Hometown Heroes Safari Room Turn the Volume Up

Safari Room is an indie rock band, assembled in Nashville, TN, but born elsewhere. With a keenness on human connection as a founding cornerstone, the band is characterized by ambient soundscapes, intricate rhythms, baritone-led falsetto vocals, crunchy guitars and introspective lyrical content. Touring the U.S. far and wide pre-pandemic, Safari Room has established themselves as one of Nashville’s most intriguing and personal rock bands. Last year saw the group releasing their critically claimed new album "Look Me Up When You Get There," which won over the ears of fans and critics alike with their haunting indie sounds and in-depth lyricism. The 3-piece indie-rock band consists of Alec Koukol (songwriter/lead vocalist/guitarist), Chris Collier (guitar) and Austin Drewry (drums). We spoke to Safari Room's Alec Koukol for an all exclusive interview that is insightful on all accounts.

Listen to the new record here:

https://open.spotify.com/artist/6OuNsLTmcqLIfEYLtBJwRZ?si=9PaXEvf9Qa-j5ysb2KP_BQ

Known for putting on brilliant shows, what do you miss most about performing, collaborating and taking the stage?

We really miss the interplay and connection between the band and a live audience. That’s the essence of why we do what we do, and it’s absence is truly felt throughout the band. There’s nothing quite like the spark that comes from a live audience, absorbing what you’re creating on stage. And that energy that circulates through the room, making the whole room buzz. It’s magic.

Overall, what are your favorite venues to play in Nashville? Where do you connect with fans the most?

Our favorite show in Nashville was at High Watt last Fall, one of our favorite spots. We were able to debut some new material for our record that came out in July, and we expanded the band a bit – adding some other local Nashville instrumentalists and vocalists – to make the night even more special. We also love playing at DRKMTTR. We’ve played there a couple times, and that feels the most intimate of spaces in town. They’ve also done so much for the community as of late, and that transcends their operation to more than a venue. So much love to DRKMTTR. We also love playing at The (OG) Basement and The East Room!

When creating songs, what inspirations and aspirations did you have in mind? What was the backing behind the story you wanted to portray on the new record?

Our main goal for Safari Room is to create music as an impetus for communication. As the chief songwriter, I hope to peel back the curtain into my brain a bit to provide comfort or a place of understanding for what others are going through. For me, music has always been a balm for harder times and a place where I can turn and introspect. I want to give that back tenfold. Our record ‘Look Me Up When You Get There’ is about being in the thick of it and finding it difficult to allow people, who are trying to help guide or help you, in. Once on the other side, you see the situation more clearly and appreciate the support and love that was always near. There’s more isolation and loneliness afoot nowadays, and we hope people can listen to this record and feel a sense of community, even though it’s hard to see.

On a personal note, which song that you've written would you say is your favorite, or the one that speaks the most to you?

‘One Day Here’ is my favorite song from the record. It came from a time of grieving and processing a loss in my life, and every time I sing it live, I draw a little closer to acceptance. That song also felt like a cornerstone for my writing, cutting to the quick a little more and writing about what I really needed to convey. The performance and sound of the song on the record is also one of my favorites, so from start to finish I’m incredibly proud of how ‘One Day Here’ turned out.

On the new songs, who are the key players that made the record happen?

Safari Room is myself, Chris Collier (guitar) and Austin Drewry (drums), but we had so many lovely friends and peers on the record, helping us carry out our vision. Hunter Mulkey, Emma Lambiase and Connor Gravely-Novello all tracked bass on the record, and all of them have toured with us in the past. I co-wrote ‘Young Water’ with the icon himself, Jake Wesley Rodgers, and we were lucky to have him sing on the track as well. Justine Hauge and Amberly Winfrey lent their pipes to a handful of songs on the record, and it cannot be understated: they’re some of Nashville’s most talented vocalists. We tracked at a few studios with some of the most creative engineers in town. Brandon Owens (The Silent Planet), Nick Byrd (at The Brown Owl), Paul Moak and Zach Zinck (The Smoakstack) worked on the record with us. Paul mixed the album save for a few tracks that Quinn Redmond conquered, and our pal – Joe Hutchinson – mastered it.

Needless to say, this record took a village, and we were so stoked to have this team right alongside us. Nashville has so many creative musicians within, folks that live outside the status quo and want to push the envelope. And we’re lucky to know ‘em.

Do you self-produce or use an outside studio? Can you walk us through the process of either?

We generally self-produce. We have a couple other friends, who we consider to be in our village, that allow us to bounce ideas off them. However, self-producing allows us to be in control and take our vision from start to finish. That being said…

Paul Moak co-produced a handful of songs from the record, and that was a wildly cool experience to pick apart songs with a genius brain like his. We brought the songs to him and we tinkered with sounds and ideas while tracking. When you’re nose-to-the-ground focused on something, it helps to have another mind opening up other doors for the songs to walk through.

With 2021 in motion what surprises do you have in store?

We’ve been writing and demoing throughout the entire pandemic, making lemons out of lemonade as much as possible. We’re not putting labels or grouping things together yet, but we’ve got at least another record ready to track for when the world starts coming back to life. Then, we hope to get on the road as soon as it’s safe and feasible, promoting ‘Look Me Up When You Get There’ and sharing a handful of new songs we’ve finished! But there’s a lot of parameters aside from just a vaccine that make touring feel spooky with COVID19 floating around. We’re hoping to get on the road in a safe manner, ensuring people that come out to see us are safe and cared for. Until then, we’ll keep working on / putting out new material, biding our time ‘til the lights are green.

Find Safari Room via:

Spotify • Soundcloud • Facebook • Instagram • Bandcamp • Press Kit • Live