So today is the day. My baby’s out in the world.
Click here to listen: https://onerpm.lnk.to/WhoCanYouTrust
There’s two things I want everyone to know about this album:
The first is that I absolutely could not have done this on my own. First off I owe credit to my right-hand man Mr. Stacy O’Dell, who saw this process through with me from start to finish. At the end of the day, it was Stacy who took my melodies/lyrics and constructed them into full-blown songs, and who compiled all the stems together into the final mix, not to mention tracking guitar and half the bass. Stacy, you’re the man – thank you for putting up with me and all my crazy ideas. I also could not have created this without the work of Jeremy Dawson., who engineered my vocals, helped me compose harmonies, and performed synths/keys and the other half of the bass. Thank you for not letting me suck (that’s what she said). Nick Mason, the band’s longest-standing member other than myself, performed the album’s drums as engineered by Dusty Schaller and Justin Jc Gariano (save for the title track performed by Marc Slutsky), and provided experience and leadership in helming the live show. Kenny Ende also added a searing guitar solo.
In addition I have the excellent photography skills of Aaron Mann and the graphic design prowess of Anthony Dominic Montemarano to thank for the beautiful digital booklet. I have Allan Amato to thank for the brilliant cover art, that he somehow both shot and hand-modeled for.
I also would not be able to bring this music to you without my live band, consisting of not only the album’s drummer Nick Mason but also bassist Rick Brandt and guitarist Marko Jankovic. I am so grateful to have a team that is so talented and gels so well onstage.
Furthermore I owe my thanks to my manager Matt Bacon, for putting up with me for the past almost-two years even when I avoided his phone calls because I was so deep in my healing I couldn’t get any work done. Thank you for believing in me even when I had nothing to show for myself except my faith in the process.
And of course I have my spiritual guides and healers to thank – Katherine Gerardi, Yerasimos Stilianessis, Kara Kimbria, Katherine Bird, Sophie Grégoire, and many friends and soulmates who are acknowledged in the booklet – without you I would still be writing songs about bad decisions and justifying it under the guise of rock and roll. Thank you for helping me prove I’m even cooler when I’m healed.
That brings me to the second thing I would like everyone to know about this album:
The second thing I would like everyone to know about this album is that I facilitated it from start to finish. I don’t know if yall know this or not but I don’t have a label or benefactor behind me – at the end of the day it was all on me to bring this to life. There was not a single creative decision that I did not sign off on, even when that meant trusting the genius of my collaborators to work their magic with just a few key words from me as guidance. I chose everyone I brought onto this project based on the artistic resonance I felt with them (with the exception of a few people Stacy chose because I trusted him), and I paid them the rates they quoted me, because I understood that believing in their value is actually ultimately the same as believing in my own. I wasn’t always the best team leader – there were times that there were breakdowns in communication that only I can assume responsibility for, because somehow I unconsciously felt that asking my team to communicate with each other was too much support to ask for, even when it would have made everyone’s lives easier in the long run. But I learned from it, took full responsibility for everything that happened, and compensated everyone for their time when they had to fix my mistakes.
There was a point during this process that the same epiphany occurred to me about my healing – that I couldn’t do it on my own, but that nobody was going to be responsible for it but me. For too long I had gone to therapists and practitioners and essentially said “Fix me” – not understanding that only I had that power, and that I needed to both hire people to do what they’re good at and also oversee the entire process myself.
That’s the paradox, essentially – we cannot do everything by ourselves, but ultimately we are the only ones responsible for our results. I learned a lot during this process, and this was one of the greatest takeaways. It is up to us to facilitate our own experience.
I’m deeply proud of this work and greatly humbled by the warm and enthusiastic reception it’s received so far. It’s my joy to share it with you all today, and I hope there is something in it that nourishes and restores you as it did for me.
“There is no doubt that Arden and The Wolves have achieved a level of musical supremacy most bands search for their entire career yet rarely scratch the surface of.” – AlternativeNation.net
“Los Angeles Indie Rockers, Arden and the Wolves, are set to make a splash with their mystical energy and creative musical style that leaves listeners weak in the knees.” – Tattoo
“The EP features a hot cover version of Poison Heart, originally by the Ramones, perhaps the best remake of a cover ever done.” – The Indie Source
“Leigh conjures a post-traumatic future with her powerful voice and steady lyrical hand… Arden and the Wolves spin the magic overall on this one.” – Scallywag Magazine
“Those who are familiar with other female-led alternative acts like Evanescence, Paramore, and Nightwish will immediately fall in love with Arden’s vocal prowess as the familiar wail is unmistakable. Leigh, however, is not just a clone of those who came before her, or whose inspirations she clearly draws from, as her unique vocal inflection. A voice as strong as Leigh’s can break through barriers with thought-provoking, powerful lyrics, and she definitely knows this. Her lyrics draw from her personal struggles and speak of a strong woman who perseveres through all adversity.” – ABORT Magazine
“The highlight of the songs is Leigh’s voice, which is prevailing, yet dominant and muscular, yet piquant. It’s a great voice capable of evoking a spectrum of emotional auras ranging from severely elegant to pensively austere. Who Can You Trust is better than good and approaches excellence. The darkwave/pop/rock melodies present a beguiling luster, while the rhythms project heady infectious attributes.” – Blogcritics
“On Who Can You Trust, Leigh’s energized performances makes this burning music to get out and be heard. Backed by Nick Mason (drums), Rick Brandt (bass), and Marko Jankovic (guitar), the group proves that there is no match for these hard working contenders.” – The Celebrity Cafe
“If you’re into Scandal and other female-fronted 80’s rock, you’re gonna love this.” – Now Hear This Music