle of a time in the artist’s life, one which saw Catherine Traicos leave behind her signature melancholy folk peppered with gaunt guitar rock, and open up to a more vibrant auric space, one occupied by the likes of Regina Spektor and Imogen Heap.

As they did in the pandemic for many of us, social apps and remote communication are embedded in the fabric this record. The melodious, psychedelically leaning single ‘Butterfly’ was written about an online dating flirtation. ‘Raging’, an unadorned yet beguiling exhumation of a failed relationship was co-written over WhatsApp. And Traicos met the producer of the record, Nick Bullock, on Instagram.

Having musical friends in common, Bullock and Traicos began to casually chat online about making a record. Soon they were Zoom-ing about Bullock bringing together a band of his favourite Nashville session musicians and working out of Neal Cappellino’s The Doghouse Studios (where the likes of Dolly Parton, Willie Nelson and Alison Krauss have recorded) in Nashville, while Traicos recorded vocals and some rhythm instruments at her home studio in Perth.

“It felt like, if I have to do distance, why not a massive distance? In some ways it would have been too heartbreaking, and in a sundry way which is the worst kind of heartbreak, to work at a distance with people I knew and was aching to be in the room with but couldn’t physically get to. And then, of course, it was exciting, how you can have this powerful creative connection with musicians on the other side of the world, who you’ve never met, and build something great together.”

Deeply private and choosing to focus on making songs that are universal as well as personal, Traicos avoids scrutiny of details but reveals her trademark vulnerability through melodic compositions and powerful arrangements. Her downbeat sensual Mazzy Star like qualities remain but are augmented by a new indie pop slash country aesthetic recalling the work of Julia Jacklin and even Feist at times.

In the end Traicos was able to travel to Nashville and record vocals at The Doghouse Studios. Through lockdown after lockdown and closed borders through to the borders finally opening, the pandemic is a silent witness to this musical evolution. And it is the strength of the songs that forge a connection between two continents between Traicos and the musicians.

The resulting combination of archetypal Australian gothic meeting effortless Nashville quality creates a sonic landscape of profoundly heartening dream pop. ‘It always seemed slightly unreal. I’d never met Nick. It still seems a bit unreal, this wild venture I undertook.”

The collection of songs on ‘The Nashville Record’ have a hugely elevating air even on the angrier or sadder tracks like ‘Some Kind of Night’ and ‘The Rain’ which recall moments of Fiona Apple’s baroque rage or Cat Power’s raw strident femme punk.

Those who know Traicos treasure her work. This record with its uplifting melodies, elegant and relatable lyrics and evocative arrangements will likely open her up to a whole new audience.