Chris Gostling Releases Follow-Up To Breath, Blood & Tempo with Forest City Town Country
Canadian singer/songwriter Chris Gostling releases his latest album, Forest City Town Country, today on Bandcamp, Spotify, and Apple Music. This long-awaited follow-up to 2016’s Breath, Blood & Tempo reflects his recent move to rural Ontario, where he found renewed creativity. Recorded with a talented team on Wolfe Island, the album marks a major evolution in Gostling’s songwriting, with fresh approaches inspired by his new environment and the support of his wife, Laura, his key collaborator.
First off, care to introduce yourself to our readers?
Sure thing. My name is Chris Gostling, and I am an independent singer/songwriter. I have been playing and writing music since I was a teenager. This past October 4th I released my second full-length album of folk-rock songs.
Your new album, Forest City Town Country, marks a significant change since Breath, Blood & Tempo in 2016. How has your move from Toronto to rural eastern Ontario influenced your creative process and sound?
I wasn’t expecting that moving out of Toronto would change much, but very quickly I realized how many wonderful distractions the city provides vs the country. Living in the woods, without the nightlife of the West End, or a regular social life from residing downtown for 15 years, I suddenly had a lot more time on my hands. I taught myself how to make beer, and bread, and maintain a chainsaw engine. It gave me time to think, and process as I wrote song ideas.
The pandemic also forced this reset on the creative process for me. Something about not being a body in motion gives you the opportunity to choose a new direction when you start out again.
You’ve assembled an impressive team of collaborators on this record, including Hugh Christopher Brown, Jason Mercer, and Liam Cole. How did their contributions shape the direction of the album?
Oh man, I feel so fortunate. In the mini-documentary I made about the recording process you can see me smiling like an idiot often, just listening to the brilliant arrangements these guys came out swinging with on the songs. I was blown away by what they added to the music.
It really started with getting Chris and his engineer Jake Bury on-board for the project, and confirming I was recording on Wolfe Island. I mentioned to Jake that I wanted to work with a double bass player and like he said many times during the project “I have a guy”. Jason Mercer was sent the demos, and he liked them and was available for the sessions.
The “bed tracks” of the album were just Jason on his bass, with me on acoustic guitar, sitting in the same room with moving blankets hung between us to keep the mics isolated. As soon as Jason and I kicked off the first song, I knew it was going to be really special. His playing is flawless first off, and his musicality, and ability to add to what I am already playing vs just “playing along with me” was wild to experience firsthand. I had to work hard not to giggle from joy while we played. I immediately realized I didn’t need to carry the whole song myself, and I gave him the space.
We were both really prepared for the session, got into a great groove together and got all 8 of the song’s beds recorded in one normal length day. It was amazing.
Liam Cole is a friend, who right before I went to Wolfe Island to record, casually said ‘hey if you need drums on this album, let me know” and I jumped on the offer immediately. The amazing thing is he has played with Jason and Chris before and recorded with Jake, so they knew how to work with each other already really well. I honestly had no idea Liam was such a brilliant “feeling” drummer. He managed to heighten whatever emotion vibe a song was putting out with just the right amount of percussion. I tried to give him as much creative freedom as possible.
Chris (Brown) played keys on half the album. He is a beast of a piano player and one of the most gifted improvisers I have every witnessed. It was wild getting to sit there and watch him play on the recordings. He hears things in the songs, like sonic opportunities that bring more out in the song. Specifically, on “Hardened Hearts” and “Quarter Killing Time”. I hope to work with him again in the future.
You’ve spoken about your wife Laura being a huge influence and editor in your creative process. How does her perspective help you refine and shape your songs?
I think because Laura is also an artist and has worked on major creative projects with other people, she understands what “pushing for greatness” actually means. It’s hard work and not always the most fun part of the experience, but necessary if you really want to make something awesome. Her ability to give critical feedback that I could action was invaluable.
Putting out an album is really just thousands of small tasks in a row. If you are just singing or playing the songs on it, that is one thing, but if you are independently handling the album artwork and merch making, and video production, and all the back-end distribution stuff, having a partner that helps keep the bigger creative vision in mind and reminds you of it from time to time, is critical. This is something Laura continuously offered throughout the process.
The album also features the first love song I can say I have written called “Hardened Hearts”. That song only exists because of Laura. So yeah, lots of influence on this project.
The album was recorded on Wolfe Island, close to your new home. How did the setting of Wolfe Island and working with local musicians and producers contribute to the overall atmosphere and tone of the record?
There is this chill vibe on Wolfe Island. The ferry moves slowly, the cars move slowly, and everyone generally gets where they are wanting to go, and it works. I spent a week getting to see the sunrise over Kingston’s harbour and listening to the boats and birds. We were recording primarily in the piano lounge at the Hotel Wolfe Island. Since all the guys live within minutes of there, they would roll in with coffee mugs from home every day. For me, recording is a little nerve-wracking, and I felt the overall calm energy of everyone, and the surroundings really helped mitigate that feeling.
This translated into the songs sounding natural and not forced. I really wanted this album to capture the relaxed and present energy I bring into live performances. And that is what we got.
What can fans expect from you next, both in terms of live performances and future recordings? Do you have any plans to tour or bring these songs to a wider audience?
I think the day after I got home from my recording sessions, I wrote a new song. Since February I had generally forbidden myself from working on new material. I needed to focus on these eight songs until the recording was done. It was a nice feeling.
Right now, I am playing in Ontario for the most part to support the album. My next show is on Oct 25th at the Rosewood Room in London, Ontario with the Ryan Naismith Band sharing the bill. I try to keep my website www.chrisgostlingmusic.com up to date with upcoming shows. I would love to get out to the East Coast to support this album.
There was a stretch in 2020 when I wasn’t making music, and there was nowhere to play, and I found myself putting my guitar down after about two strums with a bit if of a “what is the point?” feeling. I know I am not alone in that experience.
It feels really nice to be putting out new music, playing new venues, and reaching new fans with my songs. I look forward to what 2025 holds for this part of my life.