26:I[67202,["/_next/static/chunks/0v0zmnc-ft6l-.js","/_next/static/chunks/10tojsbb-0eaf.js","/_next/static/chunks/086jv5onn0hzz.js","/_next/static/chunks/0hp98prejc9n4.js","/_next/static/chunks/13qlgh7i_5g-b.js","/_next/static/chunks/03z3pblncf8bh.js","/_next/static/chunks/0zzcj-i0p619c.js"],"HStack"] 27:I[33783,["/_next/static/chunks/0v0zmnc-ft6l-.js","/_next/static/chunks/10tojsbb-0eaf.js","/_next/static/chunks/086jv5onn0hzz.js","/_next/static/chunks/0hp98prejc9n4.js","/_next/static/chunks/13qlgh7i_5g-b.js","/_next/static/chunks/03z3pblncf8bh.js","/_next/static/chunks/0zzcj-i0p619c.js"],"default"] 28:I[85234,["/_next/static/chunks/0v0zmnc-ft6l-.js","/_next/static/chunks/10tojsbb-0eaf.js","/_next/static/chunks/086jv5onn0hzz.js","/_next/static/chunks/0hp98prejc9n4.js","/_next/static/chunks/13qlgh7i_5g-b.js","/_next/static/chunks/03z3pblncf8bh.js","/_next/static/chunks/0zzcj-i0p619c.js"],"Stack"] 29:I[30442,["/_next/static/chunks/0v0zmnc-ft6l-.js","/_next/static/chunks/10tojsbb-0eaf.js","/_next/static/chunks/086jv5onn0hzz.js","/_next/static/chunks/0hp98prejc9n4.js","/_next/static/chunks/13qlgh7i_5g-b.js","/_next/static/chunks/03z3pblncf8bh.js","/_next/static/chunks/0zzcj-i0p619c.js"],"default"] 31:I[17289,["/_next/static/chunks/0v0zmnc-ft6l-.js","/_next/static/chunks/10tojsbb-0eaf.js","/_next/static/chunks/086jv5onn0hzz.js","/_next/static/chunks/0hp98prejc9n4.js"],"IconMark"] 2a:T563,Wilson and Beggins, whose voices fit each other as naturally as any family act, pushed their boundaries as writers, drawing freely from the stories they've lived as well as the artists around the world that have inspired their growth. Their rate of output over that last year got them thinking differently about producing, focusing on one track at a time. “We’ve always focused on the record as a whole. We wanted to think about each track as it’s own piece- but somehow it all fits together” Wilson says of the approach. That route took them around the world — from Chris Walla's (Death Cab For Cutie) studio in Tromsø, Norway, where the Northern Lights are the brightest in the world, to a home-built warehouse studio on the outskirts of Philadelphia, where Dr. Dog's Scott McMicken picked up the bass and “joined the band for a week,” arranging harmonies and sharing living and recording space. Back in Wimberley, Texas, Matthew Logan Vasquez (Delta Spirit) set up a makeshift studio in Kelsey Wilson’s beloved childhood home — abandoned since the floods of 2015 — where they found the muses were eager to resurface. The group also tapped the talents of frequent tour mate Chris Boosahda (Shakey Graves), Atlantic Records recording artist Max Frost, and Grammy-winning producer Adrian Quesada (Groupo Fantasma, Brown Sabbath, Spanish Gold). 2b:T546,A group formed during a hiatus of the band Days Away, Good Old War -- named with a selection of "parts" of its members' names -- was launched by Days Away's Keith Goodwin and Tim Arnold. Joined by Daniel Schwartz of Unlikely Cowboy, Good Old War began recording its debut in Los Angeles in 2008. The album Only Way to Be Alone was released on Sargent House later in the fall. That same year, Good Old War acted as the backing band (both live and in the studio) for Anthony Greene's album Avalon, and embarked on a tour in support of the Circa Survive vocalist. Good Old War's eponymous 2010 sophomore outing peaked at number 150 on the Billboard 200. Come Back as Rain arrived in 2012, followed by the concert album Live from the City of Brotherly Love in 2013. Preceded by the single "Tell Me What You Want from Me," the band's fourth studio long-player, Broken Into Better Shape, arrived in 2015 via Nettwerk. Returning in the summer of 2017, Good Old War delivered Part of Me, the fi

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