Indie/folk-rock trio from Austin, Texas under the carpet are getting ready to release their new LP, Dear Adeline, released everywhere on February 25, 2022. Today, the band released the third single from the album, “As Long As You’re Here”, which Spill Magazine called, “An expressive, Shakespeare-inspired ballad at the piano and voice”. “As Long As You’re Here” is out now.
A change in perspective can paint a picture in a whole new light. Austin, Texas, trio Under the Rug took this idea to heart when crafting their stunning LP, Dear Adeline, a ten-track collection of emotive and dynamic indie rock that chronicles heartbreak, turmoil and healing after the loss of a loved one and simultaneous dissolution. of a romantic relationship. Like Richard Linklater’s Boyhood, Dear Adeline was written and self-produced in real time over a period of five years, with each track capturing a specific moment in time that, when put together, creates a beautiful three-dimensional portrait of grief and loss. healing. to treat. “If you don’t surprise yourself or learn something through the writing process, your songs will probably be boring,” says singer Casey Dayan. “The first songs we wrote for Dear Adeline were written right after my mother died and my relationship ended and are really reactionary, and then the rest I wrote as I figured things out over the last few years. years. Each song on the album is a different step in dealing with these events.
Since forming over a decade ago, Under the Rug have cut their teeth as songwriters and engineers, writing and recording dozens of projects, amassing a dedicated fanbase, garnering praise from publications majors like American Songwriter and independent blogs like Mystic Sons, Two Story Melody, Comeherefloyd, LA On Lock and more, and even receiving a co-sign from John Darnielle of The Mountain Goats.
Along with the natural growth that comes with the passage of time, Dear Adeline was written in part during a major change for Under the Rug, as the trio – Dayan, guitarist Sean Campbell and drummer Brendan McQueeney – moved from Los Angeles to Austin. , Texas. This shift spurred their creativity in a new direction, pulling them out of a self-proclaimed rut that was the result of staying in one place for too long. “There’s something exciting about being in a new realm and experimenting in a new space,” McQueeney says. “We had no idea how anything was going to sound in our new studio, so we were like kids, just trying things out and playing and it gave us this new energy.”
Spreading such an emotionally raw project over a span of several years, however, had an understandable impact on the band and Dayan in particular, whose own experiences are the primary source of inspiration for Dear Adeline. “Making this record was difficult!” said Dayan. “There were times when I was done with it – I had moved on and was happy – but I had started a multi-year project that required me to continue to put myself back in this space. of head.”
Listeners will find that the band’s mutual trust and willingness to emotionally bare each other results in an album that is as emotionally resonant as it is sonically compelling. At its core, Dear Adeline is a stadium-ready indie/alt record, but it continually twists in different directions, delving into progressive, bluegrass, and folk territories throughout its runtime.
Dear Adeline kicks off with its title track, a thoughtful folk/rock song written immediately after the death of Dayan’s mother and the dissolution of his relationship. It finds the singer trying to write from the perspective of his future self, a self-written reminder that one day things will be better. “I was in a really dark place when I started writing,” Dayan says. “But what was more difficult was trying to figure out how to end the saga, trying to see ahead. The way it finally ended is much more mature than it started, more of an observation about relationships in general rather than just the immediate anger I felt. In songwriting, you kind of have to empathize with your characters, which is hard when it’s someone who hurt you. But I’m definitely better at it.
Elsewhere on the album, the band takes a more conceptual approach to examining the grieving process. “Go To Sleep” is a compelling ballad about the weight of insomnia, while “Eating Carrots” is a gritty and somewhat humorous portrayal of despair plagued by emotional distress.
To hear Dear Adeline when it comes out is to hear an empathetic chronicle of the healing process, but also an impressive exercise in editing restraint. “These songs were all written at a specific point in time,” says Campbell. “When you look back, it’s easy to judge them and want to update them, after they heal, after they shut down, but they have to be left alone.”
“Some of these songs are downright salty, if I could now I’d come back and edit some of them,” Dayan adds, “Be a bit more mature, maybe, but I think the vulnerability is where the magic is. I just have to let them sit down and be who they are.