Sumday may’ve contained your best low-key abstractions and had more of a thematic flow than Sophtware Slump.
The closer I got to finishing Sumday, the more I felt I was sealing my own fate. I was afraid to hand it off because once that happens the whole program starts again and the treadmill fires up. There was pressure following up Sophtware Slump. I retreated the only way I knew how, going inward and making simpler, cleaner, more concise songs. My being addicted to an album having balance—I tried to branch out but felt tired during the recording process. To make it seem enjoyable, I made it heartfelt. I found myself digging deeper than if it was a lighthearted, fun process.
Sophtware Slump’s alpine artwork seemed to prefigure your move to Big Sky Country a few years hence.
If anything, that’s just fate, proving where my head was at. Even in California, I’d spend free time in mountains or open spaces. It’s a clearinghouse process of getting my head right. I knew then I’d be surrounded by scenic wilderness. I believe Sophtware Slump’s art was taken from a big coffee table book which, coincidentally, features Montana’s Glacier Park. That was a happy accident.
The solo debut alludes to a new beginning.
That played a part but I wasn’t trying to be too exact about references. If anything, it’s nice to have something valid to write about. You’re not just pouring out cliches. If I’m lucky, something will resonate for a long time. That means I’ll be able to sing the songs for years to come. It’ll mean a lot to me. I won’t feel full of shit wasting people’s time. My downtime’s pretty quality. I’m able to reflect and figure things out. I could deal with everyday stuff, people, and business for awhile and then I shutdown. Proximity-wise, I’m now 10 minutes from being in the middle of nowhere. It’s a good way to recharge, reenergize. In Modesto, downtime wasn’t productive or healthy. I was bummed, depressed, and tried stifling that.