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Whilst in the hectic midst of preparing for her headlining US run, Nashville\u2019s very own Aubrie Sellers\u00a0<\/strong>was able to chat with Melodic Magazine about her upcoming tour and recently released album Attachment Theory<\/em>.<\/p>\n Sellers\u2019 US tour, starting later this month, is in support of her most ambitious project to date. Attachment Theory\u00a0<\/em>dissects the modern American romance with the very psychology of attachment theory as a backdrop. Having co-written and produced the album, you can feel Sellers\u2019 dedication in each song as she yet again proves herself as an artist at the forefront of genre defiance and experimentation. \u00a0\u00a0<\/span><\/p>\n MM: Attachment Theory<\/em> is a concept album. What about concept albums made you decide to go that route for your third album?<\/strong><\/p>\n Sellers:<\/strong> Yeah, this is my first concept project. I think just naturally from the songs I was writing they all seemed to have this relationship theme because of what I was going through at the time. My songwriting naturally comes from a personal place, and so I noticed that this was a theme. And then when I wrote the title track \u201cAttachment Theory\u201d with Ken Yates, which obviously didn\u2019t know when I wrote it that it would be the title track, that started to pull it all together for me. I think that I didn\u2019t really want to write about anything else at the time, like that was what I was feeling and so I was like, \u201clet\u2019s make this whole album about this.\u201d<\/span><\/p>\n And then with the companion podcast, you know attachment theory is something I\u2019ve been interested for a long time. I first read about it was probably 20 or 21 years old and read the book Attached<\/em>, which is the mainstream introduction to attachment theory. So it\u2019s just something that\u2019s always in the back of my mind as a framework for dealing with relationship issues, and then it came up for me again strongly around this time that I was writing this record, and it was something that I wanted to talk about not only in the music but on a more concrete level because it\u2019s also something I enjoy talking about with my friends.<\/span><\/p>\n I\u2019ve always been super interested in psychology and analysing people\u2019s personalities and how we function, so that\u2019s where the podcast idea came in and I thought each song is about something kind of specific in a relationship, whether it\u2019s \u201cSubatomic,\u201d which is about how somebody makes you feel small in relationships, or \u201cVillain of the Week\u201d, which is about my experience with dating apps. It was something that I was also seeing in how the algorithm learns what you\u2019re interested in, so it was constantly on my feed on Instagram TikTok and I was like \u201cthis is obviously something that a lot of us are interested in and going through right now,\u201d and so I think all that came together and created the project.<\/span><\/p>\n On the album, there\u2019s a lot of talk about modern and online dating. How were you able to write about such modern experiences without \u201cdating\u201d like in the songs?<\/strong><\/p>\n You know, it\u2019s funny because in \u201cVillain of the Week,\u201d that concept of the villain of the week, I took something that was a vintage concept of shows that were Old Westerns and old TV shows that would have a new villain every week or like a minor villain. I heard that term and thought it was really interesting, and the first thing that came to my brain was dating apps.<\/p>\n My dating experiences had always been long-term dating, the kind of people that I\u2019ve dated were through work or through life experiences, and so I kind of hadn\u2019t experienced intentionally going on dates and coming across so many people. So I think pairing it with that vintage concept and language like \u201ccathode ray,\u201d which was like an old TV thing, and used that to kind of express a modern experience so I think maybe that\u2019s why.<\/p>\n This is your third album and your most rock-infused one yet. Were there any artists you drew particular inspiration from during the production?<\/strong><\/p>\n Ethan Ballinger, who co-produced the record with me, we have very similar taste in music. It\u2019s interesting; we both grew up around bluegrass and country music in Tennessee, but then he\u2019s a little older than me, but not much. We listen to a lot of the same alternative stuff, so Radiohead and The Strokes era and White Stripes, Jack White-type stuff for me especially. I think I just leaned more into that on this record and that was easy because his guitar playing and his natural expression is also more of that.<\/p>\n The only thing I remember specifically thinking I want to bring a little bit more into this record was some shoegaze guitar sounds and some more atmospheric stuff. So it\u2019s kind of the natural thing of our influences coming together. But also I made a record in 2021 called Breaking Point<\/em> with my friend Jade Jackson, and Ethan and I produced that record together and it was more rock, as well, but it was more dry \u201970s rock and roll, and this is a little more atmospheric and shoegaze-y, especially songs like \u201cSubatomic.\u201d<\/p>\n <\/p>\n <\/span><\/p>\n \u201cGarage country\u201d is a term that has been associated with you and your music. How would you apply that term to this album compared to past albums?<\/strong><\/p>\n I think this pushes a little more alternative than the past two sonically. But I think some of the elements are still there for sure. My songwriting and my voice always have that country element and some of the rawness. Even though it\u2019s an atmospheric-sounding record, some of the rawness is still there in the guitar solos, in something like \u201cDelusional\u201d when it bursts into that intense guitar solo. So yeah, I think some of those elements are there, even though it\u2019s pushing alternative I still got a lot of steel guitars. I think it\u2019s a natural evolution. It pushes more alternative but there\u2019s still some of that base there.<\/p>\n There are a lot of lyrics in Attachment Theory\u00a0<\/em>about perceptions and how you want relationships to be versus how they actually are. Were there any choices made in the instrumentation or style to reflect that in the music, or was it more of a keeping the lyrics and then seeing how it would look against different instrumentation?<\/strong><\/p>\n Yeah, there is \u201cDelusional\u201d but also \u201cMirage\u201d is a very similar concept, and I think in \u201cMirage\u201d we tried to bring in some of those sort of \u2014 \u201cMirage is obviously about the desert \u2014 so I was trying to bring in some of those sounds. And we had gayageum which I think is a Korean instrument that I played on the solo. And it just gives like a, I don\u2019t want to say ethereal, but I think it lends to that \u201cMirage\u201d vibe. And at the end of the song we have this old sample playing that loops, and I think it makes you feel, what\u2019s the word\u2026 not off-kilter, but like off-balance. And \u201cLittle Rooms\u201d does that a little bit too, where it\u2019s just kind of playing with some of those sounds and I think trying to be mindful of what the songs are about when we\u2019re creating that sonic landscape.<\/p>\n <\/p>\n <\/span><\/p>\n Aside from composing, songwriting and performing, you also co-produced Attachment Theory.\u00a0<\/em>What about taking on such a multifaceted approach appeals to you? Not like \u201cwhy are you such an overachiever,\u201d but what about being so involved in your work appeals to you?<\/strong><\/p>\n I don\u2019t want to say it\u2019s a control thing, but it is an expression thing. I feel like in a lot of ways, there were some great songs by some people, the only song I didn\u2019t write on the album was \u201cFor You\u201d which my friend Lillie [Lillie Mae Rische] wrote. But I just think I naturally want to write songs and express myself that way. But then my favorite part is the production, so I just think there\u2019s not a lot of songs being written that express the way I want to express if that makes sense, so I end up doing it all myself. The production part for sure, it\u2019s just something I\u2019ve always really enjoyed, and to me songwriting is an expressive thing but that\u2019s not even necessarily my favorite part. When I get in the studio I feel like a song is not done for me until I\u2019ve done that aspect of it, because you can make a song sound like a completely different song depending on the production, even if the lyrics and melody are the same.<\/p>\n That\u2019s just a big part of it for me and then finding the right collaborators who I feel like the band and the engineer and everyone is on the same page with so we\u2019re naturally going to be aligned that way. Ethan was on the Jackson record and we had the same bass player, as well. And then the drummer was somebody who\u2019s been playing with me for a long time. The engineer was new, Jeremy Ferguson, who we were looking for someone new to work with who understood and was wanting to experiment more in the alternative space. I\u2019m glad we found him because I want to keep working with him. It\u2019s just all these different aspects that come into it. The guy who mixed the record works out of London, Claudius Mittendorfer. He does a lot of awesome rock records and things that we\u2019ve liked. So, it was just about like, I just like all those decisions, I like being a part of all that.<\/p>\n Speaking about all that collaboration, you have a decent roster of co-writers on this record. What do you look for in choosing co-writers and choosing who you think can best see your vision?<\/strong><\/p>\n It\u2019s interesting because there\u2019s a thing here in Nashville where you know songwriters kind of write, I don\u2019t want to say every day of the week, but there\u2019s a lot of songwriters who write a lot. And they go in at 11 a.m. and their publishers like, set them up with new people all the time and I thought, when I was with Warner Brothers I kind of did that a little bit, but I swear to you I didn\u2019t yield one song out of it that I liked.<\/p>\n So for me it\u2019s more about, like you said, like Ken Yates who I wrote the title track with: I heard his music and really liked it and liked his songwriting, liked his voice, liked his vibe. So I specifically wanted to reach out to see. And I feel like when I do that, when I\u2019m already a fan of the artist\u2019s work, I can usually end up writing with them and getting something that I like. And then there\u2019s people that I\u2019ve been writing with for years. Like Adam Wright who wrote \u201cSubatomic\u201d and \u201cLittle Rooms,\u201d we\u2019ve been writing together since before my first record. And Park Chisolm and I have been writing together since my second record and wrote \u201cVillain of the Week\u201d on this one. And so there\u2019s just some people that I naturally find and then keep around.<\/p>\n And then there\u2019s new people. Like it\u2019s crazy, the people I wrote \u201cTrigger Happy\u201d with are some of my new favorite co-writers and I met them on a writing retreat. So, yeah, I think it\u2019s just about finding people you naturally connect with for me. So I don\u2019t typically go like \u2018Oh I have the song idea, I want to write it with these specific people.\u2019 It\u2019s more about me consistently writing with these people that I like and coming in with just my bank of ideas and then seeing what happens.<\/p>\n This is your third album, and you\u2019ve got a lot of side projects as well. What do you think is the single biggest change between your first album New City Blues<\/em> and now?\u00a0<\/strong><\/p>\n Naturally, obviously it\u2019s been \u2014 I started recording <\/span>New City Blues<\/span><\/i> in 2013, so that\u2019s for a long time and it didn\u2019t come out until 2016. But I think with each record I\u2019ve leaned more and more into, not that I ever have made a record like with anything external in mind necessarily, but I feel like I\u2019ve learned who I am more and more with each record. So I feel like each record gets closer to my own authentic expression, and I feel like that probably will continue.\u00a0<\/span><\/p>\n Obviously there are things like, maybe I\u2019ll make a bluegrass record or maybe one that\u2019s just like one facet of myself. But I feel like with my three solo albums so far, at least sonically and with the songs I\u2019m writing and the choices I\u2019m making, I just get to know the process better. And I\u2019ll be able to get the results that I\u2019m aiming for easier.<\/span><\/p>\n Absolutely. So you\u2019ve chosen to do a podcast along with the release of the album. Why did you decide a podcast was the best way to give listeners a look into the choices you made for the album?<\/b><\/p>\n Well, I\u2019ll use \u201cSubatomic\u201d as an example. Music can be so cathartic to listen to and you can totally relate to that emotional experience, but I am genuinely interested in, on a practical level: What does this mean? Why does this happen? And what can we do to not make something anymore? And so, like I said, these are things I\u2019d love to talk about with my friends and when I learn useful information I\u2019m wanting to share that with other people who maybe haven\u2019t heard about it yet.\u00a0<\/span><\/p>\n And there\u2019s no shortage of information about attachment theory, but I think naturally, we can hear the same message from three different people, but the way one person was able to express it to us was the one that connected most with us.<\/span><\/p>\n So, it\u2019s just, to me, another expression of these things I\u2019ve learned and maybe if they listen to the podcast, people might be able to get something concrete from it. It\u2019s generally for me like, how can I help people? Hopefully, I mean I\u2019ve already having people reach out to me. And I get really excited particularly about the podcast because it\u2019s something I\u2019ve never done before, and I had no idea how it would land with people. And so when people say \u2018this episode is really resonating with me and I really think it\u2019s helped me in this way,\u2019 I\u2019m really excited.<\/span><\/p>\n You\u2019re booked and busy for the rest of the year with a lot of tours. Is there anything that you\u2019re particularly looking forward to, and are there any songs you\u2019re excited to play live?<\/strong><\/p>\n So I have two main tours coming up. In April, Jade Jackson and I are doing a tour for our own record and I\u2019m really excited about that, because when we put out <\/span>Breaking Point<\/span><\/i> it was still on the tail end of COVID so we didn\u2019t get to do any shows. So I\u2019m very excited about that, because not only am I doing my headline set but then we\u2019ll have like 20 minutes of a Jackson+Sellers <\/span>set, so I\u2019m excited to play some of those songs live.<\/span><\/p>\n And then I\u2019ll have a totally different experience because those are really small clubs that I\u2019m headlining, and then in June I\u2019m going out with <\/span>Peter McCollum, who I\u2019ve been touring with his band for the past year and a half or so. And that\u2019s more country, that audience will be arenas. So it\u2019ll be interesting to compare the two, and one will be people that already know our music coming to see me, and one will be people who probably don\u2019t know me at all. So I kind of tailor a little bit around that, but yeah I\u2019m excited.<\/span><\/p>\n I think the intimate aspect of this will be really cool for the rock music that I\u2019m playing. When I\u2019m playing, I think the atmospheric, bigger songs are going to feel really fun to do in the arenas. So I\u2019m excited about seeing both of those experiences and how they contrast.<\/span><\/p>\n Attachment Theory\u00a0<\/em>is out now, with new episodes of its accompanying podcast Attachment Theory: The Podcast <\/em>being released weekly.<\/p>\n Aubrie Sellers is touring with Jade Jackson, Parker McCollum and Erin Enderlin the 16th of April. Tickets are available here.<\/p>\n Aubrie Sellers Tour Dates: * opening for Parker McCollum![\"YouTube](\"https:\/\/i.ytimg.com\/vi\/DHzjTjhpztA\/hqdefault.jpg\"\/)
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<\/strong><\/span>Apr 16 Thu \u2013 Birmingham, AL \u2013 The Nick^
Apr 19 Sun \u2013 Louisville, KY \u2013 Zanzibar^
Apr 23 Thu \u2013 Knoxville, TN \u2013 Open Chord Music^
Apr 25 Sat \u2013 Nashville, TN \u2013 Analog at Hutton Hotel^
Apr 27 Mon \u2013 Austin, TX \u2013 Saxon Pub^
Apr 28 Tue \u2013 Dallas, TX \u2013 AM\/FM Dallas^
Apr 30 Thu \u2013 Atlanta, GA \u2013 Smith\u2019s Olde Bar^
Jun 18 \u2013 San Diego, CA \u2013 Viejas Arena *
Jun 19 \u2013 Los Angeles, CA \u2013 Greek Theatre *
Jun 20 \u2013 Sacramento, CA \u2013 Golden 1 Center *
Jun 25 \u2013 Nampa, ID \u2013 Ford Idaho Center Amphitheater *
Jun 26 \u2013 Bend, OR \u2013 Haden Homes Amphitheater *
Jun 27 \u2013 Kent, WA \u2013 Accesso Showare Center *<\/p>\n
+ with Erin Enderlin
^ with Jade Jackson & Jackson+Sellers<\/p>\n