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I started making the songs for this album in that kind of headspace, without totally thinking of it as being the next Dirty Projectors album.

"I started out just making beats, creating these rhythmic grids and patterns on the computer," Longstreth continues.

"That felt good, because it was just meditative, and not even overtly expressive.

It was a way to spend time, making different rhythms.

And it draws you into a place you wouldn't go to yourself, helps you discover new ideas, and develop a new vocabulary.You spend all this time making it, spend all your time touring on it, and this goes on in a cycle.For me, it felt really important to get myself out of that, and live for a little bit." That 'living' included a host of collaborations with others, Longstreth working with musicians ranging from Kanye West to Bombino.Second single, Little Bubble, followed by sounding a bittersweet lament for a dreamlife lost.And, then, third single Up In Hudson confirmed the belief that a breakup record was looming: its lyrics openly chronicling the relationship between Longstreth and Coffman: from the first time he saw her (on stage at the Bowery Ballroom), to when he wrote her Stillness Is The Move, to seeing " This is the song to bring up when Longstreth, talking in his newly adopted home of Los Angeles, tries to deflect talk of his new LP's personal quality.The album is also notable for the way it treats Longstreth's voice as a raw tool, the songs both stretching his range, as singer, and pulling his vocals this way and that through pitch-shifting, "the modulation of the voices" amplifying the contradiction and confusion of the wounded lyrics.