Nashville is a great wealth of talent, a statement we can all agree on. If you’re the Music Row type, there’s songwriters and studio musicians as far as the eye can see. Our hip-hop scene is stronger than its ever been, our electronic and experimental scene is off the charts and quality indie rock is available in great quantities. Of course, the flip side to such outpouring of talent is that, inevitably, some gems are going to get overlooked. That Kopec’s The Machine Is Always Running is one of Nashville’s overlooked gems.

If you’re unfamiliar with Kopec, you’d be wise to follow him on Instagram and find your favorite way to immerse yourself in his back catalog, going back as far as 2012 (at least, on Bandcamp). Furthermore, his list of production credits is vast but hard to find a fully comprehensive list. This is a long winded way of saying, there’s a lot to soak in here. Quantity does not equate to quality but, in this case, there’s a lot of good to get to know.

What makes The Machine is Always Running special is that it marks a time of experimentation for Kopec. This observation has not been communicated to me directly but listening back to 2021’s I Hold Out My Hands or 2020’s Three Books, Kopec is a bit more reserved, withdrawn and introspective. Historically, his musical endeavors have been interested in the delicate interplay of his voice, acoustic instrumentation and electronic flourishes. He has managed that interplay beautifully. On Machine, his guitar is plugged in, drums emerge to drive the tempos forward and fresh sounds pepper each composition. The thoughtful songwriting of previous albums is still here, along with the mindful and compelling lyrics but Kopec seems to be allowing himself to try a new approach.

During the back half of the record things slow down a bit and feel a bit more like “familiar” Kopec territory – hushed and withdrawn. However, this time there is a foreboding nature to the presentation and layers of something drawing you in. The album ending track, “Swaying Song,” turns that sinister calmness on its head with a huge wall of sound.

Maybe Kopec has entered his “rock era” and this is his version of that sound. Maybe he purchased some new gear and this is his way of trying it out. There’s no telling what the impetus behind these songs is but they are downright riveting. Nashville has a lot of great talent but The Machine Is Always Running is a cut above. Don’t miss it.

My introduction to Caroline Cronin is this mesmerizing clip on Instagram from the “Her” music video. Take 10 seconds to watch it and you’re greeted with Cronin in a fantastically messy wig, a piano that appears to be 10x too large, some flute playing and an adorably calm puppy… also in a wig. Visually it’s a smattering of enjoyable brain candy that can not be denied. Aurally, it’s a low key combination of synth, drum machine and the aforementioned flute set to Cronin’s unique vocal styles, all ostensibly in tribute to the bewigged pup. All that is to say, it’s engaging start to finish.

So, when I got a notification that Infinity Takes had released a split single with Caroline Cronin and The Birch Reserve entitled Softening / Window Panes EP, I was ready for a dose of something out of left field. The Cronin track, “Softening,” doesn’t evoke a myriad of wacky images but it is every bit as mesmerizing. The drum machine loop cranks along with an obtrusive snare, flute sounds set the softest underbelly and various whimsical flourishes weave their way in.,. all while Cronin’s saccharine sweet vocal style carries the entire song. It’s not exactly “left field” type content but it does evoke a magical feeling of euphoria and optimism, a rare and welcome vibe.

The accompanying Birch Reserve track is more withdrawn but every ounce of pleasant. The paired vocals mixed with the introverted synth and bass is reminiscent of The Postal Service, tho only in a lazy music journalist way – I doubt they were directly influenced by Such Great Heights. Without a doubt, it’s an excellent pairing with the Cronin track.

The release is supported by longer blog articles from Infinity Take author Max Kepley, entitled Producer’s Diary for each track; Cronin and Birch Reserve respectively. Quite frankly, reading through both posts helped to cement my enjoyment of them. I suggest you do the same.

Waxing on so extensively about a two song release is likely unnecessary but when you’re smitten, you’re smitten. Cronin, The Birch Reserve and Infinity Takes are bringing something special to the table and it’s worth making note to keep tabs on them all for future treats.