It’s hard to know these days, but did you use real strings on the track? Every line in 14 can be interpreted in a variety of ways and how it’s absorbed is very much influenced by an individual’s cumulative experiences up to the point at which they hear it. That leaves the mood up to the interpretation of the listener, who may find it kind of frightening. Most of the music is composed using a series from a random number generator, so a randomly occurring beauty is surfacing from the twisted elements buried within it. One might call it ‘beautifully ugly’.īeautifully ugly is the way I thought about the song because, at first glance, the track is very pretty. It sounds like a love song but the music inverts that emotion. The track 14 is a good example of the dichotomy in your sound. With Everyone’s Crushed, Rachel set the lyrical tone in a way that was a little more extreme, to the extent that most of the starting points I provided were no longer the focal point of the song. In the past, the lyrics have always been a collaborative effort where, rather than be super-involved, I would prompt Rachel who would become the writer while I functioned more as an editor. The process is set up in a way that the music exists first and Rachel will react to a single line of lyrics that acts as some sort of prompt or launching point. A lot of the album was made during a period when I was having some health difficulties and didn’t really feel like there was much to laugh about, so the music and lyrics are very emotionally honest. It’s not so much satirical as finding humor in what can be a humorless situation. What are you fatalistic about and is satire Water from Your Eyes’ coping mechanism? Your latest album, Everyone’s Crushed, claims to find “silliness in fatalism”. Expanding on previous serial compositional and microtonal techniques, Amos’s use of Ableton’s stretch and sampling tools helps to create a geometric collision course of alien tonalities that divides the band from its indie-pop peers. Water from Your Eyes’ fifth album Everyone’s Crushed offers more home truths, leaning further into the schism that lies behind their unique sound chemistry. In an attempt to discombobulate the creative process, Amos has increasingly utilized Ableton to supervise his idiosyncratic approach to production. Drawn towards their experimental impulses, the duo’s debut album Long Days, No Dreams (2017) reveled in discordant, palpitating rhythms alongside absurdist, poker-faced lyrics grappling with the injustices of capitalism and personal strife. Comprising Rachel Brown and Nate Amos, the duo began collaborating in 2016 having found common ground in the serene yet somber sounds of Scott Walker and New Order. And yet, it is not unfunny.” Finding humor in fatalism is the ethos behind offbeat indie-pop band Water from Your Eyes.
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