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Steven Denmark – “Only Home I Need” b/w “Crazy Over You”

Steven Denmark doesn’t get much rest these days. Between his day—and night—job as a cattle rancher in Northern California, his life as a husband and father of three, and his career as a brilliant roots/Americana singer-songwriter, Denmark simply doesn’t have much down time. It’s fitting, then, that Denmark’s new singles, “Only Home I Need” and “Crazy Over You” were created in less than five hours from start to finish. “It was the fastest process ever,” says Denmark. “I think if you sit on a song for too long or keep reworking it, you can change it over and over into something else. I really like the idea that a song is just a snapshot of that moment, a photograph of who was in the room and what we were feeling that day.”

Despite his busy home life, Denmark has steadily been building up his reputation in the Americana world since he embarked on his solo career in 2016. In that time he has released an LP, 2017’s Cold Wind, as well as 2021’s Babylon EP, produced by Beau Bedford (Delta Spirit, Ruby Boots, The Texas Gentlemen), and a handful of other singles. His authentic-yet-original style of rootsy Americana has enraptured audiences and allowed Denmark to share bills with numerous acts including Lynyrd Skynyrd, Nikki Lane, Sam Outlaw, Susto, Kody West and many more. Now, Denmark is set to embark on a new chapter of his career as he prepares his sophomore LP, and “Only Home I Need” and “Crazy Over You” serve as the epilogue to the first phase of his solo arc. “These are two songs that I felt didn’t really fit with the new album that I’m working on, but I really like them and wanted them to have their own place,” says Denmark. “I’ve been really figuring out who I am as an artist, and these are the last of the songs where I was just experimenting with different genres and styles to see how they felt.”

Denmark recorded these new tracks at Tiny Tape Room in Nashville alongside engineer Kyle Monroe before teaming up with Grammy Award winning mixing engineer Brandon Bell (Alan Jackson, The Highwomen, Zac Brown Band) and mastering engineer Sam Moses (Sadler Vaden, Billy Ray Cyrus) to put the finishing touches on each single. Though Denmark wrote, sang, and played guitars, keys, and bass on each track, additional contributions were made by Steven Christopher Lucas (lead guitar), Bryson Nelson (drums), Sam Wilson (pedal steel), and Lynn Marie (vocals on “Only Home I Need”).

“Only Home I Need” opens with brief atmospheric keys before Denmark’s emotive vocals propel the track forward, ushering in layers of sparse guitars, quietly thumping percussion, and reverb-washed pedal steel as Denmark chronicles the lifespan of a romantic relationship from its wanderlust-fueled beginnings to the unavoidable reality of mortality. “My wife and I have been married for nine years, so she’s been dragged along on this dream of making music my whole life, and with that comes some ups and downs,” says Denmark. “But for us, that journey of living out our lives together is all that has mattered to us. We’re going to live our lives day-to-day and whatever comes our way will happen and we’ll be in it together and be thankful for it.”

Meanwhile, “Crazy Over You” finds Denmark picking up the pace, channeling shades of his background in punk music into an upbeat, fuzzed-out roots-rock track that came to life in roughly the length of the song itself. “I feel like the songs that I write, or at least the good ones, are the ones that come to me quickly,” says Denmark. “Lyrically, I always liked the idea of leaving things to the imagination, but I think I did it too much. With these songs, I deliberately sat down and tried to write in a way that was more immediate, I wanted to push myself out of my comfort zone a little and try writing songs that were a little more straight forward.”

If immediacy is a staple in Denmark’s music, it acts as a counterbalance to his zen-like approach to his career and long-term goals. “I once heard somebody say that becoming successful—or whatever your version of ‘making it’ is—for that to happen, is a complete miracle, and all you can do is make yourself available for that miracle every day. So if I’m doing everything I can to make myself available for that miracle, I’ve done the best I can do.”

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Silver People – Gnome Country (out July 1st, 2022)

If Jake Reeves’ clients had to occasionally wait a bit longer to see their attorney(which, he is quick to point out, none of them ever complained about!), that’s a small price for them to have paid to help him create music as his alter ego Silver People. “Once the day’s primary lawyering was done,” he says, “I would close my office door and just get onto YouTube, taking these deep dives on all these amazing free tutorials that are out there,” he says of that period, as he started dabbling in music production on the side of his full-time job as a lawyer.

A few years down the road, what began with that simple research has now come to full fruition in the wondrous album Gnome Country. Part singer-songwriter exploration, part production wizardry, and every bit an homage to a somewhat-forgotten era of music, the album is striking in such a way that you’ll wonder how all those disparate sounds came out of what was largely a one-man operation by the Atlanta-based musician.

“I started doing a little bit of that production stuff and started recording and got an idea to make a humble, acid-folk record,” Reeves explains of his inspiration for Gnome Country. “Also, I’m a big sci-fi fantasy nerd. I thought it would be really fun to do an album that had those touches, in a tongue-in-cheek way. There was this period from about 1969 through 1972 when all of these British musicians discovered and became fascinated with The Lord of the Rings. I wanted to do something with that influence, kind of an otherworldly, mystical kind of thing.”

“That was the original concept. As I got into it, I was learning how to produce, trying to make the stuff as professional as I could. And I was also mixing it as I went, trying to focus on the songcraft without becoming too overwrought.”

The music drives the bus on this album, as instrumentals like “Dosed” and “And The Clocks Were Striking Thirteen” feature a heady mélange of Eastern-tinged guitars, spy movie keyboards and swaggering rhythm sections that keep the music eternally groovy. Closing track “Gnome Country For Old Men” sounds like the processional music for some very cool yet dangerous Middle Earth regent.

At times, Reeves considered adding lyrics to those instrumentals, but ultimately liked them the way they were. “I thought it would be challenging,” he says of the decision. “I know people love lyrics and I know that’s how some people connect to the music emotionally. I didn’t want to have that. I wanted to challenge myself and the listener. It’s like there’s no added sugar.”

What words there are on the album, found on enchantingly retro folk tunes like “Fiddler’s Bill” and “Sons Of Avalon (The Wind Was On The Weathered Heath),” hew to aphorisms that suggest that listeners (or, perhaps more likely, Reeves himself) keep the ego in check, live for today, and, as Reeves puts it, “Eschew petty bullshit and focus on what really matters.”

While you can hear the influences of trippy rock bands such as Syd Barrett-era Pink Floyd and Pretty Things, as well as the echoes of early British folk heroes such as Nick Drake and Bert Jansch, Reeves’ innate originality keeps the music from sounding too indebted to any one source. “I didn’t want it to sound pastiche,” he explains. “I didn’t want it to be mimicry. I wanted it to be loving and influenced by those genres, but I didn’t want it to sound like a tribute band.”

Although Silver People is mostly Reeves playing the instruments and twiddling the knobs, he does get some help from his friends, most notably Nicole Chillemi providing ethereal vocals. She figures on two of the record’s three, out-of-left-field cover tracks: A desolate version of Jackson Frank’s “Milk & Honey” and the strangely compelling “Flower Of Love,” originally by Turkish musician Bari? Manço. A blink-and-you’ll-miss-it take on Twink Alder’s “Gandalf’s Garden,” which opens the album, rounds out the surprising selection of cover material on the album.

As eclectic as the album is, it could have been more so, if someone close to Reeves hadn’t intervened as he tried to include even more of his favorite sounds. Reeves says, “My wife Kimberly said, ‘You’re going to have a 30-song album that’s going to be unwieldy in all different places. I think you need to get back to where you started.’ I pared things down and decided to get back to the original idea.”

Considering the sci-fi leanings on the record, it’s fitting whom Jake Reeves credits for his overriding philosophy on letting these tracks live in all their unkempt glory. “George Lucas said, ‘Art is never completed, it’s abandoned,’” Reeves explains. “So a guiding principle was to not tinker with this thing and turn it into something hyper-produced or obsessively polished. It just wasn’t going to be one of those records.”

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