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Description
Izzy True - Our Beautiful Baby WorldNew Vinyl Record Izzy True Our Beautiful Baby World In creating Our Beautiful Baby World (May 2021), the pacing of Izzy Trues songwriting process has slowed down since their prior Don Giovanni releases Sadbad (2018) and Nope (2016). Arranging with Curtis and Sam, Reidy says theyve grown as musicians together, and their songs were given space to grow, too. OBBW exhibits eleven rock songs of melded collaboration, expressing the deepness of acceptance.
New Vinyl Record - Izzy True - Our Beautiful Baby World
In creating Our Beautiful Baby World (May 2021), the pacing of Izzy True’s songwriting process has slowed down since their prior Don Giovanni releases -- Sadbad (2018) and Nope (2016). Arranging with Curtis and Sam, Reidy says they’ve grown as musicians together, and their songs were given space to grow, too. OBBW exhibits eleven rock songs of melded collaboration, expressing the deepness of acceptance. These are the band’s most dynamic compositions to date. The result is, Reidy hopes, to “sound like a bad drawing of a rock record.”
The inspiration for the soft-hard dynamics of OBBW may have come from Reidy listening to Thin Lizzy, along with the bleeding of the band members’ strengths and histories: Curtis as a courageous experimental musician in the DIY circuit, Sam’s expertise as a hardcore drummer, one Hallowen cover-set of System of A Down in a Chicago basement from another world, and Reidy’s childhood growing up listening to old love songs and country music.
OBBW was recorded in Rock Island, IL at Rozz-Tox, a well-loved bar and music venue in the humble Midwest. Recorded and mixed by Ian Harris on reel-to-reel, Izzy True’s tunes returned to tape after Sadbad, which was digitally produced. The record utilizes the talents of Chicago music friends Jess Shoman (Tenci) on backup vocals and Andrew Clinkman (Spirits Having Fun) on lead guitar on “Four Good Ponies”. OBBW was recorded in the months before the pandemic, January and February 2020, which can feel obvious (“I don’t wanna hang out for a thousand years”) and subtle. The authentic limitations of reel-to-reel tape recordings give this project the aura of a time when live music was possible.
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