A month and a half ago, LANY were in Japan and had a sudden realisation they needed to change the album name and artwork of their forthcoming fifth studio album. The promo for the record was already in full swing and pre-orders were already up with the name “I really, really hope so”, but they felt compelled to be true to themselves and their listeners. They were drawn back to an original title they were working on called “a beautiful blur”, and after listening to the body of work in its entirety you can emotively feel the connection to this record when you think of the new title. It perfectly encapsulates the blurriness of the emotions on the record, and the rapid pace that we feel them.

The thirteen track record features the retrospective singles “Love At First Fight”, “XXL”, “Congrats”, “Alonica”, and “Home Is Where The Hurt Is”, but it also features some vulnerable and impressive deep cuts that are destined to become long-term fan favourites. “It Even Rains In LA”, “Heartbreak Can Wait”, and “Out Of My League” are songs that feel like signature LANY reinvented with powerful new melodies but still warm and nostalgic lyricism. They also could become hits in their own right as they are so powerful in showcasing the albums purpose.

I sat down with Paul Klein and Jake Goss from LANY in the lead up to the release of their new album “a beautiful blur” to discuss the deliberate intention behind this record, explored the last minute album name and artwork change, and reflected on the growth they’ve had since their debut album in 2017. Check out the full chat BELOW:

THOMAS BLEACH: “a beautiful blur” is signature LANY reinvented. There is the heart and soul of what listeners know you for, and vulnerable lyricism that is aching, but there is also an exciting new perspective that shines through. Did you go into this record with a new approach, or even realise you had a particular new perspective to give?

PAUL KLEIN: Thank you so much for saying that. That is the perfect compliment. The last two years working on this album, we’ve been wanting to tap into that perfect balance of familiar, but fresh. I think every album for us is just kind of a reflection on our previous experiences in life. Some can be a reflection from a moment a month ago, two months ago, or another could be a reflection of an experience that we had years ago, but we just finally found the right words to say. So I think that’s really encouraging and cool for you to say. 

TB: On a first listen of the record, “It Even Rains In LA” stands out because of its mix of very honest and pessimistic lyricism. Can you explain the creative process behind this track?

PK: That’s awesome that you say that. You would be shocked if I showed you the demo to that song. Oh my god, the demo is an acoustic guitar and a pad, or like a key thing going… “Duh duh duh duh duh duh duh duh…”. Like, that’s it. 

I had no idea really where we were going to take that song. But as we were working on the album, we picked that song back up and referenced that Sting track “Every Breath You Take”. It was towards the end of the process, and it’s not that I didn’t care but it was more that I was a little bit tired, and decided to do just whatever comes to mind and go with our first instinct and flow from the heart. And we wound up making it the way that it is. I remember listening back in the studio and thinking, “I don’t even really recognize us”. I barely recognize me on this song, but in the best way. It really showed me personally how far we can stretch the sound of LANY and who we are without losing our identity. And I think it’s showcased in that song. 

TB: It’s that brand new perspective, right? Like that’s exactly what we were kind of talking about in that first question. And then the lyric that stood out to me was. “Take a look around. It all falls. Even the stars”. Now, I felt that.

PK: *Laughs* Thank you! And obviously that lyric played into the star being like a big thing of this album campaign. And, I’m curious to actually count up how many times I referenced the stars because that’s obviously not the only song. “Alonica”, I reference. There’s a song called “No” that references stars. And “Sugar And Cinnamon” talks about staying up to 6am and watching the stars fade. It really really kind of was a theme the more I think *laughs*. 

TB: Then we have “Congrats”, which to me is one of the most exciting songs on the record as we hear angsty LANY appear. When you sing “Cause you broke my fucking heart”, I feel like you genuinely hear that. How many times did you record vocals for that track?

PK: You know what? I think it kind of came right out of the gate. I don’t remember having to go back and re-track vocals for this one. I know other songs that we had too. But that one I think just kind of came out in its purest form. 

JAKE GOSS: I love it when we’re tracking vocals. Sometimes we were talking about belief, like do we believe what you’re saying or how you’re singing. Or sometime’s he might be like “I don’t really believe what I’m singing right now?”. But that one right off the bat, we were like, “dang”. I could hear slobber in one of the words. I was like, “yeah, we’re there”. 

TB: On “Sugar And Cinnamon” we hear a choir come in. So for recording that choir vocal, what did that look like? Was it a choir, or was it looped?

PK: So that choir is the same choir we used in Nashville for “I Still Talk To Jesus”, which is a song off of our album “Mama’s Boy”. They’re just an incredible choir. We sent the parts that we wanted to hear for this song, but we didn’t send too many guidelines because we trust their instincts and what they do, and they probably have a better idea than us. And then they sent us that back and it was amazing. It was done all remotely, and to be honest, we would have loved to have been in the room with them just to hear it and feel it. But yeah, what they sent over was perfect and exactly what we wanted.

TB: “Heartbreak Can Wait” is an interesting concept where you sing about holding on even though you know it’s for the best because you’re scared. It’s a very universal feeling, and I think this is going to be one people will relate to and embrace quite visibly. Where in your heartbreak process did you write that – were you in the middle of it, or was it in a reflection and more a commentary on the way you process grief?

PK: I did write this song very much in the moment of realising I need to make a tough decision that I don’t necessarily want to make. I was very delicate in my approach to this song just to be respectful. We were so careful with even the production and tone of this song. Jake was so smart, wise, supportive, helpful, and kind of guiding where we were going to take this song and what it would feel like, because it’s such an honest and devastating song. And it comes from such a gentle place. Breaking up is one of the worst things ever, and no matter how well you do it, It always still hurts. We wanted this song and the energy around those chords and everything to reflect that kind of gentleness and the delicacy of having to break some tough news to somebody.

TB: Earlier this week you changed the album name and artwork, and now it’s this abstract art-piece, that to me looks like an airplane window and the blur of the world you get to see when looking out of it. And for me it also feels like it’s been designed to be left up to interpretation. So for you does the artwork have multiple different representations, or just one in-particular? 

PK: I’m just going to stand up and give you a clap. Thank you. I’ve spent the last 72 hours just getting ripped apart online for it, but it’s been so funny and kind of fun. I mean, at the end of the day, it’s a JPEG. But thank you, you’ve actually nailed it. That’s exactly what we wanted it to be, open to interpretation. I also see an airplay window, but I also see a mirror sometimes, and also a body of water. And we’re actually integrating some of that into the tour posters and things like that coming out soon. 

But that’s exactly it. It’s a beautiful blue. And, it’s a beautiful blur. And there’s all kinds of elements to that cover that I think will speak to people as they live with it and continue to see it for what it is. But I do have to applaud you, and your vision, and your recognition of that.

TB: As you mentioned the change of artwork and title has caused quite a visceral reaction from some people. It must have not been an easy decision to make because I feel like you’d already know that people were going to react.

PK: Absolutely. This was not a part of the plan. This was not a PR Stunt that we put together or anything. It came from such a pure place. “a beautiful blur” was one of the original titles we came up with from the very beginning. And then through the editing process that every artist goes through, and challenging and questioning and trying different things, we pivoted towards “I Really, Really Hope So”, which is still very true to the fabric and DNA of the album.

But we found ourselves in Japan about a month and a half ago, and we were at this bar called “Grandfather’s”, which is a vinyl bar, and literally a Japanese grandpa hand selects each song that’s being played, and then puts the artwork of the song that’s being played up behind the bar for everyone to see. And I had a realisation that I couldn’t see him putting that photo of Jake and I up on the wall. It’s a nice photo, and it’s cool, and It might be a really cool poster one day, but I can’t see it as an album cover. And I was really scared to tell Jake that because we just spent six months working on all of this stuff. But I went ahead and voiced it, reluctantly, and he felt the same way. And so to me, it was clear. So right then and there we started to pivot, and we went back to “a beautiful blur” and we put out the new artwork. 

TB: “a beautiful blur” is your fifth studio album. So when you look back on this body of work, what is something you couldn’t have done on your debut self-titled record, that you did on this one?

PK: I think almost every song… maybe 80 percent of the songs wouldn’t exist on this album if it was our first one. And that’s because of the things we’ve learned along the way, certain techniques, but also just the ability to be curious and the ability to ask questions, to second guess, to search, to try things out. 

I mean, we were putting what’s called contact microphones on the felt of an upright piano on this album and trying to pick up the sound of my fingers hitting the piano keys. We were also putting them on electric guitars trying to pick up someone’s elbow while they’re playing. It was all of those small details we were trying to capture on this record. We worked with a guy named Mike Crossey who lives for these details. He lives to squeeze an extra one or two percent out of a song, to get that extra little juice. And that’s just something that we didn’t know or think about on the first album. 

JG: The biggest difference now is our producer Mike Crossey. We didn’t know him record one, and now we’ve made two records with him. He has just opened our eyes and taught us so much. We’ve learned how you can make something one percent better. That’s a lot. And we just dig and dig and dig with him. So, thank you Mike Crossey. 

TB: Paul, the last time we talked was in 2019 while you were touring “Malibu Nights”, and we discussed how fans have affectionately dubbed the saying “a LANY show is home”, and how you also carry that sentiment. Following that interview we obviously went into a time where live shows were non existent for a while. Did that just intensify your relationship with touring and the emotions for you once you could get back into touring and being on the road again with the fans?

PK: Oh yeah, I remember putting a tour back on sale for the first time and not being sure if we were going to have to start all over again. I remember being moved to tears to see that people were coming back to shows, and I will never forget that feeling for our first show back which was a festival in Las Vegas called Life Is Beautiful.

In the beginning of LANY I was always so nervous to play a show, but after maybe 20 or 30 shows, I kind of stopped getting nervous, and I hadn’t been nervous in a long, long time. And I remember shaking going up there to play Life is Beautiful, and my knees were starting to buckle while I was just trying to stand on stage. I felt like I didn’t remember how to do any of this. But it’s the best feeling in the world. 

It sounds kinda silly or corny, but none of this exists without our fans. None of this exists without people coming to the shows. So anytime we get a chance to breathe the same air as them it’s the greatest gift, it’s why we do it, and it’s why we fight for that 1 percent in the studio with Mike. It’s why we go to Australia, because I know I just saw you like a month and a half ago, and we got to go there and play some small cheap shows for our fans just because it’s good to touch base with everybody and get in the same room with them again. So that always will be at the top of our priority list. 

“a beautiful blur” is out now!