I’m trying to do that as well, but I’m also trying to enrich all the groundwork and the DNA of my guitar language into my newest album. I recently spoke to Sadie from Speedy Ortiz, she said something really interesting that I hadn’t heard someone say: “I’m building upon my past work and enriching it.” A lot of the time, we’re trying to do a totally new thing. In terms of through lines, I’ve always loved the guitar, and I’m constantly building upon the guitar. I I loved having that structure, so I started applying that mentality to my own songs. I didn’t wanna hear a Fleetwood Mac song that jammed out forever and didn’t return to a great chorus. Then I started thinking about the songs I gravitate towards in life and how I wasn’t applying those rules to them. I’d be like, “Why? I can just jam out on the bridge for forever,” which is something I really like to do. I’m the same person, but at the same time, I see that I’m more open-minded different genres of music.įor so long, I thought it was a dirty thing to have a tightly structured song. I never worried about song structure in Alyeska I had no awareness of pop music whatsoever. I don’t know if it was the environment around me which cultivated that, but I’m grateful for it, because some of my wackiest stuff is from when I was younger. Part of the beauty of being younger, for me, is that I weirdly wasn’t judgmental of myself, creatively. I started around 17 and did it until I was 21. What would you say has carried through - and what has changed - about the way you engage with your art? There was definitely some proof of concept: the Big Bunny project you put out, and before that, Crush, with your previous band. So I like the idea of an album being like, “No, you need to live with this. I think people actually like digesting stuff in a different slower way and like to be fans, but it feels like the world works against us. Not like people haven’t before, but it’s such a weird world now, the way we consume music and the way that social media is paired with it - that one thing is gonna represent everything, because everyone needs a tweet everyone needs a sound bite. I’m excited for it to come out because I think it’ll help people to understand the context. The singles are each from very different regions of the album, stylistically. That’s what I tried to do with this album: show some different sides. I’m really looking to go on the damn road with them in a metaphorical sense, in that I want to know all their different sides. I think my work really needs the context, the world-building element of the lyrics, for it to be what I want it to be. Everything was going to work towards this album. I decided to go with they were very enthusiastic about putting out a full body of work immediately. How does that feel?Īlaska Reid: I’m pretty excited. The FADER: Your debut album is coming out very soon. On Disenchanter, the guitars are louder and the melodies cut deeper, from a windows-down anthem like “French Fries” to the devastating quietude of “Arctic Heart.” Even Crush, the one streamable album from her former band Alyeska, glimmers with a then-unrealized intuition for sticky pop hooks. Her songs work best as parts of a full body of work - and, anyway, she already had plenty of material to display her bona fides. Often, she’ll dip into an almost whispered cadence, transforming her words into a secret for your ears alone.Īfter signing to Fat Possum’s, Reid was thrilled to learn that her new label had little interest in proof-of-concept EPs or hype-building singles. Reid leans hard into the “writer” side of songwriter, understanding that sometimes you have to make up your way to the truth. “ Palomino” channels her mother’s journey west, while allusions to “apples and ice” on “Leftover” reconstruct a scene of sisterly bonding via DIY pierced ears. Any given lyric might pull from Reid’s own life, come from a close friend or family member, or be entirely fabricated. On her debut album, Disenchanter, out this Friday via Luminelle, a division of Fat Possum Records, their origins are varied and often indeterminate. Reid’s songs are full of details that contain whole worlds unto themselves but pass by as quickly as mile markers.
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