UTR: How were you able to create such a well-crafted production during the restrictions of the pandemic?
Rachel: That’s a good question. I would say it’s all Jered. He is a hidden gem—he has a studio in his home in South Carolina, and he is, like I said, daring enough to make something happen that sounds kind of crazy at first. In fact, when we started, I just asked him to help me produce only three of the songs. Then we just kept going. I would send him scratch tracks of guitar and voice and he would send me ideas, sometimes a completely crafted idea within a handful of hours. He would say, “I’m in the studio right now, so I’m going to keep bugging you while I’m here just like if you were with me.” We only emailed and shared Dropbox files back and forth. We never spoke on the phone except during the very last song we recorded, “Lord Have Mercy (Kyrie)”. That was a very involved song, with all my friends singing as the “Kyrie Choir”, so it took actually having to pick up the phone! I recorded and engineered all my own vocal tracks. Except for the Lord Have Mercy song, all the vocals are me, except when you hear a male vocal, which is Jered. I would sing out all my ideas and he sent me the results. Jered plays a lot of instruments as well, so he added all the instrumentation. I only played banjo on “Martha’s Song”! And speaking of “Martha’s Song”, it took me a week to record it because Kate’s words paired with the achingly sad melody had me weeping every time I tried. I kept thinking of those I have lost, and those who have lost loved ones. Such a beautiful section of Scripture, and in the song, from the perspective of Martha, before Jesus raises Lazarus.