ashmere Washington is a multi-media project based in both Midland and Ypsilanti, Michigan and has served as the main creative outlet for artist, multi-instrumentalist and beatmaker Thomas Dunn since 2021. So far, this artist has put out one EP in a three-part series. The first one The Shape of Things to Come, came out last year, and landed on A2Pulp's list of their end of year-round-up and Rosy Overdrive's Top 25 EPs of 2021. Dunn just released the second EP Almost Country for Old Men, Electro Country for They/Them, was recorded at home and tracked using a combination of Ableton and a Tascam DP-008. All songs were written, arranged, performed and recorded by Dunn. The songs were mixed and mastered by Dave Roof at Rooftop Recordings, using mostly a combination of rack mixers and a tape dubbing unit from the ‘80s. The EP was made because Dunn wanted to make an indie rock with dilla drums and hip-hop production. Although his songwriting style borrows a lot from Kacey Musgraves' album Golden Hour, the EP includes grinding guitars that are akin to Dinosaur Jr and Smashing Pumpkins. The singer’s gritty vocals are often balanced by delicate piano and string arrangements, too. Dunn explains the songs were born out of a rear-end car accident by a tow-truck in Ann Arbor, during his final semester of college. Many of them were written from “really getting Romantic Comedies during the recovery process.” The sentimentality comes from his deep-seated admiration and gripes about the film genre itself. Songs on "Almost Country…" are about moments in the songwriter’s life, which involve certain people and situations that prompt the question – "how did we get here?"
The beginning chemistry between the fuzzy guitar, piano and hip-hop beats is certainly a unique arrangement on “Life Is.” The piano melody on this opener really tugs at the heart strings when you read the ending lyrics – “maybe I’m not scared to die / I know that I’m petrified / to try and fail.” And earlier, a snapshot at life – “Cuz this is what life is / it’s stuck on the front porch / watching somebody chain smoke cigarettes.” Washington’s words offer a glimpse into that time in a young person’s life, where they ask – “Is this all life is?” I liked his first line that pays homage to beat poet Allen Ginsberg’s 1956 poem “Howl” (“Saw the best minds of my generation.) The next track “I Want You” has got a mid ‘90s sound and style, and kind of reminded me of the band Live or Dinosaur Jr. There are some very interesting guitar layers here, too. Next up is “Charlie Brown” which features more fuzz guitar and deeper, rocking groove. I liked the bass melody on this tune. I’m guessing the reason for the song’s title, plays into the seemingly, always depressive state of the famed Peanuts comic character, Charlie Brown (“I’m feeling down again”). Although here, Charlie is referred to as ‘she.’ “Saint Thomas” features references to “snorting up Vikes” “hitting the bottle” but not yet “hitting bottom” and a Remington that Daisy stashed away someplace that she bought with her “Christmas cash.” Instrument wise, there are some faint strings playing in the background, and an accompanied keyboard melody, though the fuzz guitars and drums overpower these other instruments by far. “Anywhere” begins with a slow beat, and some keyboard/string action that have a sentimental feel to them. There’s some beautiful songwriting in this tune – “I’ll take you anywhere that make you wanna glow” – mirrored with bad vices further in – “cheap booze and cigarettes.” The last track “Rosy” is one of the more rocking tunes on the EP, as well as the artist’s shortest, and leaves the listener with an indie rock earworm. “Put those rings around Rosy” is a nod to the grade school song “Ring around the Rosy, a pocketful of Posies” that we all remember – at least I think most of us do. “Almost County…” is second in a series of EPs and picks up where the last EP left off and veers off into a new direction sonically. Overall, Cashmere Washington’s songwriting captures a memorable time and place in the young artist’s life.
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