Looms “I Killed A Man”
Americana Highways brings you this premiere of Looms’ song “I Killed A Man” from their forthcoming album Big Dreams, which is set for release on September 19 via Paper Garden Records. Big Dreams was produced by Ryan Ball of Gearbox Recording; mixed by Ryan and Sharif with mastering by Joe Lamber. Liz Maney did the artwork/layout.
“I Killed A Man” is Sharif Mekawy on vocals and guitar; Nels Cline (Wilco) on guitar; Harry Morris Jr. on guitar; A. Hammond Murray on bass; Louis Cozza on drums; and Fred Copeman on keys. Americana Highways had a brief chat with Looms’ songwriter Sharif Mekawy about the song. The premiere appears just beneath the interview.
Americana Highways: What is the fundamental core meaning of this song?
Sharif Mekawy: I think everyone has some kind of internal battle within themselves to figure out what kind of person they want to be in the world. There are these different versions of yourself that are all dinfluenced by your past and in turn influence your actions. This song is my bout with one of those versions that no longer suits me.
AH: You’ve worked with some notable collaborators over the years — including Nels Cline, whose unused overdubs appear on this track. What was it like revisiting and weaving those older recordings into a new song, and how did that shape the feel or direction of “I Killed A Man”?
SM: It was actually amazing how easily that fell into place. I always had that dub in the back on my mind as something I wanted to eventually use. I was listening to the most recent mix of the song and pulled it up underneath the track. Not only was it in the correct key, but the rhythm flowed so perfectly, if you didn’t know any better you’d think it was created for that song and not for a different one seven years prior.
AH: Looms has always balanced elements of indie rock, alt-country, and a more cinematic sensibility. When crafting a track like “I Killed A Man,” how important is mood or atmosphere in your creative process — and how do you know when a song has reached its final form?
SM: I think all the songs on the EP pull from a lot of moody elements in my life, so that probably translates in the music. The final form tends to be dictated by the band a lot of the time in that we woodshed the song as much as possible before taking it to the studio. Overdubs are almost always added so they grow a little more in post, but the general meat of the song is usually worked out ahead of going to record.
AH: You’ve been a staple of the NYC underground for years, and this EP marks a kind of personal and musical evolution. How does Big Dream reflect where Looms is today — both as a band and in your own personal journey?
AM: This band has been such a huge part of my life for the past 16 years since I started writing the first album. It’s just an extension of every part of me and it’s difficult for me to really separate myself from that identity. Playing and growing with this band has truly shaped who I am today.
This song is a spacey exploration of the darker side of human thought, this song is contemplative within layers of winding and spinning indie rock.
You can find the Big Dream EP here: https://idol-io.ffm.to/bigdream
