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These new songs are autobiographical.

Nora Jane- A Life in Stories

I'm looking inward, allowing that to be what my art is. To take away the narrative safety net and then the sonic safety net and just give myself over to my own story and my own feelings, was scary but exhilarating. That exhilaration courses through the whole album, with an unmoored feeling that reminds us that the gravitational direction of finding love is as much about rising as it is falling. Struthers' ascent to this new plateau has been a steady one. Born in Virginia and raised in New Jersey, she began playing as a pre-teen.

Along the way, she worked with bluegrass stars like O'Brien, Stuart Duncan and Bryan Sutton, and released two critically-acclaimed albums. But it was in , when Struthers formed the Party Line, that everything started to come into sharper focus. And what instruments they play are what my band became. So I didn't find a fiddle player. I found a great electric guitar player who I love hanging around with, and who wants to commit to my music. What I love about our instrumentation is the balance between rock 'n' roll vibe and old time acoustic feeling.

Those two specifically are the balance between my guitarist Josh Vana and Joe Overton. Josh plays with more of a rock feeling. Joe runs what I call the roots utility. He plays open backed banjo, resonator banjo, fiddle and pedal steel guitar. It's a really interesting balance between roots and rock. I don't know a lot of other female-fronted bands that are doing quite what we're doing, so I feel like maybe we have something unique, which is always a good thing.

Having the right band also led Struthers to realize that she wanted to change her approach to record-making. There's no auto-tuning.

olagynulehyb.gq - Nora-Jane enjoying life in La La Land

I made it with the band, not session players. But the songs weren't road-tested, so we put the arrangements together in the studio. After touring that record and seeing how the songs evolved as a result of playing them for audiences, I just knew that I wanted to make the next record after road-testing the material and allowing it to grow. I really wanted to capture performances.

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And the biggest challenge as producer was getting everybody, including myself, to step out from their individual parts and listen to the whole. But listen to the whole song, and isn't it great? We could zoom in as much as we want, but when you really zoom out, isn't this great? If only because when you're trying to save your voice for singing, talking to your band members can just be vocally taxing.

Nora Jane: A Life in Stories

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