New York City-based singer-songcrafter Alexander Wren unveiled “Full Time Blues,” the latest from his forthcoming debut LP To Whom It May Concern, set for release on May 19th.

In order to independently fund the creation and release of To Whom It May Concern,, Wren worked a grueling, dead-end job to earn and save the money he needed to fully realize his vision. It took years.

“I wore hairnets. I cleaned toilets. I scraped dead rats off of the New York City sidewalk,” Wren recalls. “I’ve been scoffed at and mistreated by customers. I’ve been underpaid and exploited on a daily basis. I have been what Marx calls the proletariat. I have learned about the wealth divide in America in a very real way and in New York City of all places, with the richest of the rich and the poorest of the poor.”

“In an industry filled with sad indie artists, I think that I want to continue leaning into this more Fauvist corner of music,” Wren says. “This traditional side with excitement and energy. This narrative side of music that isn’t only about angst and failed religion. This side of music that just feels classic – that transcends daily struggles and makes you want to go out on the weekend.” “Full Time Blues” follows the previous releases of album tracks “The Earth Is Flat,” “Everything Is Meaningless,” and “Green! Green! Green!”

In the silence of 2020, an idea began to take shape: To Whom It May Concern,. 

A mosaic of songs plucked from Wren’s exhaustive catalog, most of which written throughout his time spent in Nashville, To Whom It May Concern, resembles an artistic Frankenstein of a debut album. Addressed to a God, a woman, and an audience largely unbeknownst to him, Wren views the project as an opportunity to step onto the stage and formally introduce himself. The amalgamation represents what he considers to be some of the most memorable and meaningful of the lot – the 500+ songs that credit over eight years worth of time towards his 10,000 hour quota. 

Tawlks and Wren employed peculiar instruments that they found while scouring the dusty corners of the musical attic – vibraphones, theremins, and clarinets to name a few. Wren’s old soul emanates; resulting is a lush soundscape that feels timeless, yet somehow nostalgic, as if it were made of an entirely unplaceable era.   

Though, the essence of the project quite possibly lies within its understated B-side, “Barely,” a country / folk song exploring his near decade long struggle with anxiety disorder. The idea came while in a hospital bed upon experiencing an acute panic episode. After taking time to recover his physical health, “Barely” was the first song to appear while back at the writing desk. Tawlks decided to feature this original voice memo captured by Wren in the final production. Over palpitating percussion and traditional pedal steel licks, he discloses a prayer.

Photo Courtesy: Landon Edwards