Tracy Shedd

Chances are, you’ve heard something similar to Tracy Shedd before. Surrounded by guitar tones that vary from stark to stratospheric (depending on the mood), Shedd sings in a unprepossessing, hushed voice that recalls everyone from Mazzy Star and Lush to just about half of early-’90s Britain. But for all the comforting pangs of nostalgia bubbling to the surface, the energy and craft found in her road-ready songs keep Cigarettes & Smoke Machines firmly grounded in the present. There’s simply no resisting the Missouri River-wide hook of opener “Never Too Late,” where an initially grim atmosphere melts away with Shedd’s double-tracked voice in a sunnily anthemic chorus. Elsewhere, the Tucson, Ariz., transplant shows her new home’s influence with “Not Giving Up,” a dry acoustic shuffle with big-sky guitar that hints at Calexico (whose frontman, Joey Burns, appears as a guest musician). Cigarettes & Smoke Machines falters when Shedd drifts into monochromatic balladry, as with the pretty-yet-meandering “Paris” and the brief, nondescript “Valentine,” but such lapses are quickly forgotten in the face of its brightest moments, particularly “Won Past Ten.” Powered by a bubbling guitar figure and a gleam of youthful innocence, Shedd indirectly answers any possible criticism with the question, “When was the last time that you felt like you were 17?” Point taken ~ Chris Barton - Magnet

Based in Arizona, Tracy Shedd released the highly impressive ‘Cigarettes & Smoke Machines’ at the back-end of 2008. With an equal admiration for grunge and lovelorn ballads, it was a stylistically adventurous album but consistent in its good quality. Next up is a five-track EP based around piano, the place where she began her musical education as a six year-old. ‘City Of Night’ is a spare ballad; its hushed intimacy and hopeful melody proving that sometimes the most simplistic arrangements are the most effective. ‘How Your Eyes Affect Me’ enlists husband James Tritten’s on nagging guitar duty to accompany Shedd, with her voice yearning and pulling at the heartstrings again. ‘Tokyo Rose’ and ‘West Inn Love’ fare less well. They seem to be building up to good songs but then when you grasp at the hook which drives them, they slip away from view as they finish too quickly. This just leaves ‘Husbands & Wives’; by some distance the longest track and without question the most dramatic as well. It builds on a threatening post-rock drone and is sweetened by Shedd’s beautifully clear voice. Shedd’s new EP may lack the variety of the previous album but the songwriting remains top notch. Furthermore, she has revisited her past with the added benefit the of her maturing years, yet she’s still able to evoke childlike awe in her plaintive tones. ~ Jon Leonard - Leonard's Lair

On her previous release, Cigarettes & Smoke Machines, singer-songwriter Tracy Shedd combined classic country-folk flavoured rock with a pinch of British post-punk edge. The new EP88, continues in this vein somewhat, with Shedd focusing on the piano as her main instrument and husband/guitarist James Tritten evoking the spectre of Joy Division, Echo & the Bunnymen and New Order. Which makes for powerful, memorable mood-rock music, which sits comfortably in the seemingly polar genre settings. With melodies derived from a more traditional source, backed by atmospheric strings (guitar and violin), songs like the haunting City At Night, the driving Tokyo Rose and the pleasing West Inn Love will stand up to repeated plays. Highly recommended. ~ Kevin Mathews - Power Of Pop

Her music is melancholy, even haunting at times, but Tracy Shedd was relaxed and smiled freely on a recent afternoon. She doesn't smoke, so the table was cleared of its ashtray, and before long she leaned back in her chair. She sipped a to-go cup of tea and said it was good to be in her hometown, Jacksonville. Shedd's music career was shaped and grew strong in Jacksonville, and has continued favorably in Tucson, Ariz., where she's lived since her husband, James Tritten, took a job there about three years ago. Tritten also plays guitar in her band. Her latest endeavor, "EP88," will be released Tuesday on Eskimo Kiss Records. It's named for the number of keys on a piano, reflecting her expansion from guitar to piano-driven songs. Longtime fans, knowing her as a self-taught guitarist who played by ear, may find the switch unexpected. But it will likely be welcomed. The five new songs on "EP88" differ from those on previous albums like "Cigarettes and Smoke Machines" and "Louder Than You Can Hear," but are still unmistakably Shedd's. There's her hushed voice, the pensive lyrics and the moody melodies in "slowcore" style. "That's just what comes out," Shedd said about the moodiness. She shrugged, not sure of why. That's just what happens. It had been years since she played piano as a child, but she recently picked it back up and relearned how to read music. Then, for a while, she was fixated on the piano, writing songs on it for the first time (hence, the new extended play release). Now, she's thinking about a new guitar-driven album, maybe with some piano mixed in. And maybe with some accordion. A tour is in the works as well, and she's planning a show in Jacksonville this summer. "I'm ready to rock," she said. "Sometimes, you just need to have more energy ... I've been really excited about getting back to guitar." Laughing, she said she has a hankering to write something upbeat, but it's too early to tell what will come out. "It's in my head right now, happy stuff," she said. Back in 2001, Shedd told the Times-Union she held a data entry job to pay the bills, and lamented: "We all have one - all artists do, anyway, unless they've made it." When asked if that's still the case for her, she sighed with relief, like a hiker unloading her pack after carrying it all day. At 35, she no longer needs a day job and has a home studio. It's a luxury she doesn't take for granted. Living in Tucson is temporary, but she's enjoying it for the moment, she said. She described the city as surprisingly similar to Jacksonville. "It has that big city, small town feel that reminds me of Jacksonville," she explained. So the culture shock hasn't been bad, but Jacksonville will always be home, she said. ~ Heather Lovejoy - Florida Times Union

TUCSON WEEKLY {March 2010}
Tucsonan Tracy Shedd switches from guitar to piano for a new EP that explores a somber and more delicate sound, reveling in the lightly swaying melodies. EP88 is five songs that go well with a relaxed twilight, hushed and moody, but satisfying, like a slow stretch. Building the album around the piano also pares down the reverb and feedback, which pushes Shedd's smooth and dreamy vocals to the forefront. "City at Night" begins with a lyrical image that could reflect a familiar Tucson—"the dust in the background, the cascading lights"—but suggests her Jacksonville, Fla., hometown as it continues, "the docking boats, with nowhere to go." That sense of reaching back is a recurring theme; the EP's cover features shoreline and fishermen (her father's livelihood). While built mostly on a lush bed of piano and strings, the EP doesn't abandon the guitar (played by Shedd's husband James Tritten), which can suddenly drop its complementary role to flare up in a storm of buzzing feedback. "How Your Eyes Affect Me" is a slow-burner that starts with an intertwining piano and guitar before adding a steady drumbeat and clear, bright vocals that draw out lyrics of yearning and passion. The intensity peaks on album closer "Husbands and Wives," which stretches to nearly seven minutes as Tritten's wild, droning guitar keeps circling, frantic and feverish. ~ Eric Swedlund - Tucson Weekly

Image and video hosting by TinyPic Tracy Shedd has become a singer/songwriter of note, with a lot of promise. I first heard of her two years ago with her album Cigarettes & Smoke Machines! (which I reviewed in The Run-Off Groove #217) and late last year she released a video for “City At Night”, which is now the opening track to a new EP she simply calls EP88 (Eskimo Kiss). I love when she sings “how your eyes affect me when you’re sleeping so peaceful/when you wake up, I’ll listen to all your ideas” in “How Your eyes Affect Me”, one imagines a couple in love, looking for and finding more than what lies on the surface to believe in the happiness they now share. In these songs, the arrangements are kept to just vocals, pianos, bass, and maybe some synths. It’s only until the end with the closing song where the drums come in to dust off accumulation and to show that she can rock it out when necessary. I bring up the singer/songwriter thing because she’s very eloquent in how she brings out what are no doubt personal stories to share with the world, and she’s an artists who deserves everyone’s attention. She has a discography worth exploring, and a quality to her music that will keep people wanting to hear more. ~ John Book - This Is Book's Music

The combination of a rocker girl-quartet and moody singer-songwriter on a single may seem like a strange match. But it just takes a listen to get it. The songs on this split 7?, New Guy by Wet & Reckless and Tear It Up from Tracy Shedd, are girl anthems for love gone wrong, told in chronological order. First you have New Guy. It’s the tough-but-tender teenage tomboy–the one who plays some kick-ass guitar and is gorgeous because she’s not trying to be. She’s still navigating the rules of relationships. Wet & Reckless plays it a little flip, sometimes cutting, invariably charming. Then Tear It Up comes along–she’s grown up a bit, taken some Comparative Lit classes and had her heart broken a few more times. Tracy Shedd’s sound is mellowed and haunted–a perfect way to come down from the high of the new guy. These songs provide the musical bookends of a girl’s heart, which seems kind of perfect. LA-based Wet & Reckless features Jessica Gelt on bass, Deanna deVries on drums, with guitar from Whitney Blank and Emily Wilder, also the band’s lead singer. Their sound is immediately winning–giving listeners the satisfying sharp edges of punk and harmonies with a breezy Beach Boys vibe (think Pet Sounds, not Kokomo). This is a nice contrast to Tucson, AZ musician Tracy Shedd, whose sweet, achy style is evocative of Laura Viers. Shedd brings a more somber sound to the split, but it‘s far from morose. Her lush guitar chords blend with Kane Flint’s mandolin, creating a forest of sound that you don’t mind being lost in. Aside from their shared label, another interesting connection between the two bands is the video for Shedd’s City at Night, which was directed by Wilder and designed by deVries. In their short but sweet split 7”, the bands manage to make heartache look cool and a little graceful. ~ Flora Fair - Synconation

Tracy Shedd is releasing her third album, Cigarettes & Smoke Machines, this Tuesday, and I will confess that I'm smitten with her sweet voice. Her voice is as pretty as her looks, which surprised me when I read that in her early albums that she deliberately hid her lovely voice behind musical shrouds. With Cigarettes & Smoke Machines, I'm glad to see that it's her voice that is on the forefront. So, I get the impression that earlier in her career, she loves (or would enjoy) the three colors Kieslowski movies (Blue, White, and Red). At least, that's what I think of when I saw that her albums were called Red & Blue. On the new album, let's take a look at the cover art. The cover does not feature Shedd, it's actually one of her friends from 1996 named Emily Wilder, photographed by Amanda Sciullo. The cover is of a girl in blindfolds, and appearently Shedd had wanted to use this image for a cover - and finally used it with Cigarettes & Smoke Machines. "Never Too Late" starts off the album with this tone that anything can happen, that it's never too late. The album then become a little more frantic with the guitar on "Whatever It Takes". It's a little faster and direct, and I can see why they chose this song for their promotional music video. After watching the video, it seems to translate literally what the song is about - an angry/jealous woman and her boyfriend/husband. The pianos, bass, percussion, and cello, are all there in the background, while the strength lies in the guitar and her voice. It would seem that whoever arranged this album did a pretty good job, keeping you interested. For example, I felt that some of the songs are laid out in a slow/quiet and then followed by a faster/uptempo song. I know that sounds incredibly formulaic, but it works for me. I will have to say that I am a fan of the more faster song, as I felt like I should be dancing to these little stories that Shedd is singing about.... However, "Paris" has a nice spacing and pacing. Cigarettes & Smoke Machines will be available this Tuesday, September 23rd, on Teenbeat Records. Be sure to check some of their other bands, including The Rondelles and The Feminine Complexe. ~ Vu Nguyen - We Heart Music

When was the last time you thought about Teenbeat Records, in anything other than a wave of nostalgia? The DC-based label, helmed by wunderkind Mark Robinson and anchored by his band Unrest, split the difference between the aesthetics of Dischord and Factory Records and in the process virtually defined a stylized, skittering/droning strain of mid-’90s indie pop. Teenbeat is rousting from a multiyear slumber, and damn if they haven’t found a new standard bearer in Tracy Shedd. Cigarettes & Smoke Machines is the Jacksonville native’s fourth LP (and third for Teenbeat), but the first to fully showcase her substantial talents. Shedd possesses a cool yet emotive voice reminiscent of Teenbeat poster girl Cath Carroll and frankly, a richer one than that of Robinson’s golden era Unrest foil Bridget Cross. Recently relocated to Tucson, the desert air seems to have emboldened Shedd to write far sturdier melodies and to move her crystal clear vocals to the forefront where they belong. When her plainspoken delivery meshes with the kinetic tempos of standouts like “Whatever It Takes” and “Never Too Late,” the results recall Barbara Manning’s finest moments. Despite subtle touches of organ and cello (the latter from Calexico’s Joey Burns, in his usual yeoman’s role of community boosterism) the headline attractions are Shedd’s voice and husband James Tritten’s reverb-drenched guitar lines, which evoke the pre-shoegaze atmospherics of British band Felt. Fans of both sides of Yo La Tengo’s yin/yang will find solace as well. Even on highlight “So Sick” (not a cover of the Unrest song, by the way) when Shedd turns up the bile and Tritten the feedback with help from Craig Schumacher’s fascinating distorted harmonica cameo, there’s no scrimping on the hooks. Closer “Home” offers the most direct link to Shedd’s slowcore roots, but builds to a satisfying payoff that was often missing on earlier albums. Shedd sells these tales of the desire to fight through a strained relationship so convincingly it’s tempting to assume they’re autobiographical. However, Tritten has been a constant presence across her catalog, and as she politely but firmly proposes on “Paris,” “We’re here to entertain/ No more questions.” Shedd does such a fine job holding up her end of that bargain on Cigarettes & Smoke Machines, it’s only fair to accommodate her. ~ Glen Sarvady - Stomp & Stammer

Tracy Shedd’s new album - Cigarettes and Smoke Machines - is a landmark album of sorts. It’s hard to pin point exactly why but I guess there’s a mature sense of rich pop history that Shedd’s music evokes. While her debt to classic pop (tinges of country sirens like Emmylou Harris linger) is clear, it is the sweet influence of 80s Brit indie that intrigues. These references illuminate superior material like the edgy Whatever It Takes, the twangy New Order vibe of Won Past Two, the torchy Remember the Time We Set the Highway On Fire, the rampaging sexy Go On and the careening dark So Sick. With the depth displayed here, Cigarettes and Smoke Machines is an album that demands repeated listening in order to savour even after the time immediacy often fades. Watch out for Tracy Shedd, I certainly intend to! ~ Kevin - THE POWER OF POP

I have a little secret to tell you. There is a band in town that relatively few people seem to have discovered. They are not only good, but they are world-class good. The band is Tracy Shedd, fronted by Tracy Shedd (vocals), with James Tritten on lead guitar, Becca Hummer on electric bass, and Tasha Sabatino on drums. Tracy Shedd has a new album out called "Cigarettes and Smoke Machines." I was able to get an advance copy last weekend, and I have been listen to it ever since, sometimes while dancing in my living room. The album was recorded right here in Tucson at Craig Schumacher's Wavelab Studio. This is smart pop, pop music in the best sense of the word. The most prominent feature of the music is Tracy Shedd's smooth, melodic vocals. There is something calming about her voice, something reassuring. The lyrics are based on conversations and describe everyday situations. "Whatever it takes, don't let them break you down. And whatever it takes, don't let them talk to you this way." sings Tracy Shedd. Tracy Shedd's smooth delivery is juxtaposed by James Tritten's exuberant electric guitar, played on a black Fender Telecaster that delivers that crunchy surf sound. James Tritten's guitar lead is another voice. His guitar sings along with Tracy, harmonizes, and then at times takes its own way only to meld seamlessly once again with Tracy's steady vocals. Tracy Shedd has assembled Tucson's finest with Becca Hummer on electric bass, and Tasha Sabatino on Drums. There is chemistry on stage between these four fine Tucson musicians. They are having fun, doing what they love. The only thing missing right now is a solid fan base, and I have a feeling that is soon to follow. The album has just been released to radio stations around the country and the excellent reviews and blogs are already rolling in. - KXCI 91.3FM

I was fortunate enough to receive an advance of the upcoming Tracy Shedd release, Cigarettes & Smoke Machines, which Teenbeat is making available this fall. I was a big fan of her previous output, but this is her best record yet. As usual, the standout is Tracy’s vocals, which are delivered in a very earnest, deliberate fashion, reminding me a little of Laura Veirs. But there are also a few surprises in store… thanks mostly to the very tasty and varied lead guitar work of Tracy’s husband James Tritten (of the late, great Audio Explorations). The entire record is great, but I especially can’t stop listening to “Won Past Ten.” When I first heard it I thought the hooky guitar line sounded just a little too obtrusive, but now that’s the part that I find myself humming almost non-stop. It’s this song that made me think this record fits perfectly on the Teenbeat roster (and would have fit perfectly on Sarah Records, if it were still around), as it reminds me so much of great early 90s indiepop. And speaking of the Teenbeat roster, fans of the band Aden will likely fall in love with this record, as at times while listening to it I couldn’t help but think “this is what Aden would sound like if fronted by a female.” Anyway, it really is great stuff, just check out the track below and keep an eye on Teenbeat for more details of the release. - ESKIMO KISS

As Tracy Shedd (a relatively new Tucsonan) preps for the release of her fourth record (Cigarettes and Smoke Machines, produced by Craig Schumacher at Tucson's Wavelab Studio, due out Sept. 23 on Teenbeat Records), the singer-songwriter is making her previous release available as a free download. Louder Than You Can Hear, released in 2004 by Devil in the Woods Records, has a sound that spans from spare singer-songwriter material to the noisy end of shoegaze, and throughout Shedd has a sharp sense of how to blend melody with distortion. She has a dreamy, languorous vocal style, which blends well with buzzing, feedback-prone guitars and the looping, urgently propelling drums. The album opens with the percussive and mesmerizing "Inside Out," a head-nodding tone-setter with the repeated line "You're the only one that ever mattered" fading into the swirl of guitar noise. The record's highlight is the six-minute third song, "If You Really Cared About Me You Would Have Kept In Touch For All These Years," which starts with a build-up of guitar and drum noise, then slows to just one strumming guitar as Shedd starts singing. The distorted lead guitar breaks back in as a soaring echo that intertwines with Shedd's understated vocal. Next is the up-tempo "Try And Get Some Rest" and Shedd settles into a groove that stands next to the best early Liz Phair tunes. The album's title comes from the chorus to "Wednesday's The New Thursday," another song built upon layers of guitars and a thumping drum beat. The closer "Blue (The Blues Explosion Version)" is another perfect example of what Shedd does best on this record: wrap a delicate song inside screaming guitars with a balance and tension so captivating that six minutes pass unnoticed. It starts slow, with finger-picked guitar and Shedd singing the opening lines ("If it takes me all night, I'll get it wrong") with an air of forlorn detachment. The explosion part of the song hits after a beautifully hypnotic three minutes, with a squeal and crash that breaks the quiet but leaves the song's hypnotic core intact. The previews on Shedd's MySpace page point to an even better record, a tighter and more assured batch of songs that could very well make her one of the buzz singers of the fall. - CATFISH VEGAS

Self-proclaimed slo-core singer-songwriter and recent Tucson transplant Tracy Shedd has made her presence known and her music felt for the past year in the Old Pueblo. From Old Artisan to the cafes, people have been left breathless whenever they catch a little piece of Tracy’s nationally recognized music. With releases on top indie labels such as Teenbeat and Devil in the Woods, Shedd is definitely making her mark and making waves in Tucson and beyond. - TUCSONSTYLE.COM