Today we are pleased to join forces with the great Mark Fredson for the premiere of his new single “Hole Up and Die,” which tackle romance in the modern age, with Fredson shining a light on everything from the thrill of a new relationship to the paranoia and jealousy that follow a contentious split. The song has this heavy 80s driven blended with a few rather modern elements that gives the song a very nostalgic vibe
About the song, Fredson comments “I was feeling dark again. I had just heard that my very recent ex-girlfriend was dating a friend of mine and I let it wreck me. I seriously hurt so much that I felt like holing up and dying just so I didn’t have to feel the way I felt anymore. It was ridiculously dramatic of course, but it doesn’t mean it wasn’t real. As I do a lot of the time, I started with the chorus and the verses came after. What came out is a song about trying to move on, stay busy, move forward after the end of a heavy relationship. And then the subsequent moments when hearing her name or one thing about her just pile drives you right back into the pain. And it really hurt so deep that I felt like I needed to say something about it. Like I said, it’s dramatic and kind of comical to me now, but it was really really real at the time. Thank god it ended.”
Don’t mistake Mark Fredson for a newcomer. A larger-than-life frontman, songwriter, pianist, and producer, he’s been releasing albums since his sophomore year of high school, back when he landed his first record deal as a teenager in Port Angeles, Washington. His music deepened and diversified throughout the following years, touching everything from the outlaw country of Margo Price’s breakout song “Hurtin’ (On the Bottle),” which she co-wrote with Fredson, to the theatrical, guilty-pleasure pop sounds that fill his own solo debut.
Going to the Movies reintroduces Fredson as a meticulously melodic musician whose songs mine the influences of another era — the piano balladry of Billy Joel and Gerry Rafferty, the musical melodrama of Meatloaf, the hook-driven anthems of Tom Petty, the soft-rock smoothness of AM Gold radio — with a modern approach. He recorded the songs mostly at home and mostly alone, obsessing over the placement of every last analog synthesizer sound and vocal track along the way. Despite those solitary origins, Going to the Movies is full-bodied and cinematic, shot through with a sense of over-the-top spectacle and super-sized swagger that’s playful, yet still genuine. Like Andrew W.K.’s piano-pounding cousin, Fredson approaches the album with a mix of straight-faced sincerity and turned-up-to-11 showmanship. The result is a one-man pop/rock opera of sorts — a pristine blend of inspirations both past and present that he describes as his own version of “classic bedroom pop.”
By the time Fredson began recording Going to the Movies, he’d already become a local luminary in his adopted hometown of Nashville, TN. He moved to the city several years after high-school graduation, looking to expand the regional success of his band, The Lonely H, to the national stage. Fueled by Stones-y swagger and a contagious appreciation for American rock & roll, the guys were true road warriors, with a schedule that included as many as 200 shows per year. The experience molded Fredson into a true frontman — a tall, towering bandleader with a voice to match, banging the keyboards from his spot centerstage, every bit as histrionic and captivating as the showmen of rock & roll’s past — and Nashville took notice, crowning the singer with nicknames like “Blonde Elvis” and “Straight Freddie Mercury.”