Diego’s Joe Kerry knows that the universe won’t decide for him

Joe Kerry He wants to go back to a certain golden age of music. There are no phones or collaboration on Zoom — just himself, studio musicians, and producers fiddling with a huge display board, confined to the studio for a few weeks with the challenge of pitching ideas to the wall and seeing what gets pinned. “It would be great to see how a different environment affects the music you produce,” he tells me via Zoom of where his dream studio is: Paris. Sitting in front of a royal blue velvet sofa, he imagines how he wants to challenge himself by making music in the future.

It invokes the case of a romantic pressure cooker where one is forced to follow one’s creative intuition in one studio for a short number of weeks. “Limitations are not necessarily bad,” he says. “Having some outside pressure can be good creatively, because you’re forced to make decisions.” A second passes before a soft smile begins to appear on his face: a whole physical moment is about to happen, and he realizes it before the words come out of my mouth. “You have to He decidedI say, grinning at the name of the album drop he’s promoting in this interview.Deciiiiiiide‘ he says in a singing voice before flapping his arms in a circle.

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When I called from Rome, I picked up Keri right before he was about to head back to the filming location for a new movie he’s working on, and he’s starring alongside Willem Dafoe and Lily James. Keri is best known for his acting career, in which he starred in Weird things Like Steve Harrington and shows his group with comedies like 2021 free man And horror and thriller movies like 2020 cheerful. Although acting has brought him stardom, deposing Robert Pattinson as the new King of Hair in Hollywood isn’t his only creative goal.

Before Joe Kerry was a household name, he gained familiarity with the Chicago music scene playing in a psychological rock group. after animal. In 2019, it was officially revealed that Kerry has separated from the band due to scheduling conflicts and the rise of his acting career. Later that year, he released his first single “Roddy” under this name DJ. His growing fame seems to have boosted his creative output. In the same year, he released his first album twenty twenty.

Eight ball picture [on the album cover] The universe asks, “What should I do?” The universe’s answer is just, “Dude, decide. Decide.”

Now, three years later, Djo returns to pursue a sophomore He decided, which shows an exciting evolution from soulful rock to synth rock from the 1970s. Inspired by Daft Punk’s RAMKerry uses this robotic voice to explore existential and mundane technological dread. “This is a band that I found when I was a really young kid and I thought, ‘This is crazy,’” he says of the French duo, his eyes widening. “I didn’t really understand that because the context for the teams was Bruce Springsteen and Led Zeppelin. It’s a band that you can kind of come back to, and as you get older you can get something different from their music.”

on me twenty twenty “Chateau (I feel fine),” Keri is lost in a dreamy certainty. “It’s a decision I’m glad I’ve made/I’m still not sure it’s ever going to happen,” he sings along with a pasta guitar. His voice had a slight echo confirming the instability of his mind. It’s easy to imagine Keri lost in his memories, adding and subtracting details in a quiet stupor. Later, in “Deadly Projections,” Kerry eerily stated, “I’ve seen reflections of my mortal self projected onto the wall.” It wouldn’t necessarily be accurate to say that nostalgia, the passage of time, and hesitation were themes throughout Kerry’s music, but He decided He explains that these concepts routinely stutter around his head. Sometimes, twenty twenty crept in with unsettling unsettling; on me He decidedKerry pushes forward with urgency and determination.

“I am a hesitant person,” he says. “A lot of change depends on making decisions. This is a quality that I value in others and I hope I can [have]. He looks to the side and smiles before pointing to his album cover. “The Eight Ball Pictures ask the universe, ‘What should I do?’ The universe’s answer is just, ‘Decide dude. Decide,’ laughs. “You can take out ‘dude,’ though. I don’t think it’s ‘decide, dude.’ But who’s to say what the universe looks like. Maybe it is.” Can Take the form of some surfer hippie and bro leads us towards solutions.

This combination of lightness and existentialism is what makes He decided Worth the uptime. Whether it’s admitting to a bad friendship, facing a new adulthood, or ignoring the compelling urge to go after yourself online, Keri doesn’t take himself too seriously, but he does limit personal flaws and fears. In “Gloom” it looks like it’s exploding on the inside a little bit. He hits someone’s mother and girlfriend, then later fears he won’t be able to walk his dog. It’s funny — it’s often hard to tell if Keri is fighting an enemy or himself: “Your insults don’t affect me when I’m wearing my favorite coat / I know my hair looks good in the shower at the bar / Turns out I left my wallet at the bathroom bar,” he sings on The Rhythm of a Beloved Child by Defoe and Gary Nauman.

Keri reveals his innate ability for comedy no matter what he makes of it. “Difficult Not Do it, to be honest with you,” he says while discussing the humor in “The Melancholy.” “It’s sometimes hard not to have humor in songs. That was a song that immediately poured in. I think it is part of my personality. Life is crazy, and a lot of times things don’t make sense.” Comedy is part of his art, but it’s not something he wants to make the focal point. “For a long time, I was like, ‘I don’t want to make a comedy album.’ So maybe I backed out. But the last time I felt more comfortable letting go of what would be. The second you observe yourself, you begin to bring up the thing that makes it unique to you.”

He looks to icons like John Lennon and Paul McCartney when he stays true to himself throughout the writing process. “Most of the time, I don’t like, ‘Oh, those are beautiful words,’ and then I apply them to the song. The thing I love about Lennon is that a lot of his lyrics seem like a stream of consciousness. They somehow flow from him, but they mean something too. I’m not The kind who writes a lyric like a poem and then applies it to music that has already been written. Much of it depends on being inspired by the music, listening to it, and putting something on top of it.”

I felt more comfortable letting go of what would be. The second you observe yourself, you begin to bring up the thing that makes it unique to you.”

The humor in Keri’s songs is mostly used to get over or get rid of life’s stresses. “I was mostly trying to be open and honest with myself when writing the music. At the end of the process, you kind of have to find the body of what the songs are about.” At his thirties, this outward streak is presented as Kerry that makes sense in his late twenties. “I think in general, you feel like you’re on the crest of this wave facing this big kind of abyss in front of you. You start to wonder what you really want out of your life, I guess. What’s important to you? What do you value?” [This album] It’s the only place I can talk about these kinds of things creatively. From 25 to 30, I saw the most change myself. It inspired me and I am also terrified of it.”

He elaborates on what scares him most about these changes: “Things weren’t the way they are. Saying goodbye to things is hard. Saying goodbye to chapters of your life you’ll never be able to visit is a sad realization, but it’s part of life. Not wanting to say goodbye is An important topic in the record.”

He decided With the help of what Keri calls a “super group of friends” which included Adam Thien, who also worked on twenty twenty. The two met as a result of Keri’s cajoling over the old Thane group Dolores. Kerry reached out to Thane after moving to Oregon and the two went from collaborators to close friends. Other collaborators include his friend Sam Jordan, whom Kerry grew up playing with, Slow Pulp drummer Teddy Matthews, and Trent Brall of Kainalu. His face lights up describing what made him starve for a little hint of those golden days – four men in a room huddled. “get back He was coming out while we were recording. We’d get up in the morning, make coffee, watch some documentary, and then maybe go around noon and stay until midnight, and then come home and talk about what we did and do it for 10 days. It was unbelievable.”

one of He decidedHis most powerful pieces were born from that period, and are the closest to what Kerry considers “the old way of making music.” Ironically, it also shows Keri waving goodbye to the past. “And when I go back to Chicago I feel it/Another version of me, I was in it,” the dreary musical “End of the Beginning” says. Here, Keri looks at a younger version of him in the town he grew up in. Captures the illusory sense of the party returning when you visit a former home; Your memories begin to feel bitter, and that previous version is almost a familiar stranger with a blurred face. ‘Which – which [song] It felt like an introduction to a new way of creating and making music that I kind of want to continue pursuing.”

Saying goodbye to chapters of your life that you will never be able to visit is a sad realization, but it is part of life. Not wanting to say goodbye is an important topic in the record.”

As indecisive, Kerry announced his strategy for combating uncertainty. “My favorite part of the process is to be like, ‘Let’s do the opposite of what we think is right in this situation, to see if it works. It probably won’t, but at least we tried it. And so I would often say some really interesting things come out of that.” He uses this open strategy to represent it as well. There is an acknowledgment that decisiveness is not necessarily an ideal trait. In some ways it can lead to stubbornness.” When I started this [album]I had a bunch of different ideas about what I thought it would be, or what it would turn out to be. It’s completely different. So I think you can plan and you can plan, but at the end of the day the music will be kind of the way it is.” He adds that it’s best to “be open to change, and realize that if you try something, it doesn’t mean you’re stuck doing it that way.”

What Keri gets for, both on his new album and in our conversation, is that revisiting any perfect golden age has its advantages – but taking a risk along the way and seeing where you end up may be the only way forward. Florida

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