With the start ofCovid-19 emergency, last March, one has emerged for the world of music apocalyptic scenario: venues closed, artist tours canceled, festivals and record releases postponed. Fortunately, while we were holed up in the house to avoid the exponential growth of infections, the artists closed in own recording studios and have produced some great music, just when we needed it most. The immediate future of concerts, clubs and festivals is very uncertain: it is impossible to predict when we might see them live the performances of our favorites. Here because, like last year, there is a need to host on the pages of Vogue.it a space dedicated to our favorite releases. Waiting to be able to dance embraced again.

ARLO PARKS – Collapsed in Sunbeams

How it was born Collapsed in Sunbeams, and what does it mean for you and your artistic path?
Collapsed in Sunbeams it was created mainly in airbnbs in East London. We holed up for a few weeks, surrounded by plants, candles and crystals, and plunged into the world of the album. I took a lot of inspiration from my old journals and the idea of ​​nostalgia. Debut albums are always something special to me, and having my album on the verge of coming out into the world is terrifying, but also euphoric. It’s my first big and definitive mission statement as an artist, it’s a time capsule and the first big step in my journey.

How would you describe this project, from a musical point of view?
I’d say it’s a fusion of soul, indie and pop music. It’s inspired by everything from Elliott Smith to Portishead to Tribe Called Quest to Aphex Twin. It is a large collage of different genres, the fact that Collapsed in Sunbeams is so fluid is what I’m most proud of.

Arlo Parks @ Alex Kurunis

Which track has a good story to tell?
Hurt it has a beautiful backstory: it’s the first song I’ve written after a period of writer’s block and anxiety surrounding the album. It was written in about an hour, inspired by this quote from Audre Lorde saying “The pain will change or it will end” and I was listening to Supremes, Digable Planets and Cleo Sol. Writing was a euphoric process, because it reminded me that my ability to write will always inhabit my heart and that sadness is never permanent.

With whom (and how) did you collaborate?
Luca Bucellati produced most of the pieces; I worked with Paul Epworth on Portra 400 is Too Good, and with Badsounds on Bluish. They were all very proactive collaborators and approached this project with nothing but love. I am honored.

Is there anyone you would dedicate the album to?
I would like to dedicate this album to my mother, my best friend Alice, Sufjan Stevens and Wolfgang Tillmans. I wouldn’t be who I am without them, as an artist and as a person.

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