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newmusickarl · 2 years

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Top 50 Albums of 2022: #30-21

30. Being Funny In A Foreign Language by The 1975

They may be the biggest Marmite band around, but there is no denying that The 1975 are operating at an artistic level that few of their mainstream pop peers can reach. In fact, I still find it so strange that a band as avant-garde as they are, have the global fanbase that they do. But then when you listen to an album as consistently joyous and effortlessly timeless as Being Funny In A Foreign Language, it all starts to make sense.

Funktastic single Happiness is one of the biggest highlights, delivering exactly what it says on the tin. Still one of their finest tracks to date, it’s impossible not to get swept away by the vintage 80s style guitar groove, wonderfully polished production and instantly catchy chorus of “Show me your love, why don’t you?”

That said, when the band deviate from their typical sound, that’s where the album really shines. Part of the Band is an artsy, string-tinged and quietly understated track, with some impressive lyrical gymnastics, whilst All I Need To Hearis a stripped-back and classic-sounding love song that is carried by Matty Healy’s poetic songwriting and the raw, live production.

Supposedly the working title for Being Funny In A Foreign Language was The 1975 At Their Very Best, and whilst the jury is still out on that, it is another excellent addition to their discography and one of my 30 favourite albums of the year.

Best tracks: Happiness, All I Need To Hear, The 1975

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29. Cheat Codes by Danger Mouse & Black Thought

Sometimes you look at a collaboration on paper and think “Man, that sounds amazing.” Then you listen to it and its somehow even better than you expected.

That exact thing happened to me earlier this year when I saw musician and producer Danger Mouse had teamed up with Black Thought, the lead MC of legendary hip hop collective The Roots. Based on that combination I went into the first play of their collaborative project thinking it would be great, but despite the high expectations I still came away thinking it was one of the best hip hop records of the year.

Across the album’s snappy 38-minute runtime, Danger Mouse chairs the artfully produced beats that simply shine with vintage soul, funk and psychedelia, whilst Black Thought spins his smooth, old-school flow with exquisite delivery. As if the combination of those two wasn’t enough either, Cheat Codes is littered with glittering guest spots from the likes of Michael Kiwanuka, Run The Jewels, A$AP Rocky, Raekwon and even the late-great MF Doom. With those classic 70s sounds and so many modern greats operating at the top of their game, it’s a record that feels instantly timeless.

Best tracks: Aquamarine, Belize, The Darkest Part

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28. Heart Under by Just Mustard

I had some incredible musical discoveries in 2022, but without a doubt one of my favourites has been Just Mustard. Here is what I had to say about their breathtakingly innovative second album back in May:

““This is just a piece of wood with some metal strings attached – you can do whatever you want with it.” If you have never heard the music of Irish quintet Just Mustard before, then this philosophy from guitarist Mete Kalyoncuoglu may offer some early insight into just how they operate. Although they are at their core a traditional five-piece, their distinctive brand of experimental shoegaze sounds like it is being conducted and transmitted by a grand, brooding orchestra from a fantasy realm. It’s dark, otherworldly, and quite frequently brilliant.

Having established themselves off the back of their ultra-raw 2018 debut Wednesday, this sophomore effort from Just Mustard sees them further push the sonic boundaries of their instruments, whilst also bringing in renowned producer David Wrench to further finesse their ambitious soundscapes. Fuelled by lockdown frustrations, artistic struggles and personal grief, the result is an emotional and hugely impressive second outing that firmly builds on the foundations laid by its predecessor.”

Best tracks: Mirrors, Still, Early

Read my full review for Gigwise here

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27. Autofiction by Suede

Suede have been steadily aging like a fine wine ever since their reformation twelve years ago and in 2022, they even served up one of their finest projects so far in the form of their outstanding ninth studio album, Autofiction.

Where Night Thoughts and The Blue Hour wrapped their anthemic alt-rock in string-tinged majesty, Autofiction brings things back down to basics. It is both a harken back to their early sound to please old school fans, but also a refreshing step forward for those who have followed their comeback journey. Here they harness that raw energy they had in the beginning, but channel it through their naturally more polished musicianship, gained from their now 30+ years in the business.

Most importantly though, every song on here is as good as the last, making it one of their strongest and most consistent records to date. From the opening buzz of lead single She Still Leads Me On, the angsty stomp of the punk-influenced Personality Disorder, the spiralling riffs of The Only Way I Can Love You and Brett Anderson’s falsetto crooning amidst menacing guitars on That Boy On The Stage, it’s just an utterly spellbinding listen from start to finish.

Best tracks: That Boy On The Stage, What Am I Without You, She Still Leads Me On

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26. Dawn of the Freak by The Haunted Youth

During Album of the Year season, I like to ask the Music Twitter community on some of their favourite records of the year, so that I can hopefully catch up on any gems that I might’ve missed. One suggestion from Twitter pal @TarikThirteen was this debut album from Belgian singer-songwriter Joachim Liebens, better known by his alias The Haunted Youth. Now Tarik’s music suggestions are usually exceptional, but even I was surprised at the treasure trove I found when I hit play on The Haunted Youth’s mesmerising debut.

Belgium is clearly the place right now for evocative dream-pop, with one of my regular favourites Oscar & The Wolf also hailing from the region and producing a similar vibe. However, there are also some additional elements to The Haunted Youth’s music that make it unique, with welcome hints of shoegaze, emo and 80s style synthwave thrown in for good measure.

The biggest compliment I can give this album is that the songs are just spectacular and there is literally not a second spared across the album’s 43-minute runtime – everything you would want from an artist’s debut outing. Track 4 Gone is also one of the songs of the year for me, a glorious 7-minute epic that brings together a beautifully hazy blend of shimmering synths and glistening guitars that’ll quickly whisk you away to audio heaven.

I am honestly so happy that this album reached me through word of mouth, as despite it only coming out at the start of November I’ve already played it several times over and, as you can see, its instantly become one of my favourites of the year.

Best tracks: Gone, Shadows, Coming Home

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25. Fear of the Dawn / Entering Heaven Alive by Jack White

Music’s chief mad scientist Jack White truly spoiled us all in 2022, gifting not one but two brilliant new solo albums. A definitive split between them, Entering Heaven Alive contained his more acoustic bluesy cuts whilst Fear of the Dawn boasted his more experimental rock tracks. Impressively, both served up some of his most inspiring work to date.

Fear of the Dawn arrived first, the sound of a frenzied genius keeping himself entertained during lockdown by making whatever sound he damn well pleased. Here, Jack is still playing around and pushing the limits of his blues rock sound, but this time around it is more of a controlled chaos. Where previous effort Boarding House Reach would have you smiling in bemusement at the crazy sounds you were hearing, Fear of the Dawn will have moshing out with your jaw on the floor, as Jack throws humungous riffs and all kinds of playful studio tricks at your ears.

Lead single Taking Me Back is the perfect opener, with some scintillating distorted guitar, buzzy synthesizers, and all of Jack White’s signature swagger. From that point onwards, the album only gets stranger in the best way possible with the rhythmic funk-rock groove of Into The Twilight, the chainsaw-like riffs of What’s The Trick and the brilliantly batshit Q-Tip collaboration, Hi-De-Ho, all standing out.

Now where Fear of the Dawn is the boundary pushing rock record built mostly on thunderous electric guitars, Entering Heaven Alive is a more acoustic, timeless-sounding affair. As a result, it can’t quite match the full-throttle excitement of Fear of the Dawn, but there are still plenty of gems to be found in this collection as well. Lead single Love Is Selfish remains classic Jack White, again tapping into the most timeless and heartfelt nature of his song writing. I’ve Got You Surrounded (With My Love) is another big highlight, based around some jazzy piano and a stinging central guitar riff, harking back to his White Stripes days. Then If I Die Tomorrow rocks up with a wonderfully cinematic slice of modern Americana to deliver the undisputed highlight of both albums for me.

I am yet to decide whether this pair are my favourite Jack White solo efforts to date, but I do know that both are endlessly fun and invigorating projects. Strap in and you will be glued to your headphones, admiring all the mind-melting guitar work and astonishing sonic wonderment on display.

Fear Of The Dawn - Best tracks: What’s The Trick, Taking Me Back, Fear of the Dawn

Entering Heaven Alive - Best tracks: If I Die Tomorrow, Love Is Selfish, All Along The Way

Listen to Fear of the Dawn here

Listen to Entering Heaven Alive here

24. We’ve Been Going About This All Wrong by Sharon Van Etten

You had to know that if anyone was going to harness the darkness that surrounds a lockdown record and turn it into something quite hauntingly beautiful, it was going to be singer-songwriter Sharon Van Etten. Fuelled by not just the pandemic but also her own experiences escaping the ferocious Californian wildfires, Van Etten’s sixth album is one forged out of anxiety, uncertainty and despondency.

Opener Darkness Fades is the perfect tone-setter, with Van Etten’s ethereal vocals transcendently gliding across the song’s minimal acoustic backing. Elsewhere, I’ll Try is a shimmering multi-layered pop track, whilst the rumbling bluesy instrumentation of Anything sees Van Etten ironically pouring her heart into the song’s refrain which describes numbed feelings. Headspace however is my clear favourite, a glorious synth-soaked track built around a heartbreakingly affecting chorus of “Baby, don’t turn your back to me.”

This is undoubtedly another remarkable work from Van Etten, an album that astounds and moves both powerfully and frequently. Although we’ve had a lot of lockdown albums by this point, this one could be a late contender for one of the very best.

Best tracks: Headspace, Darkness Fades, Anything

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23. It’s Almost Dry by Pusha T

From his early days in Clipse with No Malice through to his solo career and iconic guest spots, King Push has rarely put a foot wrong with his output. His 2022 effort, It’s Almost Dry, was no different.

With both Ye and Pharrell Williams on production duties this time around, along with Push himself on top form hitting out some of the best bars of his career, this album really is exceptional. Channelling that same swagger unlocked on Daytona, Pusha’s provocative bars about the brutal drug trade have never sounded so cutting yet so fresh and vibrant, as they are placed up against a collection of quite brilliant soul samples. With the added star power from Pharrell’s production and guest features from the likes of Jay-Z, Kid Cudi, Lil Uzi Vert and Don Toliver, It’s Almost Dry improves in every way on his already superb previous outing.

In terms of highlights there are plenty, with Brambleton, Let The Smokers Shine The Coupes and Dreamin of The Past possibly the best opening trio you’ll hear on any hip hop record this year. Singles Diet Coke and Hear Me Clearly still stand firm, and there’s even a reunion for Clipse on the brilliant closer, I Pray For You.

Overall if you’re a fan of Pusha, Daytona or just hip-hop in general, I guarantee you’re going to enjoy this one. In a year absolutely stacked with excellent rap records, this is one of the best.

Best tracks: Diet Coke, Dreamin Of The Past, Brambleton

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22. While Your Heart’s Still Beating by Kyla La Grange

To come back with a new album eight long years after her last full-length release, having basically been retired from music is one thing - but to come back better than ever before is another. Not every artist could do it, but that is exactly what synthpop sensation Kyla La Grange did in 2022.

Finally emerging from amidst her impressive horticultural projects (fun fact - La Grange was also nominated for the Gardener's World People's Choice Award this year), her brilliant third album While Your Heart’s Still Beating sees Kyla pick up exactly where she left off. Building on the success of 2014’s Cut Your Teeth, there’s more ambitious sonic exploration, more mature songwriting and a wider perspective that ensures the record hits you deep in all those feels.

The album fittingly begins with her excellent single Neverland - a wonderful, dreamy slice of synth-pop that sees Kyla sing of her desire to not grow up too quickly. It’s a great opener that makes way for the aptly-titled Something Special, a track that wouldn’t sound out of place on the Drive soundtrack with it’s minimal, pulsating synth backing. Nurture was then one of my standout tracks of the first few months of 2022 and it has remained a favourite all year. A deeply intimate, autobiographical track where Kyla presents “a storybook of relationships, from childhood to adulthood”, it really underscores her talent for emotive songwriting.

Elsewhere on the record, you’ll likely be swept away by the atmospheric, slow-trance pulse of Were We Ever, as well as Kyla’s completely unique cover of 90s dance classic, Set You Free by N-Trance. On her version, Kyla takes the rave standard and morphs it into an ambient guitar-driven track. Led by her gorgeous otherworldly vocals, the song steadily builds before erupting into a swell of instrumentation during the final minute. Dare I say it? Yes I do – it’s even better than the original.

So, if you’re a fan of artists like Kate Bush, Bats For Lashes or even Florence & The Machine and haven’t got round to listening to this one yet, spare yourself 30 minutes over the festive period and definitely give this album a spin. She may have been gone a little while but Kyla more than makes up for lost time, delivering a stunning and mightily intoxicating listen from beginning to end. Cut Your Teeth was a special record, but While Your Heart’s Still Beating is the spectacular and faultless career-rebirth that somehow manages to top it.

Best tracks: Nurture, Neverland, Were We Ever

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21. EBM by Editors

In 2022, I learned there is nothing better than seeing one of your favourite bands attempt an ambitious sonic direction change and not only stick the landing but also deliver one of the best albums of their entire discography in the process. EBM set me alight back in September and has continued to bring me immense joy ever since – here’s what I said in my original review:

“Despite making a career out of these sonic-shifts, EBM feels like a big and bold step into the unknown unlike any they’ve taken previously. The main catalyst for this has been the addition of Benjamin John Power into the fold, better known by his alias of Blanck Mass. The Ivor Novello-winning composer first worked with Editors on 2019’s Blanck Mass Sessions, which was essentially a reimagined and reworked version of their sixth album Violence. Once the pandemic struck, Benjamin and the band continued swapping ideas, eventually forging the colossal blend of synth-pop, alt-rock and spiraling electronica that makes up their new album.

Also co-produced by Blanck Mass, who has since been announced as a full-time member of the band going forward, the result is an astonishing first chapter for this new iteration of Editors. On EBM, the band sound more vibrant, energized and wildly ambitious than ever before, adding colourful new layers to their traditionally sombre, brooding sound. The creative partnership between them really feels like a match made in heaven, with Benjamin able to pull the band into fascinating new dimensions sonically as they lyrically tackle broken Britain, strained relationships and indeed the global pandemic.

EBM marks the start of a thrilling new era for Editors, with Blanck Mass helping them to forge a dazzling electronic epic that also lays down some exciting building blocks for future releases. Now twenty years into their career, it’s refreshing to see the band continue to be daring, trying these new ideas and still not putting a foot wrong.”

Best tracks: Strawberry Lemonade, Heart Attack, Picturesque

Read my full review for HeadStuff here

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This weekend - Top EPs, Gigs and AOTY Honourable Mentions, all before the daily countdown of My Top 20 Albums of the Year begins on Sunday!

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sinceileftyoublog · 2 years

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Hundred Watt Heart Interview: A Prayer for Humanity

Photo by Alexander Fischetti

BY JORDAN MAINZER

It’s mind-boggling how The Roots as a collective have time to balance their basically daily gig as the house band for The Tonight Show Starring Jimmy Fallon with live shows, tours, and recording new music. That any of them have time for solo careers on top of that seems next to impossible. Earlier this year, it was lead emcee Black Thought releasing Cheat Codes, his excellent collaborative album with venerable producer Danger Mouse. Now, “Captain” Kirk Douglas, the band’s guitarist and singer since 2004′s The Tipping Point, has resurrected his Hundred Watt Heart project for New Unknown, his second album under that moniker.

Recorded at home during the pandemic, New Unknown expands beyond Douglas’ debut LP Turbulent Times, traversing the spectrum of rock and guitar-based music, from prog and country to funk and Southern rock. Likewise, Douglas penned lyrics that aimed to emphasize connection, bridging the space between people who couldn’t be in the same room as each other during the COVID lockdowns, or perhaps even folks who couldn’t otherwise stand to be in the same room as each other, victims of our divided sociopolitical climate. It begins with the languid “Breathe In”, a peace-inducing ode to a certain drug whose appeal certainly transcends divides. “Together, we create a space that’s home,” Douglas sings on the gentle “Illuminate”, his voice upfront in the mix over echoing guitar. The album’s funky, horn-laden, Afrobeat inspired lead single “We Can Be One” acts as another collective hymn of healing, while the desert blues-like guitar licks that pervade instrumental jam “Breath of Fire” suggest a collective, expansive groove.

Before you roll your eyes at any suggestion of appeasement with the enemy: New Unknown is not a hippie idealist mindless exercise into compromise with Republicans evil. Rather, Douglas’s sophomore LP is just as much about self-love as community. Throughout my phone conversation with him a couple months ago, he repeatedly referred to the album as “a gift to myself,” and it’s useful to think of the album’s aims in this context. On the penultimate “Alone”, Douglas sings, “Leave the light on for me,” atop acoustic strumming. “Love is the thing that helps me feel more alive.” As wordless harmonies and layered vocals take the song to its conclusion, you’re left reflecting on his use of first person. Love works for Douglas. Will it work for you? New Unknown challenges the rest of us to be better.

Read the rest of my interview with Douglas below, edited for length and clarity.

Photo by Forest Erwin

Since I Left You: How would you say New Unknown expands upon your debut?

Kirk Douglas: There’s definitely an expansion. It’s another rock album, but world music’s explored a little bit. There are some more percussion aspects that are explored. [Also,] the previous record was done at Electric Lady Studios, and recording [New Unknown myself] gave me more artistic freedom. I was able to record more comfortably. Every aspect of the recording was done at a place where I was feeling most at-home, because it was done at home. When you’re able to record that way, it comes through in the performance. I was really able to nurture it in a way I wasn’t able to do previously.

SILY: The world music influence is pretty apparent on the first single, “We Can Be One”. Is that why you released it as the first taste of the record?

KD: That’s not necessarily the reason. The reason is because for the last record, the first single was a big, heavy rock song, and I didn’t want to do that a second time around. With the title of the song being “We Can Be One”, I wanted to put out an energy that was suggesting more of a convergence with people as opposed to the division we’ve experienced. Basically, putting out that intention for people to be on the same page in terms of humanity and how people want to be treated and empathy towards one another. There are a lot of instruments on it; it’s the most dense song on the record as far as instruments are concerned. It’s got members of The Roots on it: James Poyser playing keyboards, Ian Hendrickson and Dave Guy playing horns on it. It’s basically my intention, my prayer for what humanity could be and should be. But because of our given circumstances, it’s very difficult to be. All the instruments are doing their own thing, having their own identity, but playing towards one rhythmic and harmonic goal. When people go to shows, there’s a unity there despite whatever a person’s political opinion may be. This song is sort of a sonic utopian snapshot of how I wish the world could be and how it very well is at times. So that’s why I put that out as the first single. There are other songs on the record that are more rock-influenced, which is where I gravitate towards because I love the primal power of three-piece rock and roll, guitar-bass-drums. I’m a big fan of that. But I like to hear other flavors mixed into an album experience as well.

SILY: From a rock standpoint, as compared to your debut, this album is more progressive. There are a lot of tempo changes and switches between subgenres within the same song. Were you consciously trying to make songs that bounced around like that?

KD: Nothing was really conscious in the whole process. [laughs] The only thing that was planned was, “Let’s make some music.” This wasn’t set out to be an album. This was just to record and to express what was going on internally musically for me. A song like “Land Of Look Beyond”, I like the album to take you on a journey, so I love when a song is able to take you on a journey as well. That’s something I’ve always been interested in. Having more control over the recording process organically allows that to take place.

SILY: When I was listening to “Land Of Look Beyond” for the first time, I felt like it was a logical segue from “Breathe In”, albeit more melancholy and slow-burning. But it turns on its head midway through. Was there a general approach you took to the sequencing of the record?

KD: You toy around with different ideas and sequences of the record, and ultimately, you just arrive at a sequence that feels right. It’s like a movie for your ears. "Breathe In” is moving, but it’s not necessarily a heavy song. I thought it was a good introduction, the concept of breath, “Breathe in, breathe out,” and also a slight nod to anybody that enjoys cannabis. There’s that subtle suggestion. And then, that sets you up for “Land Of Look Beyond”. I think of an album like Dark Side of the Moon, an album that’s cinematic in scope. You can think, “I wanna make something that sounds like Dark Side of the Moon,” but when you start to create, you take a step back and start to think of your own musical experiences and the things that have musically touched you throughout your life. This record is made for me, ultimately. You just present it in a way that you enjoy it, the person that has helped to birth it. I’m like my own fan. You get to a place where you listen to it and enjoy it. This was recorded with mostly myself and the drummer Ricc [Sheridan]. It’s about our friendship; we enjoy playing and creating together and sitting back and listening to what we’ve done and surprising ourselves. That’s so much of what our friendship has been for so long. The record’s inviting others into that experience, if it touches them the same way it touches us.

SILY: That celebratory nature is on tap in the video for the first single. I love those casual, almost old-school videos that aren’t straight up live but show performances and dancing with a lot of movement. How did the video for “We Can Be One” come about?

KD: I didn’t do a video for the last record, and I knew that if I did another [record], I’d have to do something I hadn’t done before. All the planets were aligning to make it. This guy in my building, Brandon, we’re both part of the Park Slope Food Coop. We were both shopping there one day, and he was driving home, and he asked if I needed a ride. This is mid-pandemic. He asked how the pandemic was treating me, and I said, “I did make an album during it.” I noticed he’d be schlepping around a lot of video equipment because of his job, doing a lot of videos and commercial shoots. I mentioned that I’d be interested in making a video at some point, and he mentioned he knew a director that was really talented and that it might be a good idea to talk about collaboration. That’s what we did, and he and the director, Alex [Fischetti], came by, and I played them the song and told them what I’d want to see from the video. Like you said, the song has a lot of movement in it, and it’s the song where an image came to me more so than the other ones. We had a meeting, and I told them my concept, and they said they could bring it to life. We were able to make it happen, in Prospect Park, and utilizing Brooklyn. I wanted to utilize where I grew up, too, so a lot of the video is shot in the home, bedroom, and family basement I grew up in. A lot of the outside shots, I discovered that Alex’s parents lived 10 minutes from my parents, and we shot a lot of the outside footage at night outside his parents’ place. It was a lot of fun. The whole time, I was thinking to myself, “Why am I even doing this?” [laughs] But I was still having a good time doing it. My only hope was that the experience of filming it and the experiences we had on the shoot, with a cool, easygoing crew you enjoyed spending time around, somehow could translate into the final product. At the end of the day, it turned out to be like that. Once I got over having to look at myself so much, I was really pleased with the outcome. I’m really glad we did it.

SILY: That’s cool it became a generational look-back for both of you. What was your relationship to music growing up?

KD: Basically, it goes back as far as I remember. My parents were always singing, playing reggae music and classical music. When I started to go to school in Long Island, I was surrounded by kids playing a lot of hard rock. My dad was really into ballads and funk. He had a wide array of interests music-wise. One of my really close friends, his older brother had a guitar, and when I saw the guitar up close, I was completely hooked. I had to have that as part of my life.

Photo courtesy of the artist

SILY: What came first on New Unknown: the music or the lyrics?

KD: Definitely the music. The first song was probably “Illuminate”. It’s generally like that: There’s a melody or groove that gets into your head. That’s the most fun part and a big motivation, having something rhythmic pop into your head that becomes this inner mantra. Something that at first was inside your heart and mind is now coming out of speakers powerfully. It’s a very life-affirming process. Once that happens, you step back and listen to it and think, “What is this music saying to me?” Then, it’s time to go inward and put lyrics onto it. It’s an emotional crossword puzzle. You have these melodies and think, “What words can I fit into this melody that conveys what I’m feeling?”

SILY: I was talking to somebody yesterday who compared songwriting to solving a 1000-piece jigsaw puzzle that doesn’t exist yet. You’re both making and solving the puzzle.

KD: That’s a really good way to describe it.

SILY: Speaking of mantras, some of the most prominent lyrics on the record, whether “breathe in, breathe out” or “we can be one,” are mantras. What about that type of writing is so powerful to you?

KD: Something that you can say over and over again is somewhat of an affirmation, a prayer. We can be one whatever condition the world is in, no matter what energy or intention you can put in the world. To me, that’s a positive effect, for one to contemplate how these things can be possible. What needs to take place for these things to be possible or realistic? When it’s set to music, it gives an extra energy as a way of making sense of things. “Breathe in, breathe out,” it’s just a meditation on the impermanence of things. Nothing really lasts forever. But it goes on to say, “Within, without, it all begins again.” When one door closes, another door opens. There’s always a birth, a start of something new. The idea of letting go and breathing through things, no matter how difficult things get. Just remembering the breath and the practice of non-attachment is what can help us get through life at its most difficult times. They’re not bad mantras to have. They’re coping mechanisms, if you will.

SILY: What’s the story behind the cover art?

KD: I saw an artist on Instagram whose work I thought could possibly convey what I was trying to do. After agonizing over what the cover should be, I thought, “You know what, let me do this: The album is done, I’m gonna reach out to an artist I like and commission them to create for this album a gift to myself. If it works out that it can be the album cover, then that’s gonna be the album cover.” I found the artist Sarah Stewart. Her project is Rattlesnakes and Rainbows. I contacted her out of the blue, slid into her DMs and told her I was a fan and asked her whether she’d be interested in creating album cover art. She agreed. I asked her to do it if the music resonated with her. She did, and when she first sent it to me, I was kind of taken aback, like, “Woah, this is a lot.” But the more I listened to the music and looked at the album cover, the more I thought they supported one another. It brought me to a place of disbelief that this art exists as a way of me contacting her and asking if she would do it and her agreeing to do it. It was like a cosmic wink: “Keep going with this. Take this out of your experience and try to keep going with others.”

SILY: Are you playing these songs live?

KD: Not as yet. I haven’t thought about playing my own music live in a long time, and I’m realizing it’s something I’m probably going to be doing as another gift to myself that I can share. [laughs] [The album] wasn’t really created with the intention of playing it live. Now, I’ve created another puzzle for me to figure out. That’s also another part of the fun: Taking something that only exists on recording and bringing it into the real-time, in the air, in your ear experience live. That’s a whole other experience that’s going to be exciting--and involve a whole lot of scheduling. I’ll do at least some of the songs live.

SILY: Anything next for you in the short or long term?

KD: I’m hoping to do some more recording. I’m hoping it’s not going to take another pandemic to happen. It definitely took one for me to realize I can record myself. To be able to record oneself without the use of a studio is the ultimate freedom. There’s definitely been a lot more music written since the recording of this, so I look forward to tracking that and bringing these new songs to fruition some way, some how. Next summer will bring more Roots touring. [I always have] The Tonight Show. I also have a 14-year-old and a 17-year-old. All the life that exists outside of music, too. It’s a very full life.

SILY: Anything you’ve been listening to, watching, or reading lately that’s caught your attention?

KD: I really do love the band Khruangbin. I’m enjoying their live shows and find them really inspiring. It’s been fun to sit with the family and--with many grains of salt--look at The Secret Language of Birthdays. Viktor Frankl’s Man’s Search for Meaning, I’ve been returning to that recently.

Nothing else is jumping out at me. I’ve been trying to write a lot. The winter is when I get into listening to a lot of other people’s music. Last time around, it was a lot of early Peter Gabriel and Genesis, at the end of last winter. I was discovering a lot of things I hadn’t heard.

SILY: When you’re writing, do you tend to block out other music?

KD: It’s sort of random when it happens, but winter time is when I’m more inside listening to stuff. Over the summer, I like listening to reggae. Now that summer’s ending and [it’s] fall again, it’s time to go record shopping because [listening to music is a] more indoor activity. I just got the new Kendrick Lamar on vinyl, so I’m looking forward to getting into that.

But when I’m working on music, I have a phone full of ideas, so you could play “phone message roulette,” and part of the fun is listening to things you’re separated from in time and hearing what sounds like a whole other person creating.

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