Thanks again to Jimmy Kimmel Live for having us and giving me an excuse to keep writing this song. Hope you all enjoyed it.
Today is the 10th anniversary of Sandy Hook. This song, ‘The Interest of Time’, is about the impossible thought process a parent goes through some version of in the aftermath of such an unthinkable atrocity. I wrote this and sang this before either of my sons were born but I don’t think I’m gonna sing it again.
It’s a sad song. It would be strange to say I hope you enjoy it. But I hope you find some kind of meaning in it for you. A small effort to bring the humanity back to a desensitizingly regular piece of the news cycle.
Listen at https://found.ee/dawes_interestoftime
Dawes is donating all of their proceeds from this song to the Brady Campaign / Team ENOUGH, and we want to thank our record label, Rounder Records, for their donation to Brady Campaign / Team ENOUGH.
Our new album ‘Misadventures of Doomscroller’ is here! Listen Now!
About Someone Else’s Cafe / Doomscroller Tries to Relax – Every time a take was completed felt like a major accomplishment. It being 10 minutes really raised the stakes. Didn’t wanna be the guy to mess up in minute 7 or 8 with everyone playing flawlessly up to that point. This whole album, and this song especially, felt a little beyond our comfort zone and I’m really proud of what that’s done to the music. I like to think that you can hear the eye contact, that you can hear us thinking on their feet. It’s already become a top 5er to play live. Happy to finally have it out in the world.
Track 2 – Comes In Waves – I had this riff and one of the verses for a while. Griffin, Wylie and Mike Viola came over to my backyard (this was peak covid) to just play music together for one of the first times since lockdown. I started sharing the song and Griffin and Mike started singing their background parts you hear on the choruses on the record immediately. It inspired me to finish writing it.
The lyric is about the arbitrary demands I make on myself. I want to perceive me or my life a certain way but I make no exceptions for an off day or a misstep. Whether it’s a win or a loss, it’s all transient, and only when I can live in some version of that awareness (which is itself transient) am I able to bat away any fears or anxieties or the consequences of an over indulged ego.
Track 3 – Everything Is Permanent is a song (about how everything about us is tracked, documented, recorded, filed, mined, bought, sold, etc. etc. on some level) that is wrapped around a molten core of a breakdown/freakout/majorminorinterweave that is probably the moment I’m most proud of on the whole record. After showing you the blood and guts, we gently sew the song back together again and end with what could be the tagline for all of social media and the screen-life-culture that we subscribe to these days to varying degrees: “Did you really need to cry? Or be seen crying?” – TG
Track 4 – The words to Ghost In The Machine are about the early days of a band. Playing small clubs and going on small tours. As hard as it is in the moment, it’s hard not to look back at those times through rose colored glasses. It’s all a lot more romantic now. And it’s also what built our foundational faith in what we do.
It’s the first time we’ve ever had a song with this kind of feel. We got Jonathan Wilson to play a second drum kit for the live take. Griffin and he switch off taking those drum breaks at the end. The solos were live on the floor and there’s no BGVs so other than extra percussion, a rhythm guitar, and an extra keyboard part, it’s all one live take.
Feels like it’s gonna be a mainstay in the live show for a long time to come.
Misadventures of Doomscroller, produced by Jonathan Wilson. Grab your own vinyl copy now!
Our new live album ‘Live from the Rooftop (Los Angeles, CA 8.28.20)’ is here! Listen at https://found.ee/DawesRooftopLive
Give us all your thoughts. Tell us all your highlights.
Today we’re releasing Free As We Wanna Be as a single along with an acoustic version and a live version LISTEN HERE
Single version: Since this baby already clocks in at 3 minutes, you’ll be hard pressed to find any differences between it and the album cut. But I implore you to give it a re-listen anyway in this new context as a “single” rather than a Track-8-On-A-9-Song-Album. Who knows, maybe you’ll love it more. Maybe you’ll hate it more. Either way, the tiny space it takes up in your brain currently is begging to be re-shaped by this new digital packaging. LISTEN HERE
Acoustic version: When the Powers-That-Be hit me up again to record some sort of acoustic version of this song to include in this extended-single/mini-EP, I thought, “With MY pro-tools home rig? With these plug-ins? With THESE mics? No thanks!” But then I remembered I bought a 1979 Tascam Portastudio 4-Track Casette Recorder about a year ago but was too fearful to figure out how it worked. Until now. I dug into the instruction manual, I plugged my mic into my reverb tank, the reverb tank into the Tascam and did my best. You’re gonna hear a good amount of hiss, some weird ghost flares (maybe something to do with power in my house?), and way in the background you can sorta hear when I’m cutting in and out of overdubs. Suffice it to say: it’s scrappy. But I love it. It feels like a living recording. It’s the first thing I’ve ever made on this 4-Track and I’m damn proud of it. LISTEN HERE
Live Version: This was recorded the same day we made our North Hills live stream (for you Dawesians out there that were able to catch that set and know what I’m talking about). It’s live from the amphitheater at Griff’s and my old high school. Last time we were there was Griffin’s graduation when we were a few months away from recording North Hills back in 2008. Looking forward to getting this tune on the road so the live version can get hairier and hairier, but it feels good to have a documentation of what it sounded like the 4th time we ever played it live. LISTEN HERE