Allegra Krieger Interview

[Transcript is the edited, direct interview, not the episode script]

Absent Sounds: But before I get started on the record, I actually wanted to start off a little bit about you. It's a little bit more of the chicken or the egg. When it comes to your music, do you feel like a lot of the part of discovering that side of your artistic self feels like you're uncovering it? Like it is something that already exists and you're pulling back the curtain? Or is it something that you're kind of just manifesting or creating as you go along?

Allegra Krieger: I think it feels more like pulling back the curtain. I think like maybe a little bit of a mixed bag depending on what I'm doing. If I'm writing something that's very lyric heavy then I feel like that's more of like an uncovering, sort of like taking in a landscape, looking at some sort of problem or like emotional state. But if I'm doing more instrumental or composing, that feels more like you're creating something, like you're painting a blank page. If that makes sense.

Absent Sounds: Yeah. No, that's kind of why I was thinking about it, because in reference to this question I was thinking a lot about for myself when I was doing some paintings on my own. And sometimes it feels like it's coming, like this is just unfurling in front of me. But other times it's like, is this just always there? And I don't know.

Allegra Krieger: Yeah. I mean, I feel—I've definitely heard it said before and I feel this way a lot. I think it's just that feeling, especially when you kind of feel like you're onto something, that you're exiting yourself a little bit and you're in that place where, yeah, I don't know where the ideas are or something, and then you can kind of float back down and edit and change things and make it a whole thing or something.

Absent Sounds: I really—or not. The fact that you're saying that too, that brings us, it's kind of like one of the big themes that I had about this album where I was getting off of it, was a lot of this not only absence of self or kind of like removing, but kind of like—well, there's two themes. I'll get to those two themes specifically. I love those. But with the Infinity Machine, it feels like kind of what you're describing. I want to know what the Infinity Machine does first. Okay.

Allegra Krieger: Well, I feel like we're on the same page already with the Infinity Machine. That came—that started because I was working at a bookstore and I was just flipping through some science book. I don't even remember what it was, but I saw "Infinity Machine" on some page and I was like, that's just—I just started thinking about how there is potentially this mechanism that's consistently, maybe cyclical, just moving all of the time around us and through us, and just how all of these light and dark, positive, negative things contribute to the mechanism of this thing that keeps propelling us—at least us humans—forward. For now. And then just propelling the earth forward too. And then, you know, the cosmos, who knows?

Absent Sounds: I know. No, I like to think about this is a little bit more existential on the other side, but yeah. Sometimes I think when, even if humans are gone, there will be something that exists outside of us as well.

Allegra Krieger: I totally, absolutely. Yeah. That's how I feel too. Like, we're so small.

Absent Sounds: I know.

Allegra Krieger: We have like big—we think we have big brains, but I think they're all—I think we're pretty small in comparison to what's going on in nature and all the stuff we don't know. Yeah. Like there's a lot we don't know.

Absent Sounds: I feel like our consciousness is what makes us smaller, but also kind of tethers us too. Which is exactly—

Allegra Krieger: Yeah. I feel like it does. And it's like how creativity and music and art is like, I think why it's made, you know, which is what it's good for, you know?

Absent Sounds: In reference as well to the other theme on the other side of the record, which maybe this is not even contrasting, but it felt like there was a lot of burning. There was a lot of quite literally—because I know you've probably talked a lot about this at length—

Allegra Krieger: Yeah, yeah.

Absent Sounds: But yeah, the fire, I guess that side of it. And yeah. Do you want—I don't know if you have anything else you wanted to say?

Allegra Krieger: Yeah, I think just my—I mean, that was such a small experience I think in the scheme of—when I recorded this record, it had actually just happened. So there were a few songs that were written in that immediacy. And since then, like, I mean, there's been so many wildfires, just so many things that have happened. So many horrific disasters. And I think I was just—I think in that record I was maybe dialing into that sense of just a very tactile impermanence of like how you're there one day, the next day you're not. And like, what does it mean to you to be here now? Not to—I'm not the most centered person in the everyday, but I think it was just me reflecting on trying to acknowledge that all of these things are happening all of the time on such a grander scale too. And then, yeah, and just thinking about that blip of what humanity is and what we do while we're here. I guess that—I don't know if that answered.

Absent Sounds: No, there's so much stuff from that that I could pull. Definitely brings us to a lot of the things I'm gonna ask you about in a bit. But I want to bring us now to the first track off the record, which is Roosevelt Avenue. And that brings us to like the tangible—as soon as the song comes in, it feels like there's so much motion in it that starts us off forward. Could you tell us a little bit about that track?

Allegra Krieger: Yeah. That one I wrote—I think it used to be—so I wrote it actually, I had this day where I had just moved into like my temporary living, I was living in a hotel that the city put people in my building up in while they did construction. And that hotel was like a little bit of a trip. It was very—it felt like it was stuck in time. And everyone who lived there had been displaced by some other—either like flood, like a flooding in the apartment, a fire—a lot of people that came from fires. And yeah, that was just a really surreal experience. Kind of meeting some of those people, hearing where they were at, you know, like a year, two years later, still living in this hotel. And then I went to Queens. I was with my partner and we were just—it was also a really smoky day outside. I think there were wildfires. Potentially maybe even coming from Camp. I don't know exactly. But it was like a hazy day. Yeah. There was a lot going on. The world's burning. There always is. But yeah, it was kind of like a smoky day and we were just walking down the street called Roosevelt Ave. And there's a lot of amazing restaurants and just a lot of life there, and it was just a really beautiful sunset and I just—it just felt like a nice little, yeah, like a weird moment in time where I just felt very dialed into kind of all the little details that were passing me by.

Absent Sounds: Yeah. Yeah, I think that's actually a really good point. Something about sunsets for me as well really dials me into the moment, or if I really try and focus and say, okay, I'm—I don't know. It's like a prayer sometimes it feels like, to the sky. To the sun. You know what I mean? Like that's—it feels like it's outside.

Allegra Krieger: Yeah. And it's hard to—I mean, yeah. It's like the cliché happens every day, you know? Yeah. It's like, but it's hard to catch it. And when you do, especially in a city, I'm sure in Toronto similar, it's like a little bit more—it feels more impactful or something. Because it's like you're surrounded by so many manmade things that you're like, oh yeah, this is insane what's happening above me in the sky.

Absent Sounds: Yeah. And I just wanted to use that as a good segue for the next track, which is Never Arriving. Because of the way that these two tracks I feel like really emphasize like a lot of erasure of the edges outside of yourself. And for this track, was that intentional? Like, do you find the formlessness that you're reaching for in those songs is intentional?

Allegra Krieger: Yeah, I feel like that song in particular is really just—feels just like about that. It's just kind of short and, yeah, just never arriving to where you're going. Never fully, yeah, just constantly moving or something.

Absent Sounds: Yeah. I guess it is a liminal space of life or whatever.

Allegra Krieger: For sure. Yeah. And like the spiritual liminal and then it all—

Absent Sounds: No, no, no. Absolutely. Yeah.

Allegra Krieger: There's in the phrase "the Art of the Unseen," I kind of wanted to know a little bit more about what the art of unseen looks like. Yeah, I think I definitely pull—like I grew up really religious and I think even as an adult I sometimes—you know, I always was looking for little signs and talismans. As I got older, just symbolic things. And yeah, I think the art of the unseen is just kind of like, yeah, like me maybe looking up to the sky, praying in some way to something. Having a little hope potentially. Yeah. Or just, you know, appreciating the hopelessness for what it is. I don't know.

Absent Sounds: Yeah. That definitely does feel like a little bit nihilistic.

Allegra Krieger: Yeah, definitely. I have a healthy dose of, you know—

Absent Sounds: Oh, necessary.

Allegra Krieger: But in a comforting way, you know?

Absent Sounds: Yeah, I do agree with that. Like I—or at least that's kind of the way I feel. Maybe it's a little bit more depressing, but exactly.

Allegra Krieger: I know. Yeah. Some wouldn't agree with us.

Absent Sounds: When you're talking about the talisman stuff, that reminded me of the track One or the Other. This is interesting because there's a little—I'll give you the precon to this. So the summer of last year, I broke up with somebody. And then let's say a month later I wrote an apology letter. So after I sent the apology, then a few weeks later I'm at home and I'm in my bedroom. My mom comes and says like, hey, I'm gonna get groceries. Something's on the oven. Watch it obviously. Because I'm in this weird depressed haze. I fall asleep and I don't wake up and I wake up and it's like I'm surrounded by smoke. Oh no. And I thought I was dead. So my instinct was to look for my phone and check the time.

Allegra Krieger: Oh shit.

Absent Sounds: When I check the time I see he replied to me at the exact moment. So that felt like a really weird talisman.

Allegra Krieger: That gave me some weird shock.

Absent Sounds: Yeah, it was really strange. And I didn't know if I was looking for signs or looking for things. But I related to that when you were—because I had a dream about this as well. It was so strange because you said you had a dream before the fire happened.

Allegra Krieger: Yes. Yeah. It was—I remember that dream so vividly too. But yeah, like those moments where you feel like—wake up, you know, kind of like a sign. Yeah. I really felt that, especially looking back on this dream I had where I was just hiding like—there was a murder, like I killed someone and it was the most stress. I don't know. Can't—don't want to get into the details. No, it's okay. But yeah, no, sometimes you are just looking for signs. And sometimes the world gives you a sign.

Absent Sounds: Yeah. Do you feel like that gives you—that's helpful for you? Sometimes for me, I feel like it's unhelpful for me to keep looking for signs, so I stop.

Allegra Krieger: Yeah. It depends on my mental state, I think. I think sometimes I really get a lot of direction from just feeling confident that I'm like, oh, things are kind of falling into place in this way that is exciting and feels good and I'm gonna keep going this direction. But sometimes you get no affirmation that—yeah. And so I do value little signs, even if they're just little stupid things. I don't know.

Absent Sounds: No, I totally get that. Okay. Yeah. Bringing it to—because I know I'm gonna come back up to Came. The line I kind of wanted to highlight here was when you repeated "what are you doing here anyways?"

Allegra Krieger: What are you doing here? Yeah.

Absent Sounds: I just kind of wanted to know—do you remember what that line was coming from or that place?

Allegra Krieger: Yeah. That song was like—I'm like, what? Oh, I have to sing it to remember. Yeah. But I think that song was me entering a new relationship and feeling very hesitant. I had just come out of another relationship that was really difficult to uncoil. And I think I tend to be very—yeah, like a little both/and. Like I see a lot, I feel a lot, I have a lot of inner conflict. So I can feel very strongly in one direction and very strongly in the opposite direction. And I think it was kind of navigating those conflicting feelings at the start of something. Yeah. And I was—

Absent Sounds: I really appreciate that. Yeah. There is a lot of tension that I feel like I find through your work too. Or, you know, balancing the—maybe the dialectics they say. You're balancing it all.

Allegra Krieger: Yeah. I just gotta keep it up in the air, you know?

Absent Sounds: Absolutely. And with track four, which is Burning Wings, this track for me felt like—rather than a lot of them, a lot of your music, it feels like we're catching the story while it's in motion or maybe there's something we're slipping into, right? This one felt like a lot of fragmentation that's coming into it.

Allegra Krieger: Yeah. Yeah. That song to me also just feels kind of like a passing moment. Like a passing mood of fear or, yeah, maybe just some instinct popping in or something. But yeah, definitely feels kind of like a lot of maybe conflicting emotions coming in at one time and then just moving through it.

Absent Sounds: Absolutely. What do you have—something that keeps you grounded when you're continuing dealing with it?

Allegra Krieger: I mean, more recently I have developed a pretty healthy coping mechanism of just being active. Like I really do think I get so—just in my head sometimes that doing something physical is really helpful for me. In that—definitely, I mean every time I physically exert myself I can come back down to a place of rationality or something.

Absent Sounds: Yeah. I think for heady people—

Allegra Krieger: Yeah. You gotta do—yeah. When I learned that you could—when I learned that that worked, I was like, this is cool. Who would've thought? This is cool. I've been told this my whole life. But finally—

Absent Sounds: Actually that drinking water helps. All that's crazy stuff. Yeah.

Allegra Krieger: Have a glass of water, just basic stuff. Yeah.

Absent Sounds: Yeah. And I love that because the next track, which is—well, actually I'm gonna go to Over and Out. I'll just drop the next track. But that one, it feels like such a juxtaposition where, to me I was like—jaw dropped. Or maybe it was more just like, it reads like a goodbye note and an internal goodbye note.

Allegra Krieger: I know. Yeah. Yeah. That one, I feel like I wrote that one just in kind of when I hit a low mood where I think it's like—yeah. Like it's funny, but sometimes you just want to walk away or just float away. Honestly, where you're just like, I'm not here anymore. Like, I don't want to—I don't want to touch anything on this. I want to cause no harm. I don't want anybody to cause me—you know? It's just that feeling where you're like—

Absent Sounds: Exactly. Yeah, I totally, totally get it.

Allegra Krieger: That it might be slightly a childish emotion expressed in a way that is, but yeah—

Absent Sounds: No, no. Yeah. I think that honestly, maybe it's like the childish emotions are the ones that are really driving us.

Allegra Krieger: It's so true. I mean, yeah. It's so true.

Absent Sounds: When you say floating away, it makes me think of another question I had related to the track before that, which is I'm So Happy I Cannot Face Tomorrow.

Allegra Krieger: Right.

Absent Sounds: I love the title here because it just feels so—I don't know. One thing I'm like—the juxtaposition that you kind of embrace. Yeah. But the question I had here, once again, the precon—I was sitting in the car and I do this thing sometimes where it's related to the line where you say "its potential of taking you away." Where sometimes I start to imagine myself in the future looking back at me as a memory and think of all the things I'm gonna—maybe 50 years. I'm like, I don't have my parents, I don't have this person just in my life.

Allegra Krieger: Totally.

Absent Sounds: And so I try to have that looking back, okay, so I'm living this memory right now, so how do I not hurt this while it's here? I don't know. And—

Allegra Krieger: How to not hurt it, and also how to know which path to take or—yeah. No, I feel that so wholeheartedly where you're like, especially when you are feeling it, some experience where things are feeling really good and exciting and then, yeah, there's just—you don't know what is gonna happen tomorrow. And I think, yeah, you just really, I mean, being alive is a very volatile experience and anything could happen. Yeah. Yeah.

Absent Sounds: You never know when something might be the last time.

Allegra Krieger: I know. Yeah. And it's so, yeah, crazy to dial into that thought. I mean, but it's really valuable and—yeah.

Absent Sounds: Yeah. That's what I really love about this record. It feels like it is dialing into eternity.

Allegra Krieger: Yeah, exactly. I love that.

Absent Sounds: Which is track number seven. Yeah.

Allegra Krieger: Perfect segue.

Absent Sounds: Yeah. How about you tell us about this first before I go on?

Allegra Krieger: Yeah, that one I wrote when I was on tour, actually. I was just driving, so it's just sort—it's a little stream of consciousness. I wrote it without music at first and yeah, that one just kind of came, yeah, in kind of one fell swoop, I think. I can't honestly quite remember. I was, yeah, I was driving through Richmond and it was a little bit of a condensed version of a few different moments in my life that kind of stuck out to me and yeah.

Absent Sounds: I definitely love the way that you bring in all those pieces together. It reminded me a lot of—I don't know if you probably got this, but Sun Kil Moon, if he wasn't a terrible person.

Allegra Krieger: I am. I am. Definitely. I, you know, before the news got out. Yeah, me too. Oh, too, me too. I mean, he's a great songwriter and I really do like his—him and a few others. I feel like there was a moment when I discovered certain songwriters bringing in very mundane elements into their songwriting, but they're painting the big picture. Yeah. I really love when that happens.

Absent Sounds: Me too.

Allegra Krieger: In a song. Me too. And yeah, I think that was a moment of just not having an instrument and was just, yeah, rambling on my iPhone recorder. I was just talking to myself essentially, which I do all the time on tour.

Absent Sounds: Yeah. Talking to myself—that's because my sister's not here, so I'm literally just talking to myself all day.

Allegra Krieger: Yeah. You gotta get your ideas and your thoughts out of your brain so it doesn't poison you. Absolutely.

Absent Sounds: One other thing I wanted to ask about this track specifically was kind of the way that—well, first of all you say pain and joy and compromise, which I thought—the pain and joy was kind of intuitive to me. And then the compromise part, I was like, oh, whoa. Every time I hear that, it just kind of—what's the compromise?

Allegra Krieger: I think the pain and the joy and then to live amongst other people, whether it's relationships, friendships, or community or city or whatever. I think the compromise is that it should never be all pain. It should never be all—it can't, in an interpersonal sense, but just, yeah, just accepting that life is mostly compromise or, you know—and I think individuals, and myself included, it's like you want so much to—everybody has dreams. Everybody has these things that give them life force, and then it's hard for everybody to have everything that they idealize and see. I think initially I was focusing more on a relationship stance, but then, yeah, then I kind of grew into a bigger thing, I guess. Yeah.

Absent Sounds: Which, yeah, no, I think that's kind of interesting how that works. A lot of things or my favorite things are—we start off small and then it kind of, oh, this is kind of how—yeah. At the end there's some kind of sampling that happens or—at the end, or I don't know if it's a sample, but there's a—

Allegra Krieger: Oh yeah, the little piano. Yeah. Yeah. That was just a little piano improvisation thing that I did. It was recorded on my phone. It's a voice memo. I really love it. And yeah. And then at the end, I think we cut it and then did a little repeat action. You know, I love it—but yeah, just a little, not doodle. What's the doodle form in music? The little—yeah. But I don't know, but it's whatever—whatever it goes out. Yeah. A little—is beautiful. Yeah.

Absent Sounds: With Absolve, that one, I feel like that's probably—well when we reach the halfway point of the album, then it's like the tears start coming out when you start listening. And I think for me the interlude heading into Absolve is where it hits me a lot.

Allegra Krieger: Cool. Interesting. I'm really curious. I also feel very sensitive around that point in that.

Absent Sounds: Yeah. Tell me about it.

Allegra Krieger: Yeah. Absolve I think is—that one was an older song and I just kind of had remembered it when I was in the studio and I was like, should we just record it? You know? And it kind of ended up—it ended up being one of my favorites. But yeah, I think that to me is just capturing—I mean, I feel like it starts with me as a young adult and then sort of like, you know, those glimpses of childhood, how they're kind of like bright flashy memories. And or just your younger self and just kind of amalgamating. And forgiving yourself. Yeah. And yeah, forgiving. Just refreshing. And I think also, yeah, certainly related to my Catholic upbringing of just confession, you know, when you sin or sometimes not even when you sin, but it's just you just need to be washed clean every once in a while, you know? Like spiritually or just—sometimes, you know, sometimes a good shower, you know, you just feel new. Yeah. I think it's just like, or go to the ocean and it's fully—I mean, that song feels like it happens part in Salt Lake City and part on a beach. I feel like. Yeah. You know.

Absent Sounds: But yeah. Exist in so many planes. Yeah. When you mention the childhood part, it might be a little bit of the loving-kindness meditation. I don't know if you've ever done that.

Allegra Krieger: No.

Absent Sounds: It's so—it's probably the one thing that actually kind of helped me break through a lot of this self-loathing thing. Yeah. So you're basically—yeah. You imagine yourself walking into a room and then you're sitting there and yourself, or if you can't do it, use a mirror. And then you're like, you see the pain, you see the hurt that this person has gone through, and then there's a whole thing you can go through, but then it'll be like, you know, may you be well, may you feel peace, and you just talk through that person. Oh, and it—yeah. There's something about, I guess, remembering that little you or the other version. Yeah.

Allegra Krieger: Checking back in with the baby that we all were.

Absent Sounds: Exactly, exactly.

Allegra Krieger: That's sweet. And I've never heard of that, but—

Absent Sounds: Yeah, it's really good.

Allegra Krieger: That's cool.

Absent Sounds: We did talk about One or the Other. Yes. Yeah. And I—yeah. One question I had about that was more about the binaries of, do you think that life is really able to exist in boundaries like life and death? Or is it just a trick of the language that we use? I don't—

Allegra Krieger: I really don't know. I mean, I tend to err on the side of—I don't—I've—that our spirits are recycling potentially. And I have no idea what happens after life. But I think in that song, as we know it now, or at least as I understand it, it's like sometimes you're so focused on all these things that you plan to do or want to do, or just little daily stresses, like, work sucks, whatever. And then, but this is the living that's happening right now. Yeah. And then, and this is all of it. And then so it's this or it's just nothing. Yeah. Or you just are dead, you know? And we don't know what that is. Or I don't—I'm just like, I—yeah. We'll see. We'll see. And it could be a lot of different things, or it could be nothing, you know? But I feel like that was just, yeah, it's like you're here or you're not here. Yeah. At least on this earth. Yeah.

Absent Sounds: Yeah. So that's a really hard thing. Like here, not here. Because I know from the people who deal with the other side—yes—dealing with the pull towards the other side. Sometimes it's like if I'm not here, it's okay too. Exactly. Which is—it's not actually such a bad thought, but, you know.

Allegra Krieger: No, totally. I mean, I definitely have felt that. That inner conflict where I'm like, yeah, it's like it's one or the other. And the other is okay too. Like sometimes when you're in that headspace. And I think, yeah, it's also the other is unknown, so it's like we really—yeah. I don't know. It's like we—it's hard to know. It's like we only know this.

Absent Sounds: Yeah.

Allegra Krieger: And there is so much suffering and so many difficulties that people have to move through every day here on this earth. And then there also are a lot of incredibly joyful things and beautiful things and, yeah, it's just hard to sometimes see past certain things and—yeah. But yeah, but this is all we know for now at least. I think that's sort of where my head was at when I was—where I was like, what?

Absent Sounds: Exactly. That brings me to another thought, which is related to the next track, which is track 12, Where You Want To Go. Because there is kind of a lot of the—destination, like the arriving, but the arriving's not the actual part, not the destination, you know? Right. Yeah. All about the journey. Yeah. But sometimes I think that it's like the wanting that makes it so painful before, rather than even arriving—

Allegra Krieger: Exactly.

Absent Sounds: Yeah.

Allegra Krieger: Like the desire, like how desire is—yeah. Like desire is kind of the thing that is so painful. Because the getting, normally the getting feels different than what you thought or what you maybe wanted and, yeah. It's like, I don't know.

Absent Sounds: Tell me a little bit about where you want to go or what that means to you.

Allegra Krieger: Yeah. And that track to me is—I was very, I think, feeling a little depressed—

Absent Sounds: Yeah.

Allegra Krieger: When I wrote it. Yeah. So that track for me is—I tend to, in music, find a lot of relief in just being able to say things that you don't—that are typically not okay to say in public or just, you know, yeah, talking about, yeah, just things that are not maybe, or that are more taboo. And I find a lot of relief in writing those emotions and feelings into a song. And that is helpful to not dive so deep into those feelings. And I think, yeah, I guess unrelated to the song—where I want to go in my life. My healthy life is, which is, you know, it's like I ebb and flow, but—

Absent Sounds: Mm-hmm.

Allegra Krieger: Yeah. I think I just want to—I want to go towards making a positive impact on my loved ones, keeping grounded and keeping—it is just staying aware of my place in this whole sort of equation. Yeah. Both: Yeah.

Allegra Krieger: And when I talk I sometimes I'm like, I sound so—I'm like practicing gratitude. Like this is maybe not how I am in my everyday life, but it is a reminder I think. I think music to me is—sometimes it's like when I write, it's the worst parts of myself and the best parts of what I aspire to. Yeah. And trying to find all of the connections between those. And yeah, and I think where I want to go, I'm like, I feel pretty good where I'm at right now, you know? Yeah. Just I'm healthy and, you know, I have a really, you know, just safe place to live and yeah. So I'm feeling good where I'm at right now. Yeah. Well, I'm in Toronto for some reason. Like, that's so—I'm like, it's crazy to just be in all these random cities. It's so cool. And I'm, yeah, like I feel like touring so much—you forget, you're like, I'm in—I'm in Toronto. Yes. And playing a show and that's really kind of all I wanted, like ask me five years ago it's like all I wanted to do was tour. So. Yeah. So feeling good.

Absent Sounds: Yeah. I love that. Yeah. And I guess all roads seem to lead to New Mexico for the end of the track. Yes. For the end of—I guess to close off the little track by track, can you tell us what this one, where this one stands?

Allegra Krieger: That was just sort of a little folk song I wrote when I was on tour in 2022. I think it was a little DIY tour that I had booked and I was driving this car that was—like the—it was basically a hand-me-down car from my friend's brother that was just sitting in the desert. And they were like, you can take it if you need to get across country. Because I was planning to do a bus tour, but I took this car and it felt—it felt extremely dangerous, but I did drive it across country.

Absent Sounds: Wow. Impressive.

Allegra Krieger: Impressive. And I feel like there were just all of these—it was just a really memorable—I mean, looking back, it was a really memorable tour. I was by myself. And yeah, I wrote that song when I was in New Mexico. I was having some car troubles and pulled over in Truchas, New Mexico and just kind of took a moment to play my guitar before figuring out some more logistics and, you know, some light reflection on my life. And I was listening to a lot of Townes Van Zandt at the time too. So it was super heavily influenced by a Townes song, but yeah. Yeah. Thank you for having me and being flexible with—yeah.

Absent Sounds: Yeah, I can't wait to hear you tonight at the show. Thanks.