Filled with some somber melodies that adds to the cinematic approach the band is always going for, “Glass” is the perfect song to get yourself introduced into this duo known as Oliver The Crow and we are pleased to team up with them for an exclusive premiere (as well as a short interview with the band.)
Nashville-based cello/fiddle duo Oliver the Crow are a union built for the airy plains of the South. Their vast sound, which has been called “inspired” by NPR, evokes the wide open spaces surrounding Music City, but grounds itself in the minimal, stripped down instrumentation of cellist Kaitlyn Raitz and fiddler Ben Plotnick.
Each of the ten original songs on their first full-length offering unlocks a different musical world. Oliver the Crow navigates effortlessly between the gravitas of chamber composition, the longing of folk music, and the near dreamlike quality of atmospheric sound art.
Hi fellows, welcome to VENTS! How have you been?
Good! Thank you for featuring this song!
Can you talk to us more about your latest single “Glass”?
“Glass” is a tune Kaitlyn co-wrote with friend and singer-songwriter, Natalie Schlabs, in Nashville. She took it to Natalie with a the lines “When I think of you now, my heart doesn’t turn, my stomach doesn’t pound, my lips don’t burn,” and a chorus. The song invokes a lot of past pain, so we wanted to make it as sonically crunchy and raw as possible.
Did any event in particular inspired you to write this song?
As with most sad songs, this song came out of a bitter breakup. This song is non-fiction.
Any plans to release a video for the single?
No plans as of yet, but maybe eventually.
The single comes off your new self-titled album – why naming the album after the band?
This being our first record, we really wanted to establish our name and sound. Slapping “Oliver The Crow” as many places in the meta-data seemed like the best way to do that.
How was the recording and writing process?
We spent 4 days in the middle-of-nowhere Vermont recording this record in a solar powered cabin. The days were long, the sun light off the mountains were inspiring, and the nights were fueled with whiskey. During our writing process, we were (and still are) figuring out what works best for us. We often would write separately or with others and come together with a finished, or almost finished, song and then arrange it together.
What role does Nashville play in your music?
This music has the spirit of Nashville in it to its bones. Living in Nashville has made us strive to be better song writers on days when it hasn’t made us want to flat out quit songwriting. It’s almost made us restructure our thoughts into verses and choruses. Nashville Americana records these days tend to have a distinct sound these days, too. Everything seems to be about ambiance, texture, atmosphere, and I think we really took that to heart, within the limitations of our instruments.
What aspect of minimalism did you get to explore on this record?
Being just a cello and fiddle, we find ourselves actively fighting minimalism. But in songs like Glass, we are happy to lean into it a bit more. No matter how intricately we arranged the music, there was definitely minimalism in the perimeters of having all of the sounds made by a fiddle and cello.
Any plans to hit the road?
We’ll be on an off the road starting in May. Look for us in the northeast US and Canada, out west in Arizona and New Mexico, and maybe some other super random places.
What else is happening next in Oliver The Crow’s world?
We are coming up on two years living in Nashville and feel pretty grateful for the community surrounding us. We’re excited to keep cementing our place in the community here.