By: Kemberlie Spivey
Photo By Gabriel Rollinos
Q) What artists do you think listeners would be surprised to learn have influenced you?
A) When I was a kid my dad played a Shania Twain Live in Chicago DVD in the living room on repeat for months. When my dad gets obsessed with a piece of media he just plays it over and over again, dude. I don’t really listen to country, but that stuff probably got burnt into my 8-year-old sponge brain in ways I’ll never fully comprehend.
Q) Growing up in Brazil, what sounds, memories or everyday moments from home continue to find their way into your music — even if listeners don’t immediately recognize them?
A) Even though Late Again tries to blend a lot of modern textures, most of my songs start on a nylon guitar. I inherited it from my late uncle back in Brazil and it’s always been around. I make a completely different kind of music now, but Brazil is always there in one way or another. I grew up on bossa chords, airy vocals and some sort of slacker melancholy, whatever that means.
Q) I Dreamt I Was Awake is such a fascinating title. Was there an actual dream that inspired the EP, or does the title represent that blurry line between fantasy and reality?
A) The other day I had a long boring-ass dream where I deep cleaned my house in excruciating detail. Then, I woke up and I had to do it all over again. I’d like to think there’s some symbolism behind that. You know, thinking you’re fully in control of some aspect of your life then *snap* – back to square one. On many levels, I guess this EP is about the illusion of self-awareness. I was so sure I was awake in that dream. Of course, it might’ve been just an annoying dream that wasted hours of my day. But I’d rather pretend annoying stuff isn’t for nothing. It makes it a little less annoying.
Q) The EP explores the gap between the life we imagine and the life we actually live. What’s one dream version of yourself you had to let go of and what did you discover about yourself afterward?
A) A version who could be content with a quaint life in a tiny house on an empty Brazilian beach. During the pandemic, that’s where I was in life. And I was pretty happy. But then there was this day where I almost drowned in the sea and, as traumatic as the experience was, it got me questioning whether that’s all I wanted from life. I realized I needed to experience as much as possible from this place before I die and I had to give up my notion of contentment to pursue it. Then, I moved to NYC.
Q) What’s something about making this EP that surprised you — maybe a song that changed completely from the original idea?
A) I didn’t think Late Again would be messing with drum and bass stuff. Someone said the other day most of my songs are kinda woozy and I guess they’re right. But I had this melody in my head for weeks and it felt too mellow. It didn’t fit the lyrics or where I’m at. So, I doubled the BPM and “If You Have A Bridge (I’m Buying)” just clicked. I often overthink stuff, but my favorite tracks are always the ones that come out in a single session. This was one of those.
Q) You describe this as your most ambitious body of work yet. What was the biggest creative risk you took while making it?
A) Overall, the work is more expansive and musically diverse. But I’d say the biggest risk was writing a song where I just… talked. I still don’t know if it was a good idea. There’s a naked quality to spoken-word-esque writing that’s intimidating as hell. I’d ask myself, “Did you really leave your house, then got to the subway, walked into a studio and plugged in a condenser mic to record this thought?” Somehow it feels easier to hide behind melodies. With talking, you’re stuck with whatever it is that you want to say. But I’m happy I did. No idea if people will like it, but the mania I was feeling when I wrote that song and the picture I was trying to paint of these two characters, who have much to say and no time at all, could only be conveyed in a song like that (“Every Time I Take Sudafed”).
Q) Your music balances dreamy sounds with lyrics that can feel charmingly cynical. Why do you think humor and melancholy work so well together?
A) Using jokes as a defense mechanism is an old trick. In a way, it helps you feel less embarrassed about your own melancholy. I’ve always hated the idea of sounding cloying, so I think adding a little bit of silliness to the equation makes things more palatable. It lowers people’s guards without necessarily losing your original point. I don’t know man, after all is said and done… life is kinda silly.
Q) The video for “If You Have A Bridge (I’m Buying)” has such a unique visual identity. What was the most fun or unexpected part of collaborating with visual artist Gabriel Rollinos?
A) Thank you. It’s one of my favorites. I’ve been working with Gabriel for a long time, but this one was special cause it was the most organic thing we’ve ever made. I literally strapped a camera to my forehead and biked a hundred miles around New York recording whatever. I looked pretty stupid (photo attached). Then I sent the raw footage to him with the song and he understood the point immediately. The whole process just happened smoothly. It’s a rare special thing.
Q) Your songs often feel like late-night thoughts that somehow became melodies. What’s the strangest place or moment where inspiration has hit you?
A) It’s nice to hear that because all those songs were indeed written at 3am when late night thoughts were banging around in my head. When that happens, I sometimes grab my guitar and make a song to try and sing myself to sleep. One of those nights I had the chicken tenders I’d eaten for dinner on my mind and I wrote a song about it. Probably the silliest source material so far.
Q) As a multimedia artist, do you see your music, visuals and storytelling as separate art forms or are they all pieces of the same universe?
A) I’ve always wanted to be a musician, but I’ve realized over time what I like the most is just to tell a story, regardless of the medium. And the media complement each other. At the end of the day, everything you put out in the world signals something to the world and to yourself. So, I find it important to be mindful of the bigger picture when you’re creating anything, not only for the sake of whatever project you’re working on but also as an exercise of figuring out who you think you are.
Q) When listeners finish I Dreamt I Was Awake on September 4, what feeling do you hope stays with them—the dream, the awakening, or something in between?
A) If something feels real, why does it matter if you’re dreaming or awake?
Q) What can fans expect from a live Late Again performance and what songs off this EP are you excited to play live?
A) Can’t wait to play “If You Have A Bridge (I’m Buying)” live and watch my drummer Dom get arm cramps on stage.
Q) What would you like to say to fans and supporters of the wonderful work you continue to do with your music?
A) Thanks for reading all the way down here. Love you mom.