If it feels like a lifetime since we last heard from Alex Sauser-Monnig’s indie-folk project Daughter of Swords, I think we mostly have a global pandemic to blame for that. Six years after the release of their debut album Dawnbreaker, though, Sauser-Monnig returns with a record that impressively chronicles the momentous change which the songwriter’s undergone in both their creative life and their personal life within that time span, with the collaboration-heavy Alex achieving and maintaining a certain playfulness as it does so.
Produced by Sauser-Monnig, their The A’s bandmate Amelia Meath, and Meath’s Sylvan Esso bandmate Nick Sanborn for that latter duo’s Psychic Hotline Records, Alex is far from the personal statement its title suggests as each individual track features backing players bringing unique elements to the songs they’re billed on. Beyond that, though, Sauser-Monnig was eager to share a few of the artists who frequently made appearances on the speakers during the album’s recording sessions, as well as anyone else they had in mind while approaching different facets of Alex: the production choices of Broadcast, the voice-as-instrument mindset of Aldous Harding, the humor of John Lurie, the eerie guitars of OK Computer–era Radiohead, the quiet-loud balance of Neil Young’s Zuma.
For a full look at Daughter of Swords’ inspirations for Alex, read on below. You can also pre-order the album before it drops tomorrow here.
Broadcast, “I Found the F”
Trish Keenan’s voice is so cool—so deadpan and even, and a real inspiration for vocal delivery. Tender Buttons generally was getting a lot of air time in the studio and inspired production choices for “Strange” and a couple of other songs.
The Cure, “Close to Me”
We pulled this song out as we were beginning the recording of “Talk To You” as an example of a song that is primarily vocal with the bones made out of things like breath or claps.
Aldous Harding, “Passion Babe”
The way Aldous Harding explores her voice is inspiring. She reminds me that the voice is a literal instrument.
Robyn, “Human Being”
We did a fair bit of pitch-shifting my voice on Alex—sometimes as a way to make a joke, and sometimes to underline a vocal part, but always it was affirming to me as an agender person to feel the freedom of my voice inhabiting otherwise impossible realms.
John Lurie, “Backwards Flute”
John Lurie didn’t specifically come up in the studio, but I’m a big fan of all of the music he made for Fishing with John and the way his music straddles humor and mystery.
Cat Power, “American Flag”
I was thinking a lot about the texture of Chan Marshall’s voice in the lead up to our studio time.
The Beach Boys, “Vegetables”
This song was in heavy rotation for me. Just all the things music can be, including so silly.
Radiohead, “Palo Alto”
The way the guitars were treated on “Alone Together” was heavily influenced by some listens to “Palo Alto.”
Brenton Wood, “Catch You on the Rebound”
I was listening to his record Baby You Got It a good bit over the year that we were in and out of the studio, and it always feels like the breeziest record to listen to with the windows open while you work on a project or do the dishes or whatever.
Neil Young, “Don’t Cry No Tears”
Zuma is such a good record. I just love how the mellower songs exist so easily in the same space as the head bobbers. We talked a lot about the unification of the quiet and the loud on Alex, and I think this record is a cool example of that.
S. E. Rogie, “I Wish I Was a Cowboy”
This record has been in the mix for me lately. It just feels good!
