Ashley Monroe is one of the first artists we featured here at Belles and Gals when we made “Weed Instead of Roses” our song of the day back in January 2017. Since then we’ve been keeping you updated with all her music news, and today we’re happy to share details of her upcoming and fifth studio album “Rosegold” which will be released on April 30th via Mountainrose Sparrow/Thirty Tigers.
The Grammy-nominated Nashville based artist has recently become a mother too, and she explains that consequently this album will be a little different to what we have heard from her before. “I’ve always been good at writing sad songs because I’ve experienced a lot of sadness in my life,” she reflects. “When my son was born, though, it was like some sort of innocence got plugged back into my heart. I’d never really felt that kind of joy before, and I wanted to find a way to make it last. I told everyone I was working with that I didn’t want even a hint of sadness this time around. I wanted to embrace all the light and love in my life and find ways to share it with people.”
Written and recorded over the past two years the album pushes her sound in new directions, layering lush vocal harmonies above dreamy, synthesised landscapes, and we get a taste of this in the lead single, “Drive”, a dreamy, etherial love song which Ashley dropped last Friday alongside it’s accompanying sensual video directed my Jaclyn Rey which has just been made available.
Talking about the stunning song, Ashley says, “I had this chorus and idea when I went in to write with Mikey Reaves and Niko Moon on September 10 (my birthday). I told them my dad/other angels always send special songs on my birthday. It didn’t take long into the session until we knew we were on to a special one. I always imagine me singing this while driving on a desert highway.“
Rather than make demos of songs that appear on “Rosegold” they were tracked one at a time, an exciting approach that played to the different strengths of each producer, with Ashley co-producing . Once she got into the studio with her collaborators she says that “every move was instinctive, but it was also intentional. I found myself wanting to see how drastic the change from a verse to a chorus could be, or looking for places where the beat could drop out and then give you chills when it comes back in”. The record was mixed by engineer Gina Johnson (John Prine, Jason Isbell) who worked with Ashley to ensure these varying production styles come together to result in a cohesive and moving body of work.