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It was really important to do something to acknowledge our peers and also to try to challenge ourselves to do something that was a little more current. One of them came to our show in Perth, and may or may not have sent a video of our version to [Tame Impala's frontman and producer] Kevin Parker. We really tried to maintain that level of the live experience.Jess Wolfe: And not be too precious about anything.A lot of singers, the female singers that we grew up listening to and loving — Linda Ronstadt, Emmylou Harris, Bonnie Raitt, Eva Cassidy — they were professional arrangers, re-imaginers of other people's songs.And so I think that's always been a connection for us as well.So I think the song came out of a little bit of that, and in general, just a feeling of being insular, of being isolated in your surroundings in a general sense.(Cover of a song from Tame Impala's 2015 album, Currents) Jess Wolfe: Currents was a record that played over and over and over in our tour bus and van; we were really inspired by the songwriting. (Resetting of a track from Lucius's 2013 album, Wildewoman) Holly Laessig: This song continues with the goal of the record as a whole, which was to feel like we were in the room with the audience, singing in a microphone with a couple of guitars the way that we do as part of our show." And then we took a lot of parts of that and added this stomping, clapping figure to it as well.

It can make you feel isolated and can perpetuate that sort of virtual living that we all take part in every day with the way that technology is and everything else.We recorded the 10 songs in two days, so we couldn't really be precious about anything if we wanted to.So it was important to ease into it and make it simple.And I'd never really heard anybody cover it in a really long time, except for Bonnie Raitt.It's just one of those songs that you forget about, and when you hear it, you are reminded of how damn good it is.

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There's a very dreamy, even surrealistic approach to the songwriting itself, and I think that comes from when you're in a situation of having to part ways with somebody whether you choose to or not — death, or whatever it is — it's like an out-of-body experience, and I think that played its part in a musical sense.

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