At a time when nostalgia has become a primary selling point for music, Molly Drag consistently achieves this feat not through reunion tours and reissue campaigns, but instead by harnessing the power of the family photo album and translating its visceral emotions into song. Over six albums, Michael Hansford has honed his ability to make the listener dig deep into their own subconscious through an evolving soundtrack of slacker bedroom recordings and polished slowcore directing our attention away from his own personal narratives sung in quavering falsetto and cool near-mumble.
On his seventh album, Mammoth, Hansford finds a new way to dredge up old memories: through the instrument many of us learned to play at 10 years old until our mothers got tired of dealing with us lying about putting in sufficient practice time, only for us to later regret it during the second semester of our freshman year of college when all our friends started forming bands. “It incorporates and foreshadows everything a song could be at its most bare, minimal, and immensely emotive,” shares Hansford, who clearly managed to push through that era of pre-teen rebellion. “The albums that have been most dear to me include heavy use of the instrument. These records that have provided the score to my life influenced this record.”
It’s apparent from the opening track and lead single “Dogfight” that Hansford was meditating on pre-DayGlo Coldplay when these compositions came together. Yet the less piano-heavy tracks burrow deeper into the post-folk sounds of 2021’s Resemble Another and its predecessors (for the heads, “Coming Back for More” plays like a more emotionally composed redux of “Other Hunter” from 2017’s Whatever Reason), which achieve a sort of emotional dolly-zoom where the songs sound both bigger and more intimate at the same time. “Mammoth is a record about being useful to those you love,” Hansford notes of the lyrical themes. “How every person that has an effect on you becomes a part of you in some way, shaping you into a new form. I think every morning we become a bit of a different person than we were the day before. There’s a lot more living inside of this record, and my hope is that people will listen closely to the words.”
With the record out today, Hansford shared a playlist outlining 14 songs that influenced the direction of Mammoth, as well as one of the album cuts that largely shaped the feel for its surrounding tracklist. “Mammoth is my first album that puts piano in front, and it felt right to do the same when choosing these tracks,” he concludes. “I tried to excavate some of what moves me. It’s hard for me to choose, but I will do my best.”
Check out the playlist below, and stream/purchase Mammoth here.
Tom Waits, “Ol’ 55”
I don’t know what to say about Tom Waits other than his music has remained close to my heart since I was a teenager, and I think he’s the coolest to ever do it. Huge influence for all of my albums, but most especially on this one.
Coldplay, “Politik”
Coldplay is the first band I got obsessed with—the first band where I had to know who their influences were. The first band I talked about on message boards. A Rush of Blood to the Head is a top-10 record for me, so here’s a song from it. You can say what you want about Coldplay, but there’s a reason they still sell out stadiums.
Nina Simone, “Don’t You Pay Them No Mind”
Currently going through a huge Nina obsession, and I’ve probably listened to this song a hundred times this month, so I’m putting it in here.
The Beatles, “Martha My Dear”
Just like [for] a lot of other musicians out there, The Beatles have been a big influence on me since I learned their songs on piano by ear when I was 14. My mom (bless her soul) came home one day with a weighted-key electric keyboard she got a deal on at a liquidator. I immediately set it up in my room and spent about two weeks learning this song. I can still play the first 30 seconds or so. John is my lyrics guy, Paul my melody man.
Kate Bush, “And Dream of Sheep”
Oh boy, I love Kate Bush, I became obsessed with her work in high school and still am. The conceptual atmosphere of her albums is exquisite and absolutely gorgeous. This track especially is so lush and inviting—it makes you feel like you were there when it was recorded. It sounds like a lullaby, something I was going for when writing “Turpentine” for my record.
Pink Floyd, “The Final Cut”
My dad got me into Pink Floyd when I was very young, playing them on a record player when I was just a baby. I think because of this a lot of my material is melancholic. I love all their albums, but I think The Final Cut is severely underrated. I think since it’s mostly Roger, it has a singer-songwriter quality to it that makes it even more personal.
Brian Eno, “Fullness of Wind”
You can’t really put this song into words. Just listen to it and immediately send it to someone you love. It hits.
Blur, “Sweet Song”
I’ve been a Blur fan since I was about 12 when I found their self-titled CD sitting on a bench in the strip mall where I grew up. Brought it home and was immediately obsessed. This song I discovered later, and up until then I never knew Damon could write something so delicate. It’s a song that I always come back to.
Radiohead, “How I Made My Millions”
This is a home demo Thom recorded. It’s one of the most raw expressions of emotion on tape that I’ve ever heard. Prepare yourself.
Molly Drag, “Jump”
A simple three-chord piano and vocal ballad. This is one of the songs that shaped the feel for the entire record. It was the song that was finished first, months before anything else, and it lent color to the record’s aura.
John Lennon, “God”
Plastic Ono Band is a big influence for me. The record is super dark, but the melodies John puts together seem to cradle you enough that you remain present and welcomed. It’s a difficult thing to accomplish, and most fail.
Bob Dylan, “Simple Twist of Fate”
No piano on this one, but Blood on the Tracks is one of the most important records to me and a really big influence for Mammoth. Somewhere in these cathartic melodies and beautiful words, Dylan hit something so precious. We’re so lucky we get to listen whenever we want, and Dylan’s mystique is something that’s always captivated me.
Elliott Smith, “Waltz #1”
Elliott Smith. Enough said.
Sigur Rós, “Untitled #1”
I still remember downloading the first Sigur Rós track off Aries (similar to Limewire). I couldn’t understand the lyrics, but I thought it was one of the most beautiful things I’d ever heard, and using our dial up internet I downloaded as many songs as I could find. My mom couldn’t use the phone for hours, and that Christmas she bought me this album on CD. We had a stereo in our bathroom so I remember after presents I ran a bath and sat in there listening until the water was cold and the album was finished.
Yiruma, “Love”
I discovered Yiruma during my first high school break-up. It felt like the songs were caressing me then, and the album this track is off of still does the same. It’s been a while since I put it on so I’m going to do that right now.
