Angelina Hazzouri— How do you feel about No Way to Relax When You Are on Fire coming out?
Dora Jar— I'm bubbling inside. I've been going through it a little bit, and I don't know how related it is to the anticipation of the album, but today, I feel like I’m really here, and that feels good. It's been a minute since I've been totally in my bones. I'm sure it'll come in waves.
This album is definitely long-awaited. You’ve opened for some huge acts in the past, like Billie Eilish and The 1975, but this feels like a proper introduction to Dora Jar. Does it feel like a rebirth in a way?
Totally, it’s a rebirth in a lot of ways. It feels like beginning again. I’m very curious how people are going to feel about it. Will they relate to it? What are people’s favorite songs going to be? There's a whole range of sounds that I explore on it, so I’m excited to see how it connects.
The range of sounds is really interesting. You worked with several notable producers on this album [Ralph Castelli, Henry Kwapis, George Daniel, Rostam Batmanglij], and yet it sounds very cohesive. What was it like working with them, and how did you manage to blend their different sounds into such a concise record?
I think it works because every song ultimately comes from my obsession with guitar, from sitting on my own and basking in the chaos and the contradictions of who I am and letting this come out in a pure way — or at least as unfiltered as possible. I don't really strive to make pop songs that wrap around lyrically and make total sense immediately. I’m very much someone who operates under “first thought, best thought” and hone that. I definitely drive with impulse. That's probably why it sounds cohesive — because it is just my imagination on a plate.
I love that analogy.
Yeah. Ralph Costelli is my main ride-or-die guy who I bring my ideas to, and he was a huge part of seeing this whole album through and imagining what its identity would be, but also what the emotion of it would be. We always went back to curious versus serious. If something ever felt too serious, we were like, “Hmm, all right, how do we bring play back into this and ‘impulsify’ it?” But yeah, so many amazing people I got to work with on this.
Since this is your debut album, I would imagine it feels extra personal. What was your inspiration for the title track, "No Way to Relax When You Are on Fire?"
I started writing it about two and a half years ago, and at first, I thought I was writing about this New Year's party that was the first fun New Year's party I'd ever been to. Then, I was referencing a relationship I had in high school with someone who had an addiction problem. I was writing about that chaos — no way to rise up when you're already high — that feeling of hitting the ceiling. Then I was like, oh my god, that's so real for me, not in an addiction way, but in the way that life is so intense. Sometimes I really don't know how to make sense of all the energy I have inside me. I have a huge ability to experience joy and be amazed at the world, but on the opposite end, sometimes I can feel so intensely sad and lost and confused. So it’s the shooting star of life. I don't know, I really don't know what it's about, but it just feels like fire. It's fire.
When I listened to it, it reminded me of the feeling of imposter syndrome, which is something that people don't often talk about honestly. When you're moving so fast — as any type of artist — it might feel like you have to prove yourself out of fear of being an imposter.
Yeah! I've been having a lot of epiphanies about this. What I think is imposter syndrome is when you're doing too much that you forget to feel yourself. You aren't connected to yourself, and you are an imposter. You're just arriving into situations — not as yourself — because you haven't checked in with yourself. I did this giant mushroom trip when I was 19, and it changed my life. I had been avoiding confronting a lot of grief I had about losing my sister when I was 14. I didn't really talk about her or let anyone in on that, so I was performing as someone who was totally okay. Like I was really creative, but I was blocking myself off from feeling, and therefore blocking other people off from being vulnerable to me. I don't believe we can really connect unless we are truly able to open our hearts.
Thank you for sharing that.
You're welcome, yeah. That's my latest epiphany. Imposter syndrome — it’s not being connected to yourself.
I'm sure through writing this you learned a lot about yourself. Was there anything else you learned during this process that totally shocked you?
Okay, this is so funny — the way everything happens in this business is so off the timing of what it should be. Like I always realize what things are about way later. This is all a mushroom trip in itself. [Laughs] I'm doing all these interviews, and then in a month I'm going to be like, “Oh now I know what the album is about!” right? So I’m very open to the mystery. I think this album is about me. Wait, did you ask what the album is about?
No, not yet. I mean, I can right now. At this point in time, what is the album about?
[Laughs] Dude… honestly? This album is about me making my first album.
Hell yeah.
I'm figuring it out.
That’s totally fair. Do you have a favorite song on the album?
This will change, I'm sure, but I think “Ragdoll” right now, because it's just so fun to play. It's such a spiderweb. I always feel like I'm a spider when I'm writing these riffs. Cannonball is also such a fun one to play, and I'm so excited for that one live. It's full of all this imagery that I didn't really know. Like, why was I being drawn to like a cannonball? I just knew I wanted to write a sea shanty, so Cannonball made sense, and then I realized I was writing about a forbidden love.
Do you have a favorite lyric?
First thing that comes to mind is from “Behind the Curtain,” which is “big brain make bomb, check out my song, don't blame your mom, pull the lever.” I wrote it after I watched Oppenheimer because I was so shocked by it. I love Albert Einstein. I'm obsessed with him and also Carl Sagan — all these scientists — and it just is so shocking that the greatest brains of our humanity were a huge part of making the most destructive object we have in the world. And then I'm just here making music.
What are some of your other inspirations for the album?
Good question. My scared self, who’s also the part of me that I'm afraid to reveal — she wrote the album. The version of me singing it is the one who's not afraid to share it. They shook hands and collaborated on this album, if that makes sense.
My self-consciousness: big inspiration. Carl Jung: huge inspiration for being able to face those things and still have love for myself in those hard moments. Mary Poppins: my queen of surprises. She's my muse. That movie inspired the cover art.
I love it. Correct me if I'm wrong, but when I was listening to the album, I got a sense of whimsy, which I loved. It sounds very whimsical.
Yeah, I love whimsy. I feel like people use that word a lot lately.
Whimsy is in.
I love it. I would say whimsy is finding joy in things that don’t make sense, like Alice in Wonderland. She's in a world of nonsense, and it's so peculiar and fascinating. So yeah, I'm down to be whimsical. It’s cool.
This is obviously such an exciting time for you. What’s one thing you want listeners to know when the album comes out?
At its best, music makes people feel how the creator was feeling. I just hope that it resonates and that people see my openness to the mysteries of life and the nonsense. Being patient with the discomfort of being in the unknown. Being brave enough to be in that liminal space. I hope that people can face those moments and soundtrack it with this.
No Way to Relax When You Are on Fire is out now on Island Records.
Coat and jacket by KIDSUPER, top by ZEGNA, pants by BURBERRY, sunglasses by GENTLE MONSTER, jewelry is BOJ’s own.
Gianni Lee— What do people call you? What do the fans call you?
BOJ— My fans call me Bolaji, some people call me BOJ.
Do you like one better?
Bolaji or BOJ. I don't mind.
Can you explain your heritage and your tribe?
I'm Yoruba; that's my tribe. I live in Lagos, but my family comes from Ogun State, from a place called Sagamu.
How did that impact your music and your growth in music?
So I grew up in Lagos, which is like fast life. It’s very, very chaotic — almost like New York. I was born in London, which is another chaotic place. I feel like that blend of Nigerian tradition and the Western influence of London just comes together. I feel like it has an impact on my sound, and I feel like it has an impact on my fashion as well.
Do you feel that your Nigerian upbringing keeps you centered?
So when you're Nigerian, it's like you're born with a sense of pride already. Wherever you go in the world, you know where you're from, and you hold onto that.
Coat by LOEWE, sweater and cardigan by PAUL SMITH, sunglasses by GENTLE MONSTER, jewelry is BOJ’s own.
How do you feel about New York City?
I fuck with New York. I fuck with it!
How does it make you feel when you are here?
If I’m being honest, like in America in general, I'm always on edge. You see so many things on TV, you hear about so many things that happen here, so I just feel on edge. But I would say there’s a lot of culture here. It’s multicultural, and I vibe with that. That’s one of the reasons I like London as well.
What I like about London is people are going to tell you what it is. I see people always debating, having arguments outside.
You know what's crazy? I feel like in America, people are more straightforward and blunt, whereas in the UK, it’s more polite.
Polite, like political almost?
Yeah, like, “I'm afraid I can't let you in.” Like, what do you mean you're afraid? So I get to the club and they’re like, “I’m afraid…” you know? Whereas in America, it’s more like, “Get the fuck out of here!”
What's your favorite dish in New York?
To be honest it's African food, man. I like Chick-fil-A too… It's not bad!
Chick-fil-A is good. The chicken has a lot of flavor in it. Have you ever had some Southern fried chicken, like soul food?
Not yet.
You need a good Southern Black restaurant and get some good hearty soul food! If you could bring anything from London or Nigeria to get a good American twist what would it be?
Just food, just food! If Nigerian food was accessible, this place would be perfect. You know about this restaurant called Lagos? That's the only one I know about.
Top by OFF-WHITE, shorts by KENZO, boots by DIESEL, socks by CALVIN KLEIN, sunglasses by A BETTER FEELING, jewelry is BOJ’s own.
Who are some of your musical idols?
So, my musical idols were all discovered when I was younger, like way younger. When I used to move around with my parents — I was an only child for 9 years — I just listened. I used to like Wyclef, Sean Paul, Tracy Chapman, Toni Braxton... all these people. That's who my parents used to listen to, so naturally, I got influenced by that.
I love Toni Braxton. Why her in particular? Did you find her interesting as a kid, or was it just because your parents were playing her?
It’s both. It was my mom listening to her, and me thinking she was a dude. Her voice was so strong. I remember this argument with my mom when I was a kid in the car. I was arguing with her, saying, "This is a guy singing," and she was telling me, "No, it’s not, it’s Toni Braxton." And I was like, "Her name is Toni Braxton — that's a guy's name!" Her voice was so strong! Then, a couple of years ago, maybe like three years ago, she came to Lagos, and out of nowhere bro she just goes on Instagram to make a video and she's singing my song. Imagine that! That's crazy, that's crazy! She's there singing my song, and then she's like, “This is one of my favorite artists from Africa.” I was like, "what the fuck?"
You grew up on her!
I grew up listening to her, and then she was right there. The show she came for, I actually went with a friend. She’s an artist as well, Tiwa Savage. She was performing at the same event, so I went there to meet her. I saw Toni Braxton perform, and then the next day, that whole thing happened on Instagram. Our teams linked up, and now we’re trying to make music.
Do you ever think about the impact of your music when people listen to it?
I really don't care to know what people think about it or what they don't think about it. That's the truth. I don't care to know their opinions; this is just my way of expressing myself. What I want people to take away is that, as a human being, you can express yourself freely without boundaries, no matter what it is. That's what I want people to feel when they see me. I come from a place where I was expected to be a doctor or accountant or something like that, but that's just not me, you know? I followed what I wanted to do, and I feel like everyone should be confident enough to do the same, whether you're scared, have doubts, or whatever. If you have a passion or love for something, try to make that your bread and butter.
Coat by CASABLANCA, top by PAUL SMITH, pants by ZEGNA, jewelry is BOJ’s own.
What does brotherhood mean to you?
Brotherhood, to me, just means loyalty. It means love. Unconditional love.
I ask that because you were part of a group.
I still am!
How do you pronounce it? DRB? What's the full name?
Double R Boys. Before I joined, before it was anything, it was two of my boys, Benzo and Fresho. They were rappers at the time, so it was like ‘Rap Royals’. The first ‘R’ is from ‘Rap’ and the second ‘R’ is from ‘Royals’. That's ‘Double R’, so that's what it is; Double R Boys.
How did you get your first big break? What got you guys to your audience? Were you doing this on your own?
Still doing it on my own... But yeah, we were doing it ourselves back in school, sending it via email to our friends. Remember when MSN was popping? That's how we used to share the music. I was just recording, and we'd send it out to our friends. There were a bunch of high schools that were all kind of interconnected, and suddenly the music started spreading between schools.
They would just play the songs on their phones?
Yeah, played on their phones, you know. Play it at parties. Send it to their friends like, “look at these guys that we know doing music.” That kind of shit.
So when did you first realize that this is really going to hit? Was it one certain song that you sent and it spread to the schools faster?
So yeah, it was one song we did. It used to be mostly remixes of songs we did, like "Bedrock" and "Champion". Then we made an original song, and it was an Afrobeat song. Most of the people who connected with it were Nigerians or Africans in general. So that particular song had everyone going, “What the fuck?!” And this was at a time when it wasn't even cool to listen to Afrobeats or be an Afrobeat artist.
Why?
Because it just wasn't cool. We didn’t identify with it. A lot had been stripped away from us, and you weren't that proud to be African before. I'm talking about around 2009. It was like, you were proud, but you kind of suppressed it when you were in the Western world. So at that point, doing that was kind of crazy — like, wow! Everyone actually connected with it, so we just kept it going.
So what happened from there? When did you get signed?
Nah, I’m not signed at all.
Oh, all independent?
Yeah! I have distribution, but yeah.
Jacket, top and pants by HERMES, sunglasses by CELINE, jewelry is BOJ’s own.
How instrumental do you think YouTube was to your rise? Through the group and as a solo artist?
I feel like with the group, we started calling each other ‘Alté guys’, which means you're left of center. It was like saying you're doing things differently. So we started saying, "I'm Alté, I'm Alté." Next thing you know, it's now a subgenre in the African music space, in the Afrobeat space in general — something that has been recognized worldwide.
You coined this phrase?
Yeah, we coined that term. My guy Teezee, my boy, one of my closest friends — he's also in DRB – he's always making up slang. He was the one who just started saying, "Alté." It was him, TK, and FJ. When you see someone dressed extra extravagantly, you know, it's like, "That guy's Alté."
How do you feel about being called the Godfather of Alté?
Eh. It's cool, it's cool. I don't really…..It’s whatever, man. It is what it is.
How do you feel about people that might get inspired by the sound or copy it?
I feel like that's why we're here. That's the one new thing that we brought, and it gives me pride when I see people trying to imitate something that I'm doing. It just means I'm doing something cool. A lot of people get pissed off when others imitate them, but I feel like imitation is the best! It's like a form of flattery, right? It's a compliment.
Shirt, pants and tank top by DSQUARED2, boots by DIESEL, sunglasses by A BETTER FEELING, jewelry and hat are BOJ’s own.
It was announced on June 12th, 2023, that the Recording Academy added a new category called ‘Best African Music Performance’. It states that Alté is eligible to be included, which means nominees will no longer be limited to genres such as Afrobeats. How do you feel about this?
I think that's good! I think it's great to get recognized on a global scale because that's like the most popular platform for world music. I think that's dope, man. Shout out to them for being more inclusive and all that.
I think fashion is a key staple in African culture, definitely in Nigeria. Where do you see Nigerian fashion going in the next five to ten years and are you gonna be a part of it?
I'm one hundred percent going to be a part of it. I can only see it getting better, bigger. Yeah, there's a whole bunch of African and Nigerian designers that are doing crazy things right now, like worldwide you know. I think it's fucking dope.
What's a typical day like for you in Nigeria?
Mostly, I'm at home recording music. I go to the beach a lot. Every weekend I go to the beach. But during the week, if I don't have any meetings or shows, I'm at home in the studio. Every once in a while, I do go out, but not too much.
Coat and jacket by KIDSUPER, top by ZEGNA, pants by BURBERRY, shoes by CAMPERLAB, sunglasses by GENTLE MONSTER, jewelry is BOJ’s own.
Tell me more about your new project, 12 Summers.
I've been in the game for twelve years. I've been doing music professionally for twelve years, and it's like a celebratory album, basically. I'm just happy with where I am in life andI'm looking forward. This is the twelfth summer, and I was about to drop it in the summer. It’s like a summer-y album.
Do you feel like it's a culmination of everything you’ve done thus far, or do you feel like it's a rebirth?
I always feel like every time I drop something, it’s a reintroduction. I’m always trying to elevate each time, so yeah, you could say that.
You have thirteen tracks on the album. Was that intentional?
It was meant to be twelve. I wanted it to be twelve. But then I did one more song with a guy called Blanco from the UK, who I recently found out about. I was such a big fan that I tried to get him on a song. I reached out kind of late, but he sent his verse back in time. There was another song on the album that I was planning to replace if Blanco's verse came back, but I still loved the other song so much that I was like, ‘no, thirteen is fine.’
What's your favorite song off the album?
Right now? Today, it's "Borderline" featuring Cruel Santino. It's just the one I've been vibing with the most lately. I've been around America, doing a lot of listening and launch events, and hearing everything loud — that’s the one that's always [my favorite.]
Tell me how Shirt came together after All Day Gentle Hold!? It’s hitting for me right now because it sounds like you’re returning to your childhood and there are these very funny lyrics, like this blend of innocent schoolyard talk and heavier, real-world contemplations.
Porches— I started a couple of songs while I was waiting for All Day to come out, but most of it was written right after the tour we did with All Day Gentle Hold!. On that tour, we turned everything up. It was the first tour post-COVID, so everything about it felt miraculous and crazy. The live energy from that is what became Shirt. I was screaming and the audience seemed to respond to the more dissonant or heavier parts, which I was surprised by because most of the Porches’ stuff is vibier — at least the last three or four records have been pretty smooth. After the tour, I was less afraid to have it feel more unhinged and boiling over, tapping into these darker, creepier thoughts, sounds, and melodies.
I had to remind myself to stick to the plot — it was a weird place to inhabit for that long. Sometimes I’d listen back and be like, “Oh this is kind of a lot, am I really making this record right now?” But at the same time, I think it’s good to feel uncomfortable and to take a risk. To me it was important to not dilute it — I didn’t want to fuck it up.
It felt like a coming-of-age album, in a sense. Even listening to you now. There’s one song on the album, “Precious”, that I like a lot. You sing about the sky, which is so unpredictable. There can be a really clear sky and all of a sudden a storm and lightning will barge in, or fuck, a hurricane. The whole album feels eerily reflective of growing up and learning to accept the freakish nature of every day.
There are some very naive, awe-inspiring things about the sky, and I feel like it inspires the same awe in adults — maybe just in a different way. On the album, there’s this push and pull with innocence, embodying these more childlike emotions but also being aware that it gets lost in some way, or not what one thought it was — wishing that I could see the world in the same way and struggling with the fact that I can’t. The more I talk about the album, the more I notice all these things at odds with each other, even sounds and genres that contradict each other.
What were you listening to while making the album?
I mean I was listening to Nine Inch Nails and Nirvana like I did as a teenager. I was trying to make essentially a rock album, but that sounds enough where it felt really familiar with some breaks that create this tension. I feel like it started with "Rag," "Sally," and "Precious" being sort of the heavier songs. At a certain point, I was so tweaked out that I was living in the world of Shirt and I made "Voices In My Head," which is sort of like a pop-punk anthem thing. I sort of imagined that song existing in this world, characters in the world of “Shirt” would listen to that song on the radio. Even though it was a little different than the other thing.
Tell me about this world you envisioned. Where did you record it, and did that help you escape into it?
Well, I think I got really caught up in this record. I've been renting a studio in Soho and it’s the first time I ever had a space outside of my apartment. It's in the basement beneath this cobblestone street, with no windows, underground. I honestly think that location had a huge effect on the themes and just being underground, stuff sounds different down there, like the bass. I could turn it up loud down there.
You could probably scream a lot.
I could scream. Yeah, I didn’t have to worry about the neighbors.
That probably felt good. I haven’t heard you scream like that on your past couple of records.
Not in a long time. Once I moved to New York, I ended my screaming career, which was cool, it made room for a lot of softer stuff. But yeah, I was closed off from the world down there, I had the space to dig deeper, to not see my bed or my mail or my taxes or the street or anything. I was crazily left to my own devices — it felt like a demented playground or something.
I like to obsess over stuff and being in this space I got to spiral and get lost, so I guess that’s what I mean by inhabiting this “world” I was making… it’s not a concept album, but I feel like it has traces of that sort of feeling. That’s how I listen to it at least, it feels like a very different world than my day-to-day.
Yeah, it's really experimental, but I don't think it sounds like another world. It doesn't throw me off that you move between genres and sounds. I want to say it's sassy, bringing all of these elements together that come with growing up, how things change, and how the way you look at things changes. Those core feelings are there and you capture that well, but there’s also this reluctance to be as emotive with age.
Yeah. It's less appropriate to act out or do something.
On my first listen, I imagined you performing “Rag”, I feel like that’d be fun to experience in a crowd. What do you think the energy will be like for your upcoming tour in October?
I'm super excited. I mean I was also thinking about how it’ll sound live, the strobe lights hitting, being full of teenage energy and lost in the music. Again, it’s weirdly this post-COVID thing, to never be taken for granted again, how special it is to play live music. For a while, it was easy to get super lost and not think about the live show, which required more attention to the audience. I felt a return to that raw, tongue-in-cheek, snarky, and grabby energy, which felt good. I do think it’s what you were saying… what was it? Sassy?
Another thing you do really beautifully across all of your albums is your songwriting. It’s like liner after liner, and in this album, it's cool because you're still really vulnerable, pushing back in a different way sonically.
I think it had to do with feeling more confident as a songwriter. A big part of it is accepting that I have all of these emotions. I felt allergic to watering stuff down, the uglier, weirder things most people feel from time to time. I try to learn about them by singing and presenting it in a cheekier way. I feel like that's where it grew with the lyrics. They had always been abstract and not meant to be taken literally. I feel like that goes for this one too. There’s still not one story or one thing I'm trying to say, but I do feel more honest with myself. I’m not omitting the darker side of things or trying to keep it all inside. Truly feeling like a maniac sometimes, I’m not just plugging my ears and telling myself that I don’t have these weird demented thoughts.
We all have the weird uglies, and part of growing up is — hopefully — releasing the fear of judgment. It sucks to feel suffocated, because the feelings always finds a way out, and if you’re not committed to it, when they do, you’re stuck watching this weird half-living creature breathe.
Yeah, one hundred percent. That's sort of the goal with each record, to be a little more honest with myself or share as much as I can with the next, even if it feels over the top, or borderline inappropriate. Something felt necessary. Even to make a sixth album, when in reality it’s the 20th album that I’ve made. I know that I have to keep finding new ways to excite myself, and there were moments where I would surprise myself with what came out of my mouth, or what my voice was doing. Those were the moments that drove record. It felt good to keep myself on my toes.
The last song, “Music”, is such a beautiful end to the album. It folds into itself and expands. You can hear yourself soften and explore, and it makes me feel like I’m in the room with you. You let yourself play and this lyric “let the music take control” — It feels like it took control of you, vessel-style.
Yeah, I felt that way with that song too. I weirdly cried when I wrote it. I had the first verse, and I was playing piano slowly, and it slowly came into place and I was like, “Oh… this is insane.” It’s definitely an emotional song, and I felt like it could only be the last song — like the first song, “Twisted World” kind of set the opposite tone.
For me, the whole record feels like a fever dream, a fantasy. You’re not sure what’s real or fake the entire time until the music crashes down. It’s obviously a very personal song, but I feel like if you didn't know me or Porches, in the context of Shirt, it works in a different way. Maybe you’re not a rock star, but a fireman, an astronaut, or a baseball player — some really cliche American dream thing. I see the smoking ashtrays and empties around [laughs], which to me felt like a nice way to ground it at the very end. Something really personal at the end of a manic episode of a record.
Real, and that translates. I cried. The album’s length feels perfect too. I’ve listened to it in full each time. I take it on walks.
That’s awesome, I’m excited. It feels like I’ve been waiting forever. The single release has been the longest rollout we’ve ever done. I can’t wait for it to speak for itself, because I feel like the people that I’ve talked to all get it in different ways. But yeah, it’s meant to be digested together, it’s like 23 minutes — I’m glad that it's not just another stinking Porches album.
Is that how you were feeling?
No, but I feel like there's a point in the cycle where I question everything, where I’m like, This never needs to be heard by a soul. I almost pulled the plug. It was mixed and mastered, and I didn’t talk to my label — I was talking to my girlfriend, I was like I don’t know if this can come out, which I feel like always happens in some capacity when I realize that I'm going to share something with people. You’d think I’d be prepared to make music for so many years, but there’s still no preparation for the moment it goes on Spotify. I wasn't worried that I made just another Porches record, I was worried that I made some sort of monstrosity, but I think that's part of what the album is. It’s ear candy in a different way. It's like you can’t sit back and relax.
No, it’s an album that makes me feel like I want to run and thrash around. A lot of my favorite music makes me feel like I'm in transit, spiritually or physically. These songs do that.
It’s like anti-stagnancy or something, that’s what I’m trying to stay as far away from as possible. Sleepy, bummed out, or in your head; I wanted this to be more physical.
Embodied.
I think the words help awaken your body and your brain. I wanted to get twisted too. I wanted to do all these house shows, and it ended up boiling down to this one show in Jersey last week. It's this 4-year-old DIY space with a one-inch stage. Playing the new songs in there was the best feeling I've had in so long. Finally, all the yelling and imagining people in a room, a band playing these crazy songs. It was a time capsule, from like 2013 or something. I’ve kind of been longing for that, whatever that restlessness is.
Like a rawness. I feel like for a while I’d be in these spaces where I’m like, "Why is nobody moving?" There's this weird lack of environment, I’m not sure, sometimes I just want to be sweat on.
With the first record, Pool, I really wanted people to move, and then I did all the slower, less energetic stuff. Now, it’s weird, but I had the same thought, I wanted people to feel the energy of sweating and bumping into each other, squeezing into a space. It feels more resonant now because it is raw. It’s just a different time. It made sense then and makes less sense now. Too much shit is going on.
Well, as we move through the world, we become increasingly exposed to all these shifting contexts. Even when we’re influenced by these worldly experiences, you’re still, as an artist, ultimately weaving together your individual experiences and way of interpreting it all. It moves through you and out. You’re always you. Just different times.
Right. I've been lucky that I haven't been typecast into one sound relentlessly, and made something significantly different than the thing before. It's nice to express myself and get to explore different sounds and ideas nonstop while making music. Commercially, it would be in my best interest to pick a lane and stay in it or something, but no. It’s fulfilling creatively. I feel really lucky.
