GRAMMY-Winning Engineer MARC WHITMORE Announces 'mirages' LP, due January 19

2022 “ALBUM OF THE YEAR” GRAMMY® -WINNING ENGINEER
MARC WHITMORE
ANNOUNCES HIS INSTRUMENTAL SOPHOMORE ALBUM
mirages
DUE OUT FRIDAY, JANUARY 19

SECURES SECOND “ALBUM OF THE YEAR” GRAMMY® NOMINATION 
FOR JON BATISTE’S WORLD MUSIC RADIO

Above: Marc Whitmore at Shangri-La Studios in Malibu, CA
Credit: Jordan van der Weyden (Equal Parts)

NASHVILLE, TN (December 19, 2023) — Marc Whitmore, a two-time GRAMMY® nominee and the 2022 winner of the prestigious “Album of the Year” award for his engineering efforts, has announced the release of his 13-track sophomore album — mirages — to take place on Friday, January 19. 

Whitmore has established himself as a sought-after engineer, producer, and mixer due to his fervent dedication to musicality. Within his unique Santa Fe, New Mexico studio the fragrance of burning incense fills the air as lava lamps cast a warm glow on his GRAMMY® perched atop a vintage amplifier. Musicians, drawn from both near and far, experience a studio session characterized by the relaxed, amiable, and knowledgeable demeanor of Whitmore.

He is eager to give the world mirages, an experimental instrumental album that draws inspiration from the expansive beauty of the New Mexico wilderness. Leveraging his proficiency in multiple instruments, Whitmore crafts an immersive auditory journey. Percussion echoes the sounds of distant rattlesnakes, and the raspy guitar propels the listener’s adventurous spirit into uncharted territories, guiding them through a stunning, sun-drenched landscape.

“mirages, draws the listener into a series of previously unexplored sonic territories. The listener, thrust into this hazy, fuzzed-out desert dreamland, will experience experimental and unconventional soundscapes,” Whitmore elaborates. “This guitar-driven concept album not only explores a vast array of genres and production styles, but is an experiment in the fidelity, harmony, and space of recorded music. I intend for the mirages to escape one’s stereo and fill the room with an undeniable intensity and strength.”

Above: ‘mirages’ album artwork

mirages TRACKLISTING:
“heat hazer”
“flora fatale”
“lost in ojito”
“sundown wind”
“bandits”
“string beans”
“yellowsunshine”
“coyotes”
“hopper”
“serpents”
“khat!”
“diablo canyon”
“cosmonauts”

Recently, he secured his second GRAMMY® Award nomination for “Album of the Year” for his engineering work on Jon Batiste’s latest album, World Music Radio (2023) — an accolade he previously won in 2022 for his contributions to Batiste’s WE ARE (2021). Continuing to showcase his talents, Whitmore engineered the track “Jon Batiste Interlude” on Lana Del Rey’s Did You Know That There's a Tunnel Under Ocean Blvd album, which has also received a nomination for “Album of the Year” GRAMMY® this year.

Inspired by the straightforward recording techniques of the early 1970s, Whitmore favors the hands-on feel of operating a mixing console over working with a screen. This preference is reflected in his contribution to Jon Batiste’s WE ARE (2021). In a limited timeframe, Whitmore harnessed the ambiance of the transformed historic church, now Esplanade Studios in New Orleans, to infuse the album’s title track, “We Are,” with creativity, particularly during the chorus and outro recording sessions. 

Describing his and Batiste’s collaborative process, Whitmore reflects, “Even though we have worked together a lot, each time was a bit of a mystery as to why or what we were there to do, but that’s how we work best together. We typically show up with a very vague idea of what we’re going to do, with the intent to capture whatever emerges from the space.”

Whitmore prefers to capture live takes in unusual locations, recording using analog tapes and mixing on vintage consoles. For his work on World Music Radio, Whitmore aimed to capture Batiste’s ability to jam in a traditional live band setting, resulting in the recording of approximately 40 songs in just one week, a seemingly unorthodox process for modern times. Moreover, Whitmore played a pivotal role in bringing Jon Batiste’s inaugural solo project, Hollywood Africans, to fruition in 2016, overseeing the entire engineering process.

“Every time I’ve worked with Jon, it has been very intense, in a good way,” Whitmore continues. “The pace, focus, and intention in the way he conducts himself around music is very unique. He is able to create an energy in the room where everyone is performing as their truest self with no fear of experimentation. It is often a very spiritual experience to create music with Jon.”

Above: Marc Whitmore & Jon Batiste recording in PA
Credit: Mikey Freedom Hart

Over the years, Whitmore diversified his roles in the recording industry, serving as front of house engineer for Michelle Branch (2017, US tour & Billboard Live in Japan), Tennis (2021-2023, U.S. tours, festivals in England, Jakarta, and Mexico City), and even earning a drum technician credit for The Black Keys’ 2019-2020 U.S. tour. His collaboration with Jon Batiste extended beyond the studio — Whitmore and Batiste would meet in various locations around the country — from Carnegie Hall with a live audience, to 19th century barns and churches in New Orleans. 

Whitmore’s journey began in Nashville, TN, where he contributed his talents to Blackbird Studios, Alex the Great Recording (under producer Brad Jones [Hayes Carll, Jill Sobule]), and Club Roar (under producer Robin Eaton [Jill Sobule, The Spinto Band]). His immersion in the Nashville scene gained momentum when he caught the attention of Patrick Carney [The Black Keys], leading to his role as chief engineer and mixer at Audio Eagle Studio in 2016. A pivotal moment at Haptown Studio in 2015, guided by Roger Moutenot [Yo La Tengo, Paula Cole], introduced him to the legendary T. Bone Burnett, and his future collaborator, Jon Batiste. 

Apart from his collaborative endeavors, Whitmore, a multi-instrumentalist, has ventured into experimental musical projects such as the trip-hop group Cat Cult, and his solo instrumental work. His first instrumental album, Analytic Inverter, showcases his proficiency on drums, bass, percussion, guitar, and organ, which also featured a guest appearance by Jon Batiste.

As Whitmore anticipates his second appearance on the GRAMMY® red carpet, his focus remains on the music ahead. Whether he’s recording in an old church or hosting a client in his candle-lit Santa Fe, New Mexico studio, Whitmore is ready to capture the perfect take, embracing the challenge with enthusiasm.

Above: Marc Whitmore with his 2022 GRAMMY® award
Credit: Carolyn Whitmore

MARC WHITMORE ONLINE
WEBSITE | INSTAGRAM | SPOTIFY

ABOUT MARC WHITMORE:
Marc Whitmore is a renowned engineer, producer, and mixer, widely recognized for his enthusiasm for musicality. In high demand for his expertise in capturing live takes in distinctive settings using analog tapes and vintage consoles, Marc Whitmore operates his one-of-a-kind studio in Santa Fe, New Mexico. He recently earned his second GRAMMY® Award nomination for “Album of the Year” for his work on Jon Batiste’s World Music Radio (2023), an accolade he won in 2022 for Batiste’s WE ARE (2021). His contributions extend to engineering the track “Jon Batiste Interlude” on Lana Del Rey’s Did You Know That There’s a Tunnel Under Ocean Blvd album, also nominated for a “Album of the Year” GRAMMY® this year. Whitmore played a pivotal role in bringing Jon Batiste’s Hollywood Africans to fruition in 2016. After moving to Nashville in 2013, Whitmore gained recognition at studios like Blackbird, Alex the Great Recording, and Club Roar. A crucial moment happened in 2015 at Haptown Studio which introduced him to T. Bone Burnett and Jon Batiste, and in 2016 Whitmore caught Patrick Carney’s attention leading to Whitmore’s role as chief engineer and mixer at Audio Eagle Studio. Besides collaborative projects, he explores experimental music with Cat Cult, and his solo instrumental work. Whitmore’s upcoming album, mirages, due January 2024, draws inspiration from the natural landscapes of New Mexico.