Pop Culture

Artist Spotlight: Loma

Loma started out in 2016 as a collaborative project between Shearwater’s Jonathan Meiburg and Emily Cross and Dan Duszynski of Cross Record. The trio recorded their self-titled debut LP at Cross Record’s home studio in the tiny town of Dripping Springs, Texas and released it through Shearwater’s label Sub Pop in early 2018. Its follow-up, the darker, more expansive, and gorgeously haunting Don’t Shy Away, arrived in 2020; the album’s creation was galvanized by the endorsement of Brian Eno, who ended up contributing synths, drum programming, and production to the final track, ‘Homing’.

Following its release, Loma’s members were scattered around the globe: Cross, a UK citizen, moved to Dorset, Meiburg went to Germany to research a book, and Duszynski stayed in central Texas. Sessions were spread across these locations, but it wasn’t until the group reconvened in the UK, in the stone house where Cross works as an end-of-life doula, that the record found its sense of direction – and, just as importantly for a group that makes ample use of their environment, place. How Will I Live Without a Body?, which takes its title from an AI trained on Laurie Anderson work, is a knotty, breathtaking album about a sort of entangled aloneness – one that skirts the boundaries between body, earth, and soul, lost hearts and human connection, dead and new life. Partly because they are rarely a band that’s playing in a room together, and partly because of the magic that happens when they do, Loma’s sound reaches beyond the live setting rather than trying to replicate it. “This is how it starts to move again,” Cross sings, and then it unfolds, seemingly without end.

We caught up with Loma for the latest edition of our Artist Spotlight series to talk about the long journey behind their new album, how they settle into a groove, their memories of recording, and more. It’s the first time they’ve all talked in at least a couple months, they tell me, and the first image on my screen is of Cross holding her baby, Zola.


What’s your headspace like with the release of the album coming up? Does it feel different compared to Don’t Shy Away

Emily Cross: I kind of black out a lot of the time, and I don’t remember anything that happened. [laughs] To me, it kind of feels the same – maybe this one is a little more prominent in my mind, just because there were a lot of things that happened and we worked on it in different sceneries. The last leg of it, that I was involved with physically, was being here in England, and it was really memorable to me. I don’t know if it’s because it’s the most recent one, but this record in particular felt like a lot of stuff happened. Like, I came and got COVID and was trapped in the trailer for 10 days. Then we were trapped in the ice and snow in the house. And I had a panic attack while driving – Dan was in the passenger seat and I was driving, and we were trying to go up this hill, and it was icy.

Dan Duszynski: I remember that.

EC: I had a straight-up panic attack. I freaked out.

Jonathan Meiburg: Yeah, the car starting to slide back down the hill.

DD: We had to slowly let it slide down backwards.

EC: But looking back, it really wasn’t a big deal. I don’t know why I was freaking out so much. We were not in danger at all.

DD: We were all probably tired.

JM: To me, this record, the fact that it got finished at all was unbelievable, given all the things that had to happen. Emily, I think the last thing I thing you and I worked on was when we were in Berlin, working on the mixes with Theo [Karon].

EC: Oh, yeah, true.

JM: And it just went through so many iterations. Songs came, and songs we thought weren’t going to make it did, and songs we thought were going to make it didn’t. It was one of the most difficult projects to finish I’ve ever worked on.

DD: With any record, especially in this band, I just have the feeling of walking the path backwards, looking at the wake of all the things we went through, the scraps and the destruction, but then I get further away from it and I’m like, “Oh, that wasn’t that bad. That was fine.”

Take me back to the wake of releasing Don’t Shy Away. You’re living in different continents, and you’re maybe not sure how to go about working on a new record. Were there many false starts?

DD: We kind of have a process. Since this is our third record, at this point, we just trust that whatever’s happening is the way. So we set aside time, and whatever anyone brings to the table, we just honor that and see where it takes us. Even though we’ve all been in different places, I think we trust our creative relationship enough to just test it in all these different ways and see what it can handle. So, rather than saying false starts, I think it’s just intentional setting of time – not knowing what’s gonna happen but believing in the process.

JM: For the most part, we don’t come in with anything developed. The very first Loma record was like that because I just went down to Texas with some time blocked out. I think I had half a song written and just went, “Here’s the time. We’re here. We should make some things.” I feel like the baseline for what the band is was set in that first record, because I played instruments I wasn’t very good at playing – Dan let me play drums for a long time before telling me that he was a drummer. Working with Emily, I’d never written for someone else to sing before, and that’s a strange thing because you have to project yourself into a different head. Emily, I don’t know if you feel this way, but I always think of the character that you inhabit in these records as sort of not exactly you. It’s like a projection that we’re all working on together, to the point that even Emily’s voice is a little bit altered so that it doesn’t sound exactly like her regular voice. There’s sort of a composite character we’re all working towards in the process of making the songs.

When we started this record, the first session was probably just me and Dan in Texas trying to come up with some places. You know, if you don’t know where to start, start anywhere. We just started making some stuff…

DD: We call it wool gathering.

JM: Yeah, wool gathering. Some of the songs that ended up on the record started there. I think some of the early ones were ‘Broken Doorbell’, ‘How It Starts’. The first song was part of a song Emily originally made for that birdsong compilation. We took Emily’s track that she’d recorded with her vocals and guitars, stripped everything out except for the vocal, and then Dan and I built another song around it.

EC: That’s a tradition at this point.

JM: Yeah, the first song on the Loma records is always a song that Emily wrote.

The final track, ‘Turnaround’, also sounds like it came about in an organic way. Was that one of the last ones, or did it come up early?

JM: That was an early demo that I think I recorded at home in Florida. I had half a song there, and Emily really liked that one. We tried several times to record it, and we never got a version that we liked. Finally, we recorded that in Berlin –

DD: You guys did that without me over there.

JM: Yeah, in the little tiny mix room we were in in Berlin, which was just a shoebox of a room. I played guitar, and Emily sang – I remember Emily was singing so quietly that I could not hear her over the guitar, which I was not playing very loud. But then we did that one take and thought, “Oh, that’s actually kind of good.” That was the last one we recorded for the album, but it was one of the earliest ones to appear.

You mentioned Emily’s voice and the ways you alter it throughout the record. Emily, how does what Jonathan said about your voice reflecting a collective character resonate with you? Jonathan used the word projection – what is that projection of?

EC: I don’t think I have a clear picture of who Loma lady is. I just know that she’s different from me. She would do things slightly differently than I would. But she still has aspects of my personality because there are things that I definitely have opinions about that I won’t budge on, and that’s definitely coming from me. But I think it’s just about her living within the Loma world, and we usually have a pretty clear picture of what that world is. That’s not to say we don’t have disagreements and different opinions, because we definitely do. But I think it’s more about Loma lady fitting into the Loma world than a clear picture of a character that she is. She doesn’t really have an identity to me. She’s just kind of this ethereal… I don’t know, what do you think, guys?

JM: I think there’s almost always a moment in the songs when we’re working on them where we go, “Okay, this sounds like Loma now.” We kind of know it when we hear it, and often it’s not like that at the beginning. Once the vocal is in, we can start to tell whether it’s going to be that or not. But what the boundaries of that are, I’m not really very clear on.

EC: I just know what she would do. And sometimes it’s not what I would do, but it’s what she would do, and I’m okay with it.

JM: That’s a good way of saying it. Part of why I wanted to do this in the first place was, back when Cross Record was touring with Shearwater, I just loved watching these guys play. I loved the sounds they were making. It was so interesting, so deep, so textured, and kind of mysterious. I was like, “How are they doing this?” Because you don’t always watch the opening bands every night when you’re on tour. After a few nights, you kind of get the point. But with them, I just wanted to watch them every single night. I thought, “Boy, it would be really fun to have a band with these guys where I don’t get what I want all the time. What would it be like if I wasn’t actually steering always?” My tendency is to want to grab the wheel, and it’s a blessing to not be able to do that, and to not get what I want sometimes.

DD: Yeah, I’ve definitely embraced that too. The whole band has been a process of me easing up on what I want to control. It’s been a really nice thing, actually. We’re all fairly strong-willed and opinionated, but there’s a three-person voting system, so if you’re outvoted, there’s nothing you can do about it.

JM: Either you all agree or it’s two against one, there’s no way to have a tie. And almost every configuration of that happens, too. It will be me and Emily versus Dan, me and Dan versus Emily, Emily and Dan versus me.

DD: It’s not really predictable either. I always think I know what you guys want, and then often I’m wrong. My batting average is pretty low on what you actually want. So, it’s just nice to let the thing steer itself and trust these guys. We’ve all had to let a lot of stuff go along the way.

I’m curious if your perspective on this has changed since the beginning, but can you talk about your shared language as a group? Is it something latch onto for the entirety of the project, or is it something that has to continuously regenerate?

JM: Emily, why did it start to work when we were in Dorset?

EC: I don’t know, actually.

JM: Was it just that we were forced together, and we had to make decisions together all of a sudden?

EM: No, I don’t think so. I mean, we were snowed in together, I guess.

If I could twist that question a bit first: What didn’t work about working remotely?

DD: The feedback part of it is really difficult when we’re all just trying to give each other notes through Zoom or whatever. Something about being in the same space, that immediacy of exchanging ideas is hard to replicate.

EC: Especially with the time zones, for me at least. It’s difficult to all be in the same mindset in the morning versus nighttime. It’s just easier when we’re all together in the morning or in the night.

JM: It’s also hard to explain often why you like or don’t like something, because you tend to have these very visceral reactions. You hear a track and you feel disgust, or you’re like, “We have to keep that.” There are these very extreme reactions, which are often not really what’s necessary or even helpful. There’s a lot of the water sloshing around in the bathtub before it finally calms down. Before we went to the UK, we had a lot of tracks, but it felt kind of heavy overall. There were a few that we weren’t sure what to do about them, or if they were worth all the effort we put into them. You get into the sunk cost fallacy, where you’ve worked for a long time on a track, and therefore you feel like you must finish it because you’ve worked on it for so long.

EC: I don’t think I have that.

JM: What do you mean?

DD: You’re just like…

EM: “Throw it away.” But I think I’m a little bit too quick sometimes, admittedly.

Emily, did bringing the record closer to your new home or your day job have a palpable effect on the way it flowed?

EC: I think it’s just exciting, because Loma is a band that utilizes the natural environment or our environment in general more than maybe the average band. I think that reinvigorated things for me. We had never worked on a record together in a different place other than Texas, so for me, it was a little bit more exciting. Plus, yeah, we were at my home, and it was pretty exciting. We had a cute little routine. We’d go to this coffee shop in the morning and then drive this really beautiful coastal road. It was just a different energy and different routine. It was cold and dark; it wasn’t hot and bright. But it came with challenges. The center where we were at my work was really cold.

JM: Yeah, we had space heaters going, and we were still wearing our coats and hats and stuff.

EM: Yeah, it was actually uncomfortable. In that way, it was not as chill and more moody, maybe.

JM: Also, the floor in there is pitched so that the back of the room is higher than the front of the room, so when you’re sitting, you’re sitting kind of at an angle. It felt like we were going to fall off the edge of the record if we didn’t really try to hold on to it. [laughs]

EC: Yeah, the room wasn’t made for making a record.

JM: It sounded good, though. And then there was that chapel up on the hill. One day we went up there with our recording gear and did backing vocals and reamped a couple of things through the natural reverb of that place. I don’t know how much that really affected the overall sound of the record so much, but when I think of the record, I think of that room, climbing this big hill to get up there. Hill walkers looked in there like, “What are these people doing?” [laughs] And we’re just singing to no one in this ruin.

DD: I think it just illustrates that we’re willing to go to certain lengths just to see how much texture or depth we can get into the sounds themselves. We maybe didn’t use a ton of stuff from the chapel, but a lot of the more expansive group vocal moments, we did it again in the chapel, we did it in the small space – we just push when we’re trying to find how much we can get out of these sounds. I always like that about this project. If there’s a way to explore something further and we haven’t done it, and we know that we can, we sort of have to go there.

JM: While we were there, we went to Chesil Beach. It’s a long, long beach, and the size of the rocks in the sand changes as you go from one end to the other. It’s fine sand at one end, and boulders at the other. We were at a place where they were all pebbles, dunes made out of pebbles, and the waves crashing through them made this amazing sound. I was recording with my little field recorder and was really excited about this sound. We brought it back and put it in the track at the end of ‘Broken Doorbell’, and then I realized that I had set it on the shittiest, worst resolution to record.

EC: I liked it.

JM: It was like, you could hear the digital compression. I was like, “I gotta go back and redo it.” And Emily said, “No, let’s lean into that. What if it’s like you’re watching that in a crappy VHS camcorder video from long ago?” So we were like, “Alright, we’ll go for that.” Then we did some things to it to make it sound even more like that.

There are a lot of little moments like that, but another that comes to mind is in ‘A Steady Mind’. I can’t quite tell what the voice is saying in that field recording, but it feels intentional.

JM:: Before we explain what that is, how did it make you feel to hear that sound?

It definitely added a kind of human layer to the song, but it’s still mysterious.

DD: That’s great.

JM: That was exactly what we needed there. The song seemed a little bit mechanical or rote, or more forced than some of the other ones. We were trying to think, “What do we put here? You don’t play a solo there.” So Emily, what was that thing?

EC: When I moved here to England, I got a landline phone so people could call me at my house. And I also got an answering machine. The idea was that if people had questions about death and dying, they could call this number. People would call this number at my house with questions about death and dying, and I would just answer the phone and talk to them about it. I had an answering machine that I got off eBay, and it came with tapes in it already that were used by people in the nineties, maybe. We saved all the files from that answering machine. It was answering machine messages about football practices, Christmas dinners, doctors’ appointments. And that’s what the was, just a chunk of that.

It’s not a field recording, but there’s this other moment in Unbraiding’, after that line about catching the light, where you build this expansive, layered instrumental section that feels like a direct evocation of that lyric.

JM: Bless you! [laughs] We tried so hard to make that happen, and I think Dan might still be suffering some PTSD from mixing that song. We mixed that song so many times.

DD: I like getting pushed to the absolute limits in this band. I hate it sometimes when it’s happening, but afterwards…

JM: [laughs] You don’t like it at the time.

DD: Sometimes I get so pissed off and I hate both of you guys, but I love you so much that I’m happy later. I learn so much, and we get pushed so far and do so many things. I’m working in the studio all the time, I make records for people. I think you actually did an interview with Good Looks – I just made that record [Lived Here for a While] with those guys. So I’ve got my thing, I kind of do it my normal way. But these clowns push me way outside of that and make me work so hard, and we come up with really great stuff because of it. That song in particular – there’s always a point in the record, for me, and I think for you guys too, where it’s almost impossible to even listen to the thing. You feel so defeated. And often, I find that the songs where we make it through to the other side, you carry that experience with you and that helps you get to the end of it. But to really still love the song, you have to go through that.

JM: In that song, actually, some of the string parts were recycled from the Shearwater record that Dan and I did before this. We took some of those parts, edited them, and put them into this song. But then we had the very same player [Dina Maccabee] who played those parts overdub on it, so she’s playing with a track of herself playing on another record. [laughs] We got the whole thing together that way.

Arrhythmia’ has some of my favorite drumming on the record, but I think all the songs are rhythmically distinct. I’d love for you to talk about how you settle into a groove. Does it always feel intuitive, or do you sometimes have to go against your natural instinct?

DD: I think you’re right, if I go through them in my mind, they all are different. That one in particular was based around a phone recording that Jonathan took in Germany. What was that again?

JS: That was a Brazilian ensemble at a street festival. I tracked them down and got their permission to use the sample.

Right, I noticed that in the credits.

JM: Maracatú Nation Stern der Elbe – the German-Brazilian drumming ensemble!

DD: [laughs] I love that.

JM: They were so funny. That song was odd because we made up the track on the spur of the moment, because Emily was sick.

DD: Oh, that was a COVID session track.

JM: Yeah, Emily was sick, and not just sick but couldn’t do anything. We ran the mic cables out to the trailer so she could record in the trailer, but Emily was just down for the count. Dan and I were sitting there looking at each other, like, “We have to do something.” We made a loop of that rhythm, and I started playing piano along with it.

DD: [dogs barking] I’ll mute this, sorry.

JM: That’s a Loma moment right there, because those are the dogs that appear on every single Loma record. We have a rule that if the dogs make it into the recording, they have to stay, no matter where they are, so there are moments in all of our stuff where the dogs pop up. So… I was playing along with the first song, and it didn’t really work. But I started playing similar chords over the drum loop for this other thing that was just a sketch, and that eventually developed into the form of that song. And then we gave it to Emily in her trailer. I don’t know if it was in the middle of the night or what, but you sang into your laptop the vocal for that song.

DD: Sort of nasally, sick vocals.

JM: But some of that vocal is in the track. Then we took that, and I worked on some more lyrics for it and kept some of Emily’s lyrics. That was probably the purest co-write that me and Emily have ever had on a song. I think the first line, originally, was, “Is it dumb how I feel every day?” [laughs] But that’s the kind of choice – Emily, you’ll write whatever is on your mind, whatever the hell it is.

EC: Yeah, no shame.

JM:: And then you had “In the mountains…” The moment I heard that, I was like, “We’re keeping that, that’s great,” and kind of built the song around that moment. But then, for the percussion, Dan and I overdubbed some percussion things to beef up the sound of this phone recording. In England, we did another percussion overdub, these metal lampshades – was it you, Dan?

DD: I think you played those.

JM: Oh, that’s right. I had just two brushes, and I was hitting these lampshades with the brushes. For some reason, that was the cherry on top of the percussion section.

‘I Swallowed a Stone’ is a song that I feel like could be punctuated with a lot more anxiety, but the groove is actually strangely comforting. There’s a line about tumbling, but it’s a very slow tumbling, and it’s more of a simmer than a boil.

EC: For me, that was a really stressful one, in a good way. Jonathan, you came to me with the song, and I loved the lyrics. I don’t think we changed very much about it. A lot of times, I’ll try to sing to a track, but I feel like Jonathan had a very clear idea of how this vocal should be over it. It was structured, but wans’t, and the timing was on, but it wasn’t. It was this weird dance we were doing. We would just sit there and practice it together like ten times. It was a very mysterious one for me because I didn’t fully understand the timing or attitude of it; I felt like I was trying to get at something that Jonathan wanted, but I wasn’t quite sure what it was. He kept trying to explain it to me and I just wasn’t really getting it, so I would randomly try different things. [laughs] Eventually, we just played it together so much. The idea was kind of to live together and then record that, but if we played it now, I don’t think it would be the same as the recording. It’s just those slippery ones that are more about feeling and response to each other than some of the tracks.

JM: And you can actually hear in the track some of the older vocal takes. There are little things where it bled into the microphone, and then some bits cut out, so sometimes lines echo that are other lines.

EC: It’s a collage-y song.

JM: A lot of work went into that one. I felt very strongly about it, but I also wasn’t sure if it was anything. And Dan, I think it’s fair to say, hated it. [laughs]

DD: I really did. It wasn’t until we got the vocal that we liked with it. Once Emily had that performance and I heard it back, I was like, “Oh, yeah, this is great.” There was a point where it clearly shifted for me. I resisted it very hard. I was just like, “What’s happening? This is so boring.” I’m a more impatient listener, I think, than these guys.

EC: Well, you just like things to be happening.

DD: Yeah, I want everything spoon-fed to me, and I want all the candy all the time.

EC: Yeah, that’s not far off base.

DD: I’m relaxing a little bit.

EC: I get what you’re saying because it is kind of like a noodle-y song. It’s slow. I saw the vision, but it was easy to not be able to see the vision. What I liked about it initially was that it felt spooky. It felt really kind of scary to me. If something seems scary or spooky to me, I just think it’s good automatically, and I love it.

DD: There’s a loneliness to that feeling – it somehow rides the edge of, “Am I alone here?” Then it’s like, “Oh, no, there’s my friend. He’s way over there.”

JM: I feel like it’s a happy story. It doesn’t sound like a happy store, but if you look at the lyrics, it really kind of is. It’s this very isolated person who actually has a moment of contact with another person. It’s very intense, but there’s always that doubt underneath it, too. That might be my favorite one on the record.

The word “endlessly” comes up twice on the record, once in relation to dreams and then to a melody. Are you all drawn to this idea of a vision running on a loop or a song having no end?

JM: This is why I love fade-outs, because you can sort of imagine that the song just keeps going forever.

DD: We often talk a lot about all of our songs creating a place you want to be. A lot of the time, the tracks will start off way longer because we’re just trying to see how long we can stay somewhere. We don’t really know where the endpoint is. It kind of gets focused down, but it’s more about trying to capture a feeling. It’s always a dance of how long we want to be there, or how long we want to force other people to be there.

JM: You really lose sight of the whole picture when working on a song. You’ll be working on the same 15 seconds for a long time, and it’s like you just shrink down and get tinier and tinier, while the song gets bigger and bigger around you. You completely forget that you haven’t paid any attention to the first 30 seconds of the song. It’s hard to put yourself in the place of a person who’s listening to it for the first time.

You experience time differently, and I guess that’s a theme on the record too.

JM: It is. I mean, I don’t think anything ever really ends.

DD: It’s the Arthur Russell thing, too: a song’s never done. It’s just kind of like, “This is how it is now.

JM: You just stop working on it for a while. Emily, do you feel that way when you’re working on a drawing or…?

EM: I mean, at the moment, time is just not real at all to me, so I don’t know how to answer that.

JM: Because you’re sleeping a couple of hours at a time?

EC: Everything is just… I can’t explain it. My brain is just different now. Yeah, sleep, hormones… Looking at baby and seeing my face in baby’s face. It’s just all very weird. I guess I always kind of feel like that, but now more than ever.

I don’t know if you are in the process of creating now or if it’s in your mind at all, but how do you think that might affect making any kind of art?

EC: I have no idea. I guess we’ll find out. I don’t know if it will affect it very much or a lot. My time is more limited now, so maybe it will change in the way that everything is just concentrated more. But I sure think about drawing and painting and making music a lot. So maybe I’ll just think about things a lot more before I do them. Maybe they’ll crystallize within me before I actually do them, because usually, I just do them without thinking very much.

JM: One thing I’ve noticed about records is that often when I’m done with them and I come back to them later, I realize that they somehow predicted the future in my own life in some way. I don’t think it’s magical; I think it’s just that your subconscious is aware of things before your conscious mind is. Since you’re often working from your subconscious, it’s not surprising that it’ll send you messages. In this record, ‘Turnaround’, the line “Kid, make your own mess,” that was before Zola was even an idea.

Are there any other parts on the record that feel kind of spooky or prophetic to you?

EC: Haven’t swallowed a stone yet… You never know.

JM: Well, Dan identified the title of the record. I don’t want to make too much of this because it isn’t a huge part of the record, but there was the lines that we got from Laurie Anderson’s AI. One of them was, “How will I live without a body?” which is such a funny thing for an AI to come up with. Dan suggested it, I think kind of as a joke, and I was like, “Wait a minute.” Because that really felt like it encapsulated what the whole process was like, trying to create this thing that was not just a band playing in a room, going to extraordinary lengths to make it manifest. That line was sort of sitting there waiting for us the whole time, because ‘Affinity’ was one of the earlier songs that we did. Just like on the first record, the cover of that record had been sitting on the wall the whole time we were making the record. We were trying to figure out what to do with the cover, and we turned around like, “Hey, you’ve been here the whole time!” A lot of things when you’re making any piece of art are things that you’ve noticed that were just already there. You just hadn’t tuned into their frequency quite yet.

EC: Were you going to say about Lisa [Cline] doing the art?

JM: Oh, I forgot about that!

EC: Well, same thing, she made that before the title, right?

JM: Yeah, we were asking Lisa, the cover artist, to make an album cover. She did a couple of different tries, and then she made this one with this floating head. She didn’t know that was the title of the record!

It’s funny how those things – an actual artist and an AI trained on Laurie Anderson’s work – that live outside of the organism of the band somehow end up feeding into it. I understand it’s not a huge part of the record, but I am curious what the thinking was around working with this AI, and whether you were all on the same page about what you were going to keep from it.

DD: It’s just one song, right?

JM: There are lines in ‘How It Starts’ and ‘Affinity’. I was working with Laurie on this other project, and she was showing me this AI. I could just send it a picture, and it would respond with a poem. So I took a picture of a thing I was working on in my book – it was this guy from Antarctica in the 1960s with his beard full of ice, and another picture that I can’t remember, but it came back with these two poems. These poems had these neat lines in them, and when I was fishing for lyrics, I just looked back at them and thought, “There’s something in these couple of lines that really suggest something to me.” So they went into the songs and stayed there. But I didn’t have any intention of making it a part of the record when I did it; it was just an off-the-cuff thing with Laurie at the time. Then I asked her if it was okay to use this, and she said, “Yeah, sure.”

I know you don’t have plans for touring right now, but is being in the same room and playing together again something that’s on your mind or that you’re looking forward to?

DD: We don’t know in the future when that may be, but as with all the Loma processes, we kinda just respond to the way it’s unfolding. I think if and when the time comes, we’ll embrace it.

EC: Well said.

JM: I think we could have a bangin’ set. It’d be so good.

DD: Yeah, we have two records now that we haven’t toured, so we got a lot of tunes.

JM: We can have an amazing setlist. But it does take an awful lot of energy and time and money to get a band on the road now, so we’ll have to see if the stars align.


This interview has been edited and condensed for clarity and length.

Loma’s How Will How Will I Live Without a Body? is out June 28 via Sub Pop.

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