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Aaron Lee Tasjan Hates Technological Alienation, Loves Versatile Pop-Rock Songcraft on Tasjan! Tasjan! Tasjan! The East Nashville singer-songwriter delivers a tour-de-force Jonathan Bernstein, provided by FacebookTwitterEmail In the Blazes and 2016’s Silver Tears (see that LP’s “12 Bar Blues”), Aaron Lee Tasjan, like many of his East Nashville contemporaries, has in recent years moved away from country-roots music and toward a more expansive pop-rock. 2018’s Karma For Cheap was a transitional record, swapping in electric guitars for acoustic, and folkie stoner wisdom for a more open-hearted curiosity. Enter Tasjan! Tasjan! Tasjan!, the singer-songwriter’s latest album, and his most compelling to date. His sonic reinvention here marked by stammering synths and swirling glam-rock feels both effortless and inevitable. Tasjan delivers songs like “Sunday Women,” with its chorus storming the song in its opening seconds, and “ ....
At that early point in the pandemic, Tasjan hadn’t quite accepted that performances were mostly going to be that way for a while. Once he had a second to cool down, he sheepishly went back outside and retrieved his instrument from the bin. “I’m sure everybody’s had at least one moment like that during this thing,” he says. That struggle to trust his instincts and filter out the noise of this overly noisy moment are threads running through Tasjan’s latest album, Tasjan! Tasjan! Tasjan!, released last week. During the album’s creative stages, Tasjan had to reckon with his label New West’s expectations and confront his own doubts about his abilities as a songwriter. He poured those into several new songs, including the rumbling “Don’t Overthink It,” with its Kinks-esque melody, and “Computer of Love,” which sounds a little like Elliott Smith embracing synthesizers. On “Not That Bad,” a fingerpicked acoustic guitar drives Tasjan’s description o ....