War on Drugs' Adam Granduciel defeated his inner demons to produce his best record yet
- Text by Huck HQ / Jack Kenyon
- Photography by Dusdin Condren
#40 – Adam Granduciel
Every once in a while an album comes along that music critics align on. And in 2014, that album was Lost in the Dream. Journalists from Europe to America called the record “timeless” – a laudable feat for any band, least not on their third release. Adam Granduciel is The War On Drugs. You might see him leading a tight band when they play live, but when the music is being written, Granduciel is alone. Glance at the bleeding album cover and you can see this. But listen to Lost in the Dream and you can feel this. The album is deeply personal in the most secluded way. Revered for his emotional honesty, Granduciel speaks just as openly about his creative process – a process that sounds more akin to a long, hard slog than a singular epiphany.
“I still wrestle with the same kind of feelings that I’ve always had. When I was making the record, and I was alone most of the time, I was under a lot of pressure. I think a lot of those feelings I’ve always had in my life were magnified.”
“Some people can make beautiful things very quickly, and other people have to work on it day to day, to make it a craft. You work on playing guitar every day, you work on writing and playing piano every day. For me, it’s a little bit more of that approach. I don’t think I would sit down and just spew it out and have it be me. I feel like I have to work at it.”
This is just a short excerpt from Huck’s Fiftieth Special, a collection of fifty personal stories from fifty inspiring lives.
Grab a copy now to read all fifty stories in full. Subscribe to make sure you don’t miss another issue.
You might like
The utopic vision of Black liberation in ’60s & ’70s jazz
Freedom, Rhythm & Sound — As Pan-African optimism spread across the world in the postcolonial era, Black-led record labels gave artists space to express themselves away from the mainstream. A new book collates 500 groundbreaking albums and their covers.
Written by: Miss Rosen
Analogue Appreciation: Wesley Joseph
Forever Ends Someday — In an ever more digital, online world, we ask our favourite artists about their most cherished pieces of physical culture. Today, visual and sonic shapeshifter Wesley Joseph.
Written by: Wesley Joseph
The Strokes condemn US imperialism in Coachella set
Oblivius — The band finished their performance at the festival’s second weekend with a montage of bombings in Gaza and Iran, along with images of world leaders that the CIA has been accused of overthrowing over the past century.
Written by: Noah Petersons
The heady bliss of Glastonbury Festival after the music
Not Done Yet — While the weekend’s headliners and stacked line-ups usually draws the majority of the attention, much of its magic occurs after the music stops. Mischa Haller’s new photobook captures the euphoria and endless possibilities of Glasto’s “in between” moments.
Written by: Isaac Muk
The cathartic roar of Vietnam’s hardcore punk scene
Going hardcore in Saigon — In a country that has gradually opened up in recent decades, a burgeoning youth movement is creating an outlet for youth frustration and anxiety. Frank L’Opez reports from the country’s biggest city’s underground.
Written by: Frank L’Opez
The rise of anywhere and everywhere radio
Cooking up broadcasts — From a London rickshaw to a shipping container in Ukraine, independent stations are redefining what a studio looks and feels like. Bella Koopman speaks to DIY station founders to find out more.
Written by: Bella Koopman