Doug and Alyssa Graham, owners of 3Sirens and duo The Grahams, put together and appear on compilation record “Every Possible Way,” benefitting Everytown for Gun Safety Support Fund.

A new compilation album taps nearly a dozen artists like Lucius, Joseph and White Denim to venture back to the ‘90s to record covers for a cause. The effort is the brainchild of 3Sirens Music Group cofounder Alyssa Graham.

“My husband and I have had this dream of using 3Sirens for good,” she said.

Every Possible Way benefits the Everytown for Gun Safety Support Fund, aiming to end gun violence. The inspiration, in part, came from a tragedy in Nashville, where the label is based.

“We wanted to do this for a charity that made sense and was important to us,” Graham said. “When we were debating what that would be, the Covenant school shooting had been very recent, and at the time we lived about a mile from there.”

Everytown Support Fund is the education, research and litigation arm of Everytown for Gun Safety, the largest gun violence prevention organization in the country. The organization seeks to improve understanding of the causes of gun violence and to reduce it by conducting research, developing policies and advancing gun safety and gun violence prevention in communities and the courts.

Graham, an artist herself (The Grahams), appears on the record covering “Waitin’ For a Superman” by the Flaming Lips. She sought artist and producer Dan Molad to drive the project. Molad suggested the ‘90s motif, which Graham said felt fitting given it was the decade when school shootings entered the mainstream, ingrained the minds of many with the tragedies at Thurston High School in Springfield, Ore. and Columbine in Colorado.

“For me, [Coumbine] was the first really big moment for me when I realized we have to do something about gun control,” she said. “The ‘90s is the first time I remember someone walking into a school and shooting and killing people, because they had access to a gun.”

Molad had worked with Graham on covers compilations in the past and jumped at the opportunity to take part in another. With his formative years defined by ‘90s alt-rock, he felt he could be particularly useful in identifying tracks, both familiar and unfamiliar, that could fit.

“There’s this return every 20 years to the nostalgia of 20 years prior. It just felt like it would be a fun decade to recraft,” Molad said

His work extended to helping to guide the artists on the songs they would be learning and performing for the record. One of the selling points to the artists involved was that the creative process wouldn’t be strenuous. Molad rented a studio for three days and brought in session musicians to perform on many of the tracks.

“Most of the arrangements were just made live in the room with each artist that participated,” he said. “It allowed for a fluidity that felt fresh without a lot of pressure.”

Artists could take things in whatever direction they wanted, then letting Molad and the band do the rest. A few were very specific about the direction they wanted their song to go.

Molad suggested a few songs for Graham and she chose one she didn’t know very well by the Flaming Lips track.

“I don’t know what they wrote it about … but in light of what was happening in our country and what the cause was, I thought we’re all fucking waiting for a superman or a superwoman,” she said. “It resonated with me. I only listened to the song a couple times because if listened more I’d end up sounding exactly like they do.”

The aftermath of November’s Presidential Election has brought the participating artists closer together. For Elizabeth Ziman, better known as Elizabeth and the Catapult, the political uncertainty was feeding her own doubt.

“I realized the only thing I know how to do to process stuff is to make stuff, and to share, and to connect with people,” Ziman said. “We have each other, we have our art and we have our friends.”

Other artists on the album include Lucius performing Filter’s “Take a Picture,” Delacey offering a take on Third Eye Blind’s “Losing a Whole Year,” Liz Cooper doing The Verve’s “Bittersweet Symphony” and White Denim a rendition of Elastica’s breakout hit, “Connection.”

Ziman was drawn by the opportunity to have her voice contribute to something greater than herself.

“I think all artists question how their music is helping, sometimes,” she said. “Like, how is this song about heartbreak that I’m singing making a mark? Knowing from the get-go that this is for such a good cause it just made it a no brainer.”

Various artists, “Every Possible Way.”

Ziman’s song choice jumped around a few times throughout the process. First, she thought about doing a Yo La Tengo track, but it turned out that song was a cover of another from the ‘70s, which sent her and Molad back to the drawing board.

“For a minute I wanted to do ‘Black Hole Sun’ but Soundgarden,” she said. “The harmonies are so beautiful and it’s so different from what I usually do.”

Finally, the pair settled on “The Book of Love” by Magnetic Fields, because she wanted a song that was positive. She wants her music channeled in positive directions, she added.

“When there’s things that are so big that it’s really difficult to process, yes you can raise money through this wonderful compilation, but also you can just look to the people closest to you in your life and show up for them,” she said.