Producer, Guitars, Bass, Keys, Drums, Percussion, Vocals

We made this album over a year and many big changes for Mallory. Despite what life threw her way her determination to make this album never wavered, which to me is the mark of a true artist. Mallory would come up to Philly for a few days at a time where we would go into Headroom or Retro City studios and get as much done as possible, thanks to the help of some great engineers, Chance Milestone, Mark Watter and Kyle Balkin.

I’m really proud how we ultimately decided to embrace all of Mallory’s different tendencies. There were a few discussions about whether it was too “all over the place”, or if a certain song could fit with the rest. The fact that these songs are all authentically Mallory is what makes it work though. The different genres/sonic spaces the record goes were always in the way these songs were written. Mallory’s voice is the through line that makes it all come together. Especially in an age where so much music is being made to blend into the background and fit neatly into the algorithm, I’m proud that we made something that bounces around so much.

There’s a lot I could write about this one! “D’Anger” was the problem child for awhile until we landed on the right layers to give it the energy it needed. “Rotten Man” we kept the layers sparse, intentionally having each instrument played by someone else to give it a true band feel. “Four O’Clocks” vocal day was so fun, and seeing Kyle’s reaction when Mallory first tried the little outro run was probably my favorite memory from the whole experience.

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