Final 12 months, the British dance musician often known as Fred Once more.. put out a feeler to the Nashville-based alt-rock band Rainbow Kitten Shock a few potential collaboration. Ela Melo, who’s fronted Rainbow Kitten Shock since she and guitarist Darrick Keller fashioned the group over a decade in the past as college students at North Carolina’s Appalachian State College, was intrigued by the invitation. “It’s brilliant music,” she says of Fred Once more..’s soulful electronica.
So the singer and songwriter started sending concepts to the artist’s group. “They’d be like, ‘That’s not it, but keep sending stuff,’” Melo recollects. Earlier than lengthy, she and her bandmates had written 9 songs, then 32, then 48. “Eventually, we ended up with close to 160 songs because it just felt so good to write,” she says.
What occurred with the Fred Once more.. characteristic? “I don’t know,” Melo says with amusing. “If he’s still interested, we’re still here.”
One factor that occurred was a brand new Rainbow Kitten Shock album: “Bones,” which the band stated Wednesday will come out Sept. 26 from Atlantic Information. A ten-track assortment produced by Jay Joyce, it’s a fast and soiled follow-up to final 12 months’s “Love Hate Music Box,” which ran for 22 tracks — together with “Overtime,” with Kacey Musgraves — and which took the band six years to finish. “This one kind of just came pouring out,” Melo says from upstate New York on a latest afternoon between tour dates. The sound is uncooked but tuneful, with scratchy electrical guitars and whomping stay drums instead of the synth-ier, extra intricately layered productions of “Love Hate Music Box.”
Rounded out by guitarist Ethan Goodpaster and drummer Jess Haney, RKS had its rowdy stay present in thoughts because it labored on “Bones,” based on Melo. “It was the idea that we gotta be able to play this stuff — not build it and play it later, but play it right out of the gate,” the singer says. (Subsequent month, the band will log its fourth sold-out present at Colorado’s Crimson Rocks Amphitheatre and carry out on the annual Ohana pageant in Dana Level.) Melo wrote most of the LP’s songs on guitar, she says, which offered “a different energy” in comparison with writing on keyboards as she did for “Love Hate Music Box” and 2018’s “How To: Friend, Love, Freefall.”
The easy sound is matched by lyrics Melo describes as “way more direct” than RKS’ earlier stuff. “It’s a spill-your-guts-out record,” she says, including that for each tune, she’d write a primary verse, then advert lib the remainder within the studio. In quite a lot of tunes, she sings about how relationships are affected by ingesting and medicines. “It’s interesting what comes out on the mic,” says the frontwoman, who says she’s been sober for about 10 months. “I feel like it’s channeling some energy that I don’t take part in anymore, though I do have fond memories of getting stoned on the Parkway in Boone, North Carolina.”
What impressed her life change? “I noticed that when I drank, I could be a little meaner — just say things I wouldn’t normally say,” she replies. “I realized I want control of that, and anything that removes some of that control is a no-go. It applies to music, as well. Being as regulated as you can possibly be opens you up to — this gets a little heady — but to other frequencies. Then you have the largest bandwidth to communicate your truth — maybe the truth — into a microphone.”
With its fuzzy textures and unruly tempos, “Bones” arrives as rock appears to be resurging after years of domination by rappers and pop stars. Melo has no grand theories as to why, however she is aware of precisely when she began to imagine that rock is again. “It was the opening track of ‘Guts’ by Olivia Rodrigo,” she says of the previous Disney child’s “All-American Bitch.” “That kick drum hit me, and I was like, ‘Ah man, I don’t need an 808 and all the bells and whistles — I just need old-school guitars, bass and drums.’ That s— hits.”
