Projects
BOOJUM
Culled from the depths of the deep pandemic blues, BOOJUM is the sound of four highly esteemed string band musicians coming together to assuage their woes through the repertoire of yesteryear along with fresh takes on traditional fiddle styles of north America.
BOOJUM is Nokosee Fields- Fiddle, Ryan Nickerson - Guitar, Joe Troop- Banjo, and Trey Boudreaux-Bass.
See Video here: https://youtu.be/S3ufX3m2Sk8
Hard Drive
Hard Drive is a hard-driving aural modern traditional old time authentic millennial bluegrass collective made up of Tatiana Hargreaves, Aaron Tacke, Sonya Badigian, and Nokosee Fields. From brother duets to raging fiddle tunes, Hard Drive brings a sense of deep intuition and silliness to the world that encompasses old-time, country, and bluegrass. They float gently around a Bermuda-Triangle-type space/time warp that connects North Carolina, Oklahoma, and Minnesota, and they are constantly expanding at the approximate pace of the universe.
Western Centuries
In an age when independence is idolized and every person seems to be seeking their own lone wolf career path, Seattle-based roots band Western Centuries believes that the way forward is better together. Collaboration, inspiration and mutual admiration are what Cahalen Morrison, Ethan Lawton, and Jim Miller cite as the heart of their project. Western Centuries celebrates their third album as a “band’s band” with the release of Call the Captain, (a tongue-in-cheek reference to the band’s lack of hierarchy), due out April 3 on Free Dirt Records. Unsurprisingly for such an egalitarian outfit, the collection offers harsh criticism of dogmatic belief systems, all while leading by example with a unique, genre-defying sound.
Sourcerror
“Without announcing anything, Fields has been dropping bizarre and wonderful “field recordings” to a secretive Soundcloud account (“sourcerror”). Recorded with unnamed guitar and banjo players, the sound’s meant to be like a rough old field recording, or perhaps a warped tape of a home jam that’s been passed around between players looking to learn the best new tunes and now is kind of thrashed. It’s a form of trolling, meant to poke at the old-time community who are usually socially progressive but musically conservative. The tune names are garbled and barely recognizable, meant to be rubrics for listeners to decode, and the pics for each track tap into some of the genius Fields brings to his social media, including a vintage pic of a cop buddying up with a KKK member for the tune “wldhginthwds” (Wild Hog in the Woods). There’s an edge to Fields’ current projects, an edge perhaps from being a non-white musician in a genre heavily beholden to white supremacy (maybe even defined by it), and that edge comes through in this musical project that’s unquestionably brilliant and beautiful.”