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As for the simplicity thing, we should never have said that because obviously the concept of this is supposed to be different to everyone, and I think for us before really even making this record, we had gotten to a place of really wanting to be as natural as possible with what we would make and really let the songs dictate the form and not aggressively put anything into it that would alter the spirit of the music in a way that we found to be kind of aggressive.
It probably felt after playing a lot of Bloom shows that those songs have a crazy force in them, and we got to know that force, and I think that live drums have something to do with that force.
I think we just very naturally wanted to go in another direction. I just think that’s just kind of the natural evolution that we had.
I even asked my boyfriend, “Would you want to be in the band,” and he was like, “No, no, no.
While that album worked wonderfully in the context of its purpose, the band’s next creative step with Depression Cherry seems all the more a natural progression and not a return to prior forms—a point the group itself has offered in promoting the album’s release.
In a recent conversation over the phone, Legrand was quick to point out what she sees as a misleading nature concerning the band’s own descriptions of Depression Cherry.
Sometimes the big moment that will change your life or the thing that you need the most is right in front of you and actually right inside of you—that ultimate change.
I think for me that’s kind of the way we’ve been doing it ever since.Regardless of the wording, though, the record is in fact a strikingly bare collection of songs with little more for the listener to focus on than an unobtrusively expansive sound that carries as much if not more weight than anything else supposedly heavier the band has produced in its career.