Jessie Reyez was conflicted about dropping her debut album, Before Love Came to Kill Us, today. In fact, she still is. You get why. For one thing, there’s that whole global pandemic going on, taking lives and wrecking economies and forcing us all to live indefinitely in Hobbit holes. For another, the project is kinda, sorta steeped in death. I mean, it’s right there in the title. On the album’s cover, the Toronto-bred singer-songwriter is posted up in a cemetery. There’s also a single titled “Coffin,” in which she and Eminem act out a lover’s spat resolved by both parties leaping off a roof.
If you know Reyez, you know she likes her love served up with a chaser of savagery. “Fuck being delicate,” she sang on her Grammy-nominated 2018 EP Being Human in Public, and she damn well meant it. On the Colombian-Canadian’s impressive first full-length, she sings feverishly about fighting and fucking and blowing out brains. “Nobody gets out of love alive/We either break up when we’re young or say goodbye when we die,” she croons on doo-wop slow jam “Kill Us.” And that’s pretty much the thesis. Brutal, but honest.
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Her album was meant “to act as a trigger to make people more aware of the fragility of life and to take that into everyday decisions,” Reyez tells me. “However, that’s part of the reason that I was struggling to [release it], because it’s just so blatantly about mortality. Considering everything that’s happening in the world, it seems more like a theme song for what’s going on.”
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Sure, given the current state of things, Reyez’ new LP may appear a bit on-the-nose, but it’s also extremely in-the-feels. At least I think so. If you happen to be experiencing heartbreak in the time of self-isolation—which, alright, full disclosure: I am—then on this record Jessie will be your cost-effective therapist (no Zoom sesh necessary). Sometimes sweet, sometimes scornful, she digs into all manner of relationship issues over all manner of genres—from arena-pop fantasies of shooting cheating exes (“Do You Love Her”) to downtempo R&B pleas to emotionally-compromised partners (“Imported”)—with face-slapping conviction and charisma. And by the end of it, despite the album’s morbid themes and world’s present doomsday vibe, you will feel alive.
We talked to Reyez about releasing her debut long-spinner amid coronavirus, working with Eminem, and my breakup.
How you doin’, Jessie?
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I’m good, man. You know, at home. Hunkered down. Quarantine life.
Same, same. How have you been keeping sane while social distancing?
To be honest, well fuck. For me, personally speaking, from a completely selfish perspective, it’s not far removed from my reality when I’m not working. Since I’m around people so much, when I have time to relax, I usually take the time by myself for as long as I can. So I tend to be on my own. It’s normal for me in that regard. But, of course, with the tour [with Billie Eilish] being cancelled, and just seeing how this pandemic has been affecting people around the world, and how people are stranded in different countries because the borders are closed, it’s just insane, man. It’s insane. It’s so insane it makes music just seem unimportant. Like, there was a solid moment where I just thought I was going to postpone the album. And I’m not sure if I’m making the right decision by dropping it, but I am leaning into it.
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