When Michael Trotter sat down on the stair-case inside his home in Albion, Michigan, one day in 2017, he was ready to end his life. Grappling with post-traumatic stress disorder after serving in Iraq, Trotter thought that maybe his life-insurance policy could solve his wife and young son’s financial woes if he died. “I felt like I was the weight holding them back,” Trotter says. “I had failed, I guess, one time too many.”
Distressed, Trotter’s wife and musical partner, Tanya Blount Trotter, called the police and tried to persuade her husband to hold on. “Michael, I know you have a plan to leave this world,” she told him, “but if you give me just five more minutes to love you, I promise I can make you staying in this world make sense.” Tears in his eyes, Trotter looked up at his wife and said, “OK.”
Trotter, who has since made progress in his therapy for PTSD, eventually turned his wife’s plea into the chorus of “Five More Minutes” — the hard-charging centerpiece of Hearts Town, the new album from the duo, who make music as the War and Treaty. Transforming trauma into catharsis has become the pair’s calling card as they’ve turned into one of Nashville’s most thrilling new acts. In the past two years, Trotter and Blount Trotter have collaborated with Emmylou Harris, toured with Al Green, shared stages with Brandi Carlile and Elvis Costello, and performed at the 2020 Grammys.
“Their music is a joyful force,” says the Indigo Girls’ Emily Saliers, an early admirer. “We can talk about their voices, but it’s really their whole gestalt, their passion. They have a kinetic energy between them that resonates.”
Diese Geschichte stammt aus der October 2020-Ausgabe von RollingStone India.
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Diese Geschichte stammt aus der October 2020-Ausgabe von RollingStone India.
Starten Sie Ihre 7-tägige kostenlose Testversion von Magzter GOLD, um auf Tausende kuratierte Premium-Storys sowie über 8.000 Zeitschriften und Zeitungen zuzugreifen.
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Over the course of roughly a decade, CARIBOU, the electronic-leaning project from Canadian musician and composer Dan Snaith, has released intricate, sonically inventive records that cradle rhythm and history. On \"Home,\" from 2020's Suddenly, he coos softly alongside a frenetic flip of Gloria Barnes' 1971 single of the same name. There, the subtle cracks and gestures in his voice manage to breathe life into the digitally-manipulated sample. Caribou's music has so far thrived on this quality — Snaith's seemingly boundless musical curiosity and his ability to crystalize big ideas into euphoric moments of dance-floor bliss. It's why his choice to use artificial intelligence on his vocals for his latest album, Honey, feels like a misstep. Here, Snaith's voice is transformed in character and identity, at times creating revelatory moments, like on \"Come Find Me,\" where he's reimagined as a treacly-toned young woman, though in small enough doses for it to work. Elsewhere, like on the rap-adjacent \"Campfire,\" where Snaith renders himself as the sort of rapper you might hear on a Caribou track (think Definitive Jux vibes), the concept breaks down.
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