“I’m honored to have been the first singer that they’ve incorporated in their music.” “It feels really special to me,” says Lee.
“As far as an essentially instrumental band, these guys are kind of the top for me,” says Bridges. Texas Moon represents a genuine and rare achievement, with two of the most respected and innovative acts of their generation truly collaborating to create something new. Meanwhile, since these recordings began, in addition to his genre-defying album Gold-Digger’s Sound, Bridges has put out several other challenging, shared tracks, including work with John Mayer, Lucky Daye, and Jazmine Sullivan. Khruangbin’s most recent album, Mordechai, moved their own vocals much further forward, a change they readily admit was a direct result of working with Bridges. Significantly, both parties’ musical directions were clearly affected by their time working together. While the five new songs are clearly a continuation of the first EP, they also have an identity all their own-Bridges calls it “more introspective,” while Khruangbin bassist Laura Lee says it “feels more night time.” When Texas Sun was released, AllMusic called the results “intoxicating” and Paste noted that “their talents and character go together so well.” Now comes the next stage-a set of songs that touch on themes like love, faith, and death while exploring new dimensions of inventive, hypnotic grooves. Worth, and trailblazing Houston trio Khruangbin have joined forces for the Texas Moon EP, a follow-up to 2020’s acclaimed Texas Sun project. "Two of the acts boldly leading Texas music into the future have now delivered a second chapter of their groundbreaking collaboration, further extending the region’s sonic possibilities. She recorded Laurel Hell with her longtime producer Patrick Hyland throughout the isolation of a global pandemic, during which some of the songs “slowly took on new forms and meanings, like seed to flower.” Sometimes it’s hard to see the change when you’re the agent of it, but for the lucky rest of us, Mitski has written a soundtrack for transformation, a map to the place where vulnerability and resilience, sorrow and delight, error and transcendence can all sit within our humanity, can all be seen as worthy of acknowledgment, and ultimately, love. It is the longest span of time Mitski has ever spent on a record, and a process that concluded amid a radically changed world. She wrote many of these songs during or before 2018, while the album finished mixing in May 2021. Exhausted by this warped mirror, and our addiction to false binaries, she began writing songs that stripped away the masks and revealed the complex and often contradictory realities behind them. Like the mountain laurels for this new album is named, public perception, like the intoxicating prism of the internet, can offer an alluring façade that obscures a deadly trap-one that tightens the more you struggle. She ascended amid a fever of national division, and the grind of touring and pitfalls of increased visibility influenced her music as much as her spirit. Her critically beloved last album, Be the Cowboy, built on the breakout acclaim of 2016’s Puberty 2 and launched her from cult favorite to indie star. With Laurel Hell, Mitski cements her reputation as an artist in possession of such power - capable of using her talent to perform the alchemy that turns our most savage and alienated experiences into the very elixir that cures them. But occasionally, an artist proves the form more malleable and capacious than we knew. We don’t typically look to pop albums to answer our cultural moment, let alone to meet the soul hunger left in the wake of global catastrophe.
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