Deep In The Jam with Peachcurls: Meadow (Album Review)

I had the special opportunity to listen to the new album, Meadow, by Peachcurls, and talk to him about it before its release on October 23, 2020. On this recorded Zoom video call, I asked him a bunch of questions about the album, guessing what each track means, and got the full understanding behind each element created. You can either watch the entire interview or read the transcribed interview for each question below (please advise: there is explicit language and mad slang).

Click here to pre-order the album, Meadow, by Peachcurls


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Jamal: What is the concept of this album?


Peachcurls: At first it had a different name...it was essentially supposed to be centered around the color yellow. I just was really fucking with the color yellow...the concept was, and is, about introducing myself. I think this is like the first time that I made some music that I feel 100% represents like all facets of who I am. Like everything I put out before, is off-shoots of my core-person.. As an artist I’m referring [to]... I’m still proud of all that work, but it's like, it's work that I would be proud of around certain crowds. Like I got shit that I would show a certain group of people and then I have shit that would show another group of people. And sometimes I would be like, damn I hope this group of people doesn’t hear this first… because I make vastly different shit, nothing I’ve ever made sounds like the last thing I made, you know. Which is cool and interesting, but from a marketing standpoint, it’s kinda impossible to like confidently talk about, you knawmean? And this project, Meadow… is not that. This is me being able to fully integrate all aspects of my sound and influences and styles into like one kind of, I guess I don’t wanna say the word resume, but like a first impression. Like if you were like ‘What is Peachcurls? What does this nigga sound like?’ This is what I show people over anything I ever made. It’s just like work I feel really close to and really actualized.


Jamal: Just dropping immediately into the first track, See About Me, you just kinda get thrown into your sound basically. Was that intentional?


Peachcurls: Yes... if you even look at the album cover, and then we talk about the first song, the album cover is like me looking like I’m wearing pajamas. And then behind me is this sort of chaotic scene of planes taking off, there’s this crashed airplane, there’s this field, and there’s an azore sky, right. And then there’s me standing there with this kind of calm look on my face in front of this plane, that’s clearly supposed to be my plane. And the framing, inside of this white frame, it’s like you’re coming out of an isolation chamber into this world that I’m designing. And I know it looks crazy right now, but it’s like trust me, get in this plane with me and I’m gonna fly you around this world and help you make sense of it. And maybe you’ll find a little of yourself in this world. And so the song, See About Me, is the sonic version of that because it starts off with these vocals panning from ear to ear, singing these off-key harmonies, and this really deep voice like endearing, but also sounding like an uncle or grandfather or something like that. Every black dude or woman has that one member in their family that’s kind of crass and abrasive, but still very warm, you know. So that’s what that’s supposed to represent and then you get thrust into the song. And as the album progresses, it starts to mellow out and you start to kinda see the softer side of things, and yeah, so that was intentional.


Jamal: It seems like you’re talking about the lure of street life and it’s temptation? Have you been tempted to the lure of street life?


Peachcurls: Absolutely bruh because, first of all, that’s what I come from. I’ve talked about this in the last interview we did, you pops was a street nigga, and all of my cousins and uncles, and all them niggas was street niggas, and they all had money. And then, even like friends of the family that are like my ‘play cousins’ and shit, all they daddies was street niggas and dope dealers and all of that. So like all of our daddies had money and drove big cars, and had record labels, everything, fake names, guns, you name it. I’m seeing all that from early on, so that’s just what I thought things were. But I had a dichotomous upbringing because though that was the life of my father and many of my close friends and families’ father, my mother was like this super educated, business-minded... take care of your business, get your education, you not finna turn out like that. So I kinda had like both these things pulling me equally and that’s what that song talks about. Like leaving town and coming back and niggas being like, ‘oh you left town and now you’re different’. That’s what we was talking about before we even started the interview. It’s like, traveling and leaving Cleveland as soon as I turned 18 was monumental for me because it gave me a bigger worldview. But I still come from the street shit because the man who raised me is purely a street nigga, you know what I’m saying. So I know that life, I know what it can bring you, and I know how to take away mentalities from that and work ethic from that and apply it to my music and apply it to something that’s not gonna land me in a negative position in life, you know what I mean.


Jamal: Yeah, and that was another topic that I was assuming you were talking about is addressing folks that are watching you from afar, and being judgmental about who you are becoming…


Peachcurls: Yeah. And I was also trying to be a little brag-a-docious because like...


Jamal: Yeah, I hear that too.


Peachcurls: I be spittin’, man. I do, I rap


Jamal: But you gotta do that. All rappers do that, that is the thing that you need to do.


Peachcurls: Fo’ real. And I rap for real, bro. Also, I feel very influential around this bitch. Especially in the town [Cleveland]. People have called me several times to be like, ‘Damn, watching you do your shit, help me get on my shit’. Or asking me how to do certain things or ‘Damn, on this one song you did you do this’? I’m giving advice and tips to niggas all the fucking time. And I don’t even be tryna brag or boast or none of that. You never see me out here doing that. But that’s why I said, ‘Name a nigga I ain’t influence’ because you cain’t bruh, you really cain’t. I’m out here making niggas change they lives, bruh. Fa’ real.


Jamal: Now speaking of influences. Were you thinking about Bone-Thugs & Harmony when you were rapping towards the end of your first verse?


Peachcurls: That’s funny you say that because when I say [in the first verse of See About Me] that’s how Bizzy Bone starts his verse in East 1999… so that’s where that came from, I think about Bone all the time when I’m rapping. Them were some of the first rappers I ever heard, you know, I’m from Cleveland, you know what I’m saying. Crossroads is one of first the songs that I can like, like I have a memory of like the first time I heard it, saw the video, it was huge bruh. And everybody in Cleveland is like, ‘Lazy Bone’s my cousin, Bizzy Bone’s, Wish Bone… everybody is Bone’s cousins in this fucking city bruh. Or everybody momma know they momma, or some shit like that. So Bone is in the fabric of everything I make.


Jamal: Now going into the next track, Born Without You, It seems like two parents are arguing, which also seems pretty routine at this point, and they are questioning who they’ve become. Is that accurate?


Peachcurls: Parents or lovers, it’s really supposed to be like a lover’s quarrel. And but like, these two people that have become so codependent on each other, so the verses are very torn. You’re my moon and sun, but somebody please make this stop. I’ve been in situations like that, I’m constantly in situations like that where it’s like, ‘damn, I love you more than air, but I hate fucking being around you and you hate being around me’. And that’s also why the chorus is, ‘wake up (2x), break up (2x), make up (2x), make love (2x)’ because that’s all what it is. That’s what relationships, a lot of them are, until you get in one that’s not.


Jamal: With the next track, Organ Failure, is this taking place in a club and is hooking up with a nice tenderoni? Also an altercation might ensue?


Peachcurls: Yeah! Nigga back back, bruh. You ever been in the club and it’s like, or anywhere, it’s like ‘nigga you are hella close to me dawg’. That’s why I don’t even like partying like that. Like, I put on something nice, I might be doing too much. I might put on a sweatshirt, but the t-shirt is coming out of the sweatshirt the perfect amount, like it’s a thing. And you get in there and then you just sweat it out. I was at this party in Detroit. I had a denim jacket on, I sweated through the denim jacket. Meanwhile, it’s just niggas bumping me *sighs* you know what I’m saying. So yeah, it’s about being in the club, I’m with this chick, then it’s just about perpetuating this cycle. It’s like sleep deprivation, food deprivation, and on top of that drinking, and smoking, and out all night, you’re in this constant loop of just, you know. But it’s fun though. It’s fun as fuck, until it’s not. Again, that’s why the beat is very much like a loop. I’d even made mention of it at one point [in the song] ‘is the beat gon’ switch up or naw?’ And like it starts back up at the same point...


Jamal: On the track New Clothes, it seems like this is taking place during a hot summer day?


Peachcurls: Yup. It’s like a summertime thing. It’s mainly supposed to evoke the feeling of agoraphobia. Like depression, maybe. The world existing and going on, and you can hear it and see it outside your window, but you can’t get out of bed. You’re afraid to leave the room, you’re afraid to look at yourself because you know you look disgusting and you smell bad and shit. But then when you finally do go outside just to take the trash out, you end up walking outside for two hours because the sunlight is now on you. It’s like new clothes, you wanna be seen, you feel good, you know.


Jamal: Damn, that’s a really good comparison to what the sun does to you. But it can also make you go crazy too.


Peachcurls: It can because especially the pressure of summertime. If you feeling any sort of imbalance, and then the summertime comes, and you supposed to feel good. Every says that summertime you supposed to be out, mac’ing, girls in sundresses, kids playing, it’s shit to do right. But you don’t feel like that. So there’s that shit driving you crazy too, you almost wish it was cold and shitty outside. ‘Cause that’s how you feel until you get out there and you be like ‘oh I ain’t really gotta do shit, but just be out here. I like this’. So…


Jamal: And I didn’t know there was a proper way to cough…


Peachcurls: There is… from the diaphragm, man. From the deep. You can’t cough from the chest, you ain’t gon get nothing done. You gotta cough from deep down. I also wanted to make a point about New Clothes, ‘cause me and Spencer [Martin], whose the person that mixed the entire album and mastered the entire album. Like he’s a fucking genius, and I don’t think I’ll will work with any other mix engineer ever… we had like a dispute about those guitars you hear at the end, ‘cause [Spencer] didn’t like how disruptive they were. And I wanted them to be disruptive like that because I wanted to express the idea that life doesn’t care what you going through, like it’s gon’ still continue. There would be times in New York where I would be sad as fuck, having serious conversations, tryna do work, tryna make music. And the person below me would start playing Suavemente as loud as you can possibly imagine, it sounds like it’s in your living room. You can’t do nothing about it, it’s 8 million people here. Or you got your window open and niggas driving by at the time bumpin’ Bodak Yellow. As loud as you possibly [can], what you gon’ do? Go outside and tell ‘em be quiet, it’s New York City. It doesn’t give a fuck. Figure out how to get it done still. So I wanted to kind of evoke that feeling of interruption and having to accept interruption and make it musical.


Jamal: Damn man, that’s deep. It’s like little stuff like that’s in this album it has meaning, everything has meaning.


Peachcurls: I know people be saying this a lot… but I really want this shit to be viewed as an art piece, like how you would look at a painting. Like I heard a story about Jackson Pollock, he did this Black series, and on one of the paintings there’s like three little red dots. And all these people were gathered around trying to make these pretentious assumptions about what these red dots meant. Minus the pretentiousness, I do want people to kind of like read into things. Like if something sounds weird, then it probably is… think about life when you listen to my shit. Don’t just listen to it in a vacuum. You’re probably gonna have interruptions of your own when you listen to it, if you got headphones on. You’re gonna hear the world. I feel like the evolution of music today is you have to incorporate sounds of the world in yo’ shit because people are still experiencing the world as they listen to yo’ shit ‘cause nobody is in they house with a record player sitting in they living room listening to an album in isolation no more. That doesn’t exist. And artists are doing that, like Frank Ocean is one, Kendrick [Lamar], various TDE artists, like that’s their fucking trademark; incorporating environmental sounds and environmental concepts in their shit.


Jamal: And that’s like kinda a good segway into [the track] Go Home because you use, it’s been done before, but it interrupts… the cellphone ring, I’m like ‘is my shit ringing?’ The FaceTime ring, I’m like, ‘is somebody calling me right now?’


Peachcurls: Yeah… that’s what I wanted people to do. Like, ‘oh shit, damn, is that me?’ and check they phone be like ‘oh shit that’s the fucking…’ Yeah, I wanted you to feel those interruptions because that is a fact of life, that happens. And the game keeps playing. Especially coming from a Black household nigga, you can tell your mom ‘Momma, I’m trying to practice for my audition’. But nigga, if there’s dishes in the sink, she don’t give a fuck what you practicing for. Come clean this kitchen up nigga. You know what I’m saying.


Jamal: Again on the track Go Home, it seems that you’re talking about your toxic behavior and ruining this romantic relationship you have, but you’re still in the lusty phase?


Peachcurls: Not quite... but, you see what I’m saying with how our own personal lives can effect how we view art. That’s beautiful how you got that from that. And I want people to get more than what they think I meant from it, but get their own things from it. ‘Cause what I meant from that song is, and the reason why it sounds so sensual is because it’s about a relationship with my maternal figures, my motherly figures in my life. Specifically, my grandmother, and my sisters, and mother. It’s like I’m their boy, right. So everything that I know about love, everything that I know about how to treat women… everything in the world was first exposed to me by them. So it’s basically a song about me not being able to return the favor. And also me being kinda shitty. I was like a teenager at one point… and even still, I’m an artist. I’mma fuck up a little bit. I borrowed money from them and not been able to pay them back. I’ve pushed them away… like life has not always been great, I haven’t been the best, I haven’t been the most grateful son, grandson, brother. But then again, I do express gratitude. So I’m not saying it’s one or the other, I’m saying there are times when that has happened. And the way that they’ve treated me, and the way they’ve cared for me and loved me, I don’t deserve to ever be able to be shitty to them. And sometimes I am, and sometimes they are to me or whatever… so that song was basically about that. And then, the me not wanting to go home thing is kind of like a reference to the times when I did feel like, I think we spoke about this last time, in my grandmother’s living room. That was like my sanctuary. So I would go there and I didn’t wanna go home because I felt like there was nobody there for me. Like I was just falling by myself, but when I would go there I would feel safe...


Jamal: Talking about the track, Head Down, is your head down out of fear of external forces or you’re trying to ignore the world and be focused?


Peachcurls: A little bit of both… my options that are directly in front of me are not ones that I think work for me… but I still have to exist. So like I’m existing kind of, trying to make myself small and unnoticeable so that I can slip past the bullshit. But then as you notice the song goes on, like it passes, ‘walk around with my head held down, ‘cause I don’t wanna be what’s in front of me’. That passes through one time uninterrupted, but then the second time the one phrase is sung on top of the other phrase. But they're in harmony with each other. And that’s kinda to represent, in a musical way, being inundated with… invasive thoughts. Because you can have your mind [in] one place and then you read something, then you’re like ‘oh wait, do I have fucking testicular cancer’? You’re trying to do one thing, but your mind is constantly like filtering and distributing information. Active thoughts, inactive thoughts, and then sometimes those inactive thoughts just creep up and...they start screaming in your face. So that was me tryna represent that in a musical way.


Jamal: What was the creative choice to throw in a freestyle in the 2nd half of this track?


Peachcurls: Again, that spirit of interruption, that spirit of environment. I just felt like the album was getting a bit abstract. So I wanted to pull the curtain back and back the fourth wall a little bit and be like this is still me making this, I’m still like a person that doesn’t take himself too seriously. It’s still alright and having a good time. And also fuck what you thought, like fuck your plans. I don’t care if you liked that. I’m cutting it off right now, so you can hear this. That shit happens sometimes. Fuck what you thought nigga. You on the train listening to the new Big Sean and next thing you know it’s like ‘naw nigga yo phone dead, fuck that, cut it off’.

Everybody’s been there...


Jamal: Yeah ‘cause I wanted to hear how that track was gonna progress.


Peachcurls: Exactly, everybody, ‘cause it was like ‘oh shit this is weird, this is like…’ then it’s like, naw, phone dead. Fuck that. Now you listening to this. Get off the train. Oh you forgot to download this before you came down here, alright, yo’ bad. It’s done.


Jamal: So in Cuban Link, this probably like the most soulful tracks someone getting their chain jacked on?


Peachcurls: Again, that’s so beautiful you thought that. Because, right. It sounds like this… you know that song [starts singing the chorus from the song Pumped Up Kicks]...


Jamal: Yeah, it’s a school shooting…


Peachcurls: ...it’s about a school shooting, right. So it’s beautiful that you gleaned that from that. However, this might be the most literal song on the whole album. This is a love song or a song about a heartbreak with a young lady who is Cuban, who now lives in California. That’s what that’s about. She has brown eyes, when blood dries it turns brown…


Jamal: Yeah, I was like this dude must of got beat up… and is standing his ground on not taking off his chain… it sounded like he had blood on his shirt.


Peachcurls: That’s beautiful. And even on a visual, that can be portrayed visually and still be a love song. That’s dope. I might steal that idea from you and give you a little credit… but yeah it is a love song.


Jamal: On Uneven, it seems like [the track is about] making excuses for taking the leap of faith of doing something you love, but there are some internal issues going on or maybe even trauma stopping them from doing that?


Peachcurls: Yeah, that’s pretty much spot on… that song is supposed to be a really sad song. I wrote it, I know people say this and this is kinda corny, but I actually did cry when I wrote this song bruh. I did, because I really felt like shit. Like I really did man. I was so fucking sad. Body dysmorphia, feeling like I made the wrong decisions, feeling selfish, abusing drugs and sex, fucking off money. And that’s why the chorus is ‘sometimes I hurt myself to see if I can feel anything’. I’m not tryna make light of people who cut themselves or people who inflict pain on themselves physically, but I mean… just engaging in a super indulging lifestyle, self-medicating, and just not taking good care of yourself mentally or physically. And just giving yourself a reckless abandon is a form of hurting yourself. It’s very painful and it does a lot of damage to you and it does a lot of damage to those involved. But sometimes that happens to me, sometimes I do that. And at that time, that was one of those times. And then, afterwards, [I say] ‘sometimes I get so high, I don’t think I could feel anything’. I said this before in other songs, like I said this in Anthem, which is a turn up song. But I say it’s a very sad lyric. I say, ‘I be getting high ‘cause I don’t wanna feel shit’. I don’t, I’m sad bro. And I’m not tryna make light of that because it’s cool to be fucking sad. That’s not the case. I’ve been like this since I was a kid, man, like really... I distinctly remember, when I was a kid, I didn’t know what the word depressed was. I didn’t know what it meant… but I did know what the word gloomy was because I watched Pokemon as a kid. I was like, ‘yo, I feel gloomy all the time’. As a kid I remember this. Being raised Christian and shit, I always felt like I was about to go to hell since I was as a kid. Like since I was a little kid, I would be like, ‘man, damn, I’mma go to hell bruh, like I’m bad’. I cannot remember a time where I… and I’m like getting through that now that I lived a little bit of life and lived a couple places, and been loved a couple times, and opened myself up to things. It doesn’t have as much control over me, those feelings. But for so long they did. So when I started getting high, smoking weed and shit, it was like cool, I can just turn that part off. But then sometimes you can’t turn that part off, and it’s just like, sometimes weed really, drugs, hallucinogens of any kind, but like weed especially, I think, sometimes will lock you on to something and it’s like ‘Naw, you gon’ have to deal with this bro’. And the only thing you can fucking do is breathe. The only thing you can do is, every passing second be like, ‘okay, I’m still alive. I still haven’t had a psychotic episode. I’m still like okay’. With every passing second, and then like after about 45 minutes you realize, ‘Okay, alright, okay. Perspective’. And then, voilà, you have perspective. I’m oversimplifying, but you get me. The more you experience that uncomfortable, just this overwhelmingly, turbulent thing; the more you experience that and live through that, I found for myself that that gives me so much perspective on how to feel on a day-to-day [basis].


Jamal: Yeah, I think that one, people don’t talk enough about how weed can trigger a pyschotic episode…


Peachcurls: Yeah, you can. You can drive yourself [crazy], like that’s a thing. Sanity baffles me because, I think about this sometimes and I hyperventilate, what is keeping me sane? And like how can I find that thing so I never lose it?


Jamal: Okay, at least coming up on the emotional scale, not being uneven and not even being even, puns intended, but like feeling neutral. Why is complacency given a negative connotation?


Peachcurls: Right! Why is that? Sometimes you have to be complacent in order to take stock of life. Sometimes you need complacency to sort things out, think of things, to come up with ideas. Have some time being comfortable so you can say, ‘Okay, this is how I wanna grow’. And with the understanding that growth is uncomfortable, even like physically. When we were kids and growing through growth spurts, we were in physical pain. They’re called, growing pains. So why wouldn’t mental, or emotional, or creative growth be the same way? But you have to be comfortable enough to realize that, ‘Okay, I wanna grow in this area’... even playing guitar, you have to do that shit every day. My fingers have calluses on them. I wasn’t born with calluses on my fingers, you know how much that shit hurts. And if you go like a couple of weeks without playing, your calluses go away and you remember how much pain, physical pain, you went through to learn how to do this thing. To express yourself in this way, and now I can. And I’m constantly reminded that if I don’t tend to that, then I will have to subject myself to that pain again, and again, and again. And that’s kind of a metaphor for life and relationships. You go through these relationships, you hurt through them, and whatever. And you come out on the other side knowing something, feeling something. And if you don’t tend to that feeling or that knowledge, you lose it. And then you go through it again and you hurt just the same. So you gotta callus over a little bit. And I know that sounds like a weird analogy when you’re talking about relationships, but callused fingers opened up my mechanical ability to be able to play guitar. So a callused here, might open you up here. It might create a pathway. Life plasticity type shit, you know.


Jamal: Yeah, absolutely. You go through a bad breakup, you learn from that. You get callused and hopefully, you carry that into the next relationship.


Peachcurls: Exactly, or death. My uncle passed away a couple years ago. And that’s the first time I saw a person die. Like I’ve seen a dead body before, but this the first time I saw somebody go from being alive to being dead. And I saw every phase of that. I saw him struggle for his last breath until he died, I watched that. And that shit affects me in ways that I’m still finding out, today. But it’s like, I learned so much from that. But there is also now a level of desensitization to that too. Same with my fingers, they desensitized. But now I know so much, I can do so much. So that’s what that song is, that’s what that song is referring to: the pain, the hurt. And then the line, ‘Maybe I should call off work today, I hate this fucking job anyway’. I feel that shit on such a deep, goddamn level. I haven’t worked a job in over a year. I’ve been an artist for a living for over a year now, which is pretty great. I’m still impoverished, but at least I’m impoverished doing what I love, right. But it’s like when I was working jobs, I would wake up, especially when I was going through a serious bout of depression or something, like I would slump out of bed, get in the shower and just be like ‘Man, I should just fucking call off. Fuck that job. Like I don’t even care’. And many times I would, I would just call off work. Like fuck that place, I hate that place anyway. If they fire me, fuck it, I don’t care... and that’s one of them things where, you know niggas say ‘That’s the realest shit I ever wrote bruh’. Maybe I should call off work today, I hate this fucking job anyway. That’s the realest shit I ever wrote dawg.


Jamal: And I quit my job and I’m doing this full-time. So, I feel you.


Peachcurls: Bruh…


Jamal: And I had a cozy job.


Peachcurls: Right, nigga I did too. I was making bread. I was making more money than I’d ever made. You know what I’m saying. But I was so miserable, everyday. There would be times where I would be at work and I would be like, ‘I just wish that I could just press pause for just a second. If I could just stop life for just one second. I just can’t breathe’. Fuck man, but for those of you that enjoy man, aye…


Jamal: Keep doing it.


Peachcurls: Do what you love. That’s the point.


Jamal: Yup, that’s exactly the point. You shouldn’t be tripped up on what somebody else is doing. If they’re enjoying their lives, you gotta learn how to be happy. And you gotta find out what it means to what makes you happy.


Peachcurls: Yup. Sorry that seemed like such a downer. I mean that is the downer song of the album, too. So, there you go.


Jamal: Is Meadow about a breakup?


Peachcurls: It’s about the relationship between life and how you would perceive it. There’s lessons, there’s overwhelming times. If you personified life as like a being, there would be both parties, you and life would be arguing about how much the other person borrowed from the other person… here’s a little fun fact about me, that I’m about to put out for all of those people who know me and people who are gonna get to know me: if we ever have a disagreement, ever, even if I’m right, I’mma feel like I’m wrong. I always feel like I’m wrong ‘cause I’m traumatized… as a kid, [I was] oftentimes told that I was not doing things right. From elementary school to the moment I graduated high school, I always felt inadequate like I was always doing something wrong and I was made to feel like that by people around me. So I always feel like I’m wrong. So I’ll argue with you until I’m blue in the face, but the song is from my perspective. Sure, I’m saying I gave you everything. You borrowed all of me and all of this. But somehow, even though you did all this wrong to me, you’re haunting my subconscious. Like I’m only thinking about you and how I could have done better by you. When I go to sleep at night, I’m always thinking about ‘Damn, how could I have done better by this person so we didn’t have that disagreement’? No matter what I say, and I know that doesn’t count, but still. It’s the truth. No matter what I say I’m like ‘Damn, I wish… like this is my fault’. So that’s what that song is about. And then the chorus comes in, and that’s when the album cover comes in, and like ‘Yeah, it looks crazy, but just come take a ride with me. Fly with me to higher ground’. Higher ground is associated with safety. When you watch all these disaster movies, it’s like ‘Get to the higher ground’. Stevie Wonder has a song called, Higher Ground. In Star Wars… people wanna have the moral high ground. High ground is always, at least in American, English language, it’s always associated with the better situation. So it’s like come with me to higher ground, you’ll be safe. And we’ll kind of be spectators at this world I created. And it’s a world I’ve created so you can better understand me and also so you can better understand how you might be feeling about something. So yeah, that’s the album.


Jamal: Do you eat your carrots with ranch or blue cheese?


Peachcurls: Actually, neither.


Jamal: Okay, alright.


Peachcurls: I eat ‘em wit hummus, baby.


Jamal: Oooohh, okay, alright.


Peachcurls: You gotta eat the baby carrots with the hummus, bruh. That’s the move right there.


Jamal: Right, right.


Peachcurls: Shoutout to all the healthy ladies that smell like nag champa who taught me that shit, you feel me.


Jamal: If you could pitch your album in 20 seconds, what would you say?


Peachcurls: Imagine an art expo or like a gallery showing/opening, but music. That’s what it is. It’s a bunch of paintings, but they’re sounds.

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