TENNIS

I begin our sixth album by exploring melodies that take me to the boundaries of myvoice. I write myself into my highest highs and lowest lows. There is a precariousness inthe outer limits of my range that demands vulnerability. As our demos take shape, Irealize this will be our first album without any belting, the first time I can’t force myway through the notes. In the studio, Patrick compresses the shit out of my mic and Ising with the gentleness of breathing. In that softness, lyrics take shape.

We want to write a big album—something suited for radio, but our songs don’t followconventional pop structures. Instead of choruses with universal themes, I write with aspecificity that is new to me, narrowing in on the smallest details of our lives. The morewe try to broaden our scope, the more we turn inward.

To keep ourselves from falling into old habits, we use instruments and gear that are newto us. We work alone and Patrick engineers. The sounds he creates are as foundationalas any part he writes. We resist the urge to over edit or do too many takes. Unlikeprevious albums which have been more wall of sound, we make a point not tooverpower my voice with a dense mix.

We name the album Pollen. It is about small things with big consequences: a particle, amoment, a choice. It is me in a fragile state; sometimes inhabited freely, sometimesreacted against. It is striving to remain in a moment without slipping into dread. It isabout the way I can be undone by a very small thing.

– Alaina Moore