I was lucky enough to coax Kevin Quain (top left) back into the fold for the new record. Kevin played piano, organ, and accordion on my first album, and repeated the trick here. Along with being an incredible player, he's one of the best songwriters in the world (not an understatement). I'll post a link to his stuff in the comments below.
Meghan Engel played fiddle on a few songs on The Road To Anhedonia, but plays a much bigger part on the new album. If anything gives this album its sound, it's Meghan's brilliant string arrangements. She wrote, arranged, and played every instrument in the full quartets you'll here. She's a genius. If you want strings on your recordings, I'll put you in touch. She can even do it remotely.
David Gooblar and Richard Lewis Clements have been my musical traveling companions for over a decade. They were my musical "spotters" throughout this recording process, and I couldn't have done it without them. Richard also played piano and synthesizer on about half the tracks, including the first single, and Dave played some ominous synths.
I also had the privilege of working with some new (to me) LA-based talent on this album. David Tomkins (top left) is the creative force behind prog-rock group The Shadow Principle, and was vastly over-qualified to play bass on my album.
I heard my pal Ashley Karlin (top right) playing a Linda Thompson song and knew I wanted her to sing harmony with me on almost every song on this record. The unique sound of this album has a lot to do with the real seventies-sounding harmony parts she wrote.
Brian Rosemeyer (bottom left) recorded all the guitar and vocals at Mant Sounds in LA, created the final mix, and provided all sorts of inspiration along the way.
And Shawn Nourse (bottom right) played and recorded all the drums at his studio Nourse by Northwest, and was such a joy to work with. Thanks to you all!