A new release date has been set for the next Eponymous 4 album. Originally announced for a 2017 release, Travis is now scheduled for March 30, 2018.
More than a year ago, I announced a new Eponymous 4 album, Travis, would be available in September 2017. Of course, things change in a year, and something I never mentioned is the fact I’ve been taking some remedial classes in music theory since the start of 2016.
My day job is with the University of Washington, which allows employees to take classes alongside students for free. So I’m pretty much redoing my undergraduate coursework! I also recently completed a year-long project at work that sucked up any remaining time I had for making music.
I’m one quarter away from completing that course load before I move on to remedial composition lessons, at which point I should have a bit more breathing room. That said, I don’t think I can give Travis the attention it needs to be successful, so I’m going to delay its release till 2018.
Other things that will occupy my summer includes visits by various friends and family, plus a trip to Nashville to attend the CD Baby DIY Musicians Conference. I attended the first one in Chicago, which allowed me to visit my sister. This year, it’s in Nashville, a city about which I’ve always been curious.
As I mentioned back in my State of Eponymous 4 Address back in 2014, I had a set of songs ready to record for an album titled Travis. At the time, I thought I’d work on it immediately after Retrograde Songs, but my attention got diverted to Empty Ensemble, which will release its debut EP and LP in 2016.
Well, I’ve spent the last month focusing on Travis, and I’m happy to announce the album is in the can. Because I don’t want to steal thunder away from Empty Ensemble, the album won’t be released till September 2017.
Of course, that doesn’t stop me from posting a preview. You can listen to it now if you become an Eponymous 4 subscriber.
I approached this album a lot differently from the Ex Machina series. I finally employed a guitar amplifier and pulled an old, cheap microphone out of retirement to record parts. The rhythm section is entirely programmed, but everything else is recorded live. I’ve also invested in a better class of plugins, so the sound should actually approach something more professional than what’s come before.
This album really opened up some new ways to work, and I look forward to applying those lessons to the cover albums.