Safety Suit

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Safety Suit
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Mill City Nights says
When we last saw Safetysuit, the Nashville-based band was supporting 2008’s Life Left To Go and hit single “Stay,” which shot to No. 1 on the voter-generated VH1 Top 20 Countdown. Spotlighted by VH1 as a band “You Oughta Know,” the group toured endlessly, playing over 200 shows and selling more than 500,000 singles along the way.

They’re raising the stakes with THESE TIMES (Universal Republic), a scintillating hookfest of arena-ready rock anthems, offering unequivocal proof that the group has the goods to break wide open. Working with producers Howard Benson, Espionage (the New York-based Norwegian team of Espen Lind and Amund Bjørklund) and OneRepublic’s Ryan Tedder, these four skilled and remarkably self-assured musicians have cooked up a strikingly melodic, sharply drawn, viscerally immediate album filled with songs that stick in the head and heart.

For a young band, SafetySuit—singer/guitarist Doug Brown, Tate Cunningham, bassist Jeremy Henshaw and guitarist Dave Garofolo—has a remarkable sense of songwriter savvy. “I do the writing,” Brown confirms, “but until we get Dave, Jeremy and Tate’s heads around the songs, they’re just songs, they’re not SafetySuit songs. When they get hold of them, they become ours, and that’s what makes us special—the four of us, not just one guy.”

After cutting a half an album’s worth of material in Nashville last spring, the band had a shocking collective realization—neither the song nor the performances, they concluded, met their lofty standards. “We’d been going nonstop for three years, and were burned out,” says Brown. “We just had to get away from it for a little bit, live life and gain some perspective. So we actually threw away the hard drives containing the tracks we’d done and started all over again.”

It didn’t take long for something fresh to manifest itself. Brown headed to New York to toss around ideas with the guys from Espionage, who were riding high after co-writing and producing Train’s massive hit, “Hey Soul Sister.” “They played me a really interesting chord progression,” Doug recalls, “and I started spontaneously singing along with it, [sings] /Take me back yesterday/I swear it on your life.’ They saw that I was in a zone, and they said, ‘Go into this room and just be by yourself for a while.’ A half hour later, I came out and said, ‘What if we came around at the end and went [sings], ‘We can get around this, get around this’” They were like, ‘OK, let’s start recording.’ It was really that quick. If you catch an emotional moment in the writing process, one sentence, one word, can fire off an entire song in a matter of minutes. The best songs practically write themselves. It’s all about tapping into a feeling and letting those emotions take over.”
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By: Mill City Nights

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