Arlo Parks

I think so.

I think for me, it was almost like putting on this, putting on an armor or, you know, allowing myself to experiment in a way that felt a little bit more anonymous and a little bit less observed.

And it also just almost put me, you know, when I was writing as Arlo Parks, there was this sense of, you know, daring that came over me or this playfulness, this

sense of experimentation.

I think as a person, especially as a teenager, I think there was a kind of rigidity about me and the way that I was in my daily life.

I think I was relatively shy to myself, but I think when I was writing or playing guitar or exploring sonically, there was this kind of courage that came out of me that I kind of associated with Arlo Parks or having a name other than my own.

I think there is a power to, you know, the first thing that you see on the, you know, on the front, you see the cover of the book, but then also, you know, that name emblazoned on the front and it, yeah, there's a promise there that I think I really connect to.

Even though when it comes to writing, I think the name of the song or the record usually does come at the end.

Because I guess I want a sense of what it is that I'm trying to describe and encapsulate after the fact.

Definitely.

I mean, we were talking about Massive Attack.

I remember Mezzanine and also all the kind of single covers of the Blue Lions record as well.

I think Mezzanine, that kind of metallic, you know, the insect and that eeriness and that foreboding.

And then, you know, that song Angel or Inertia Creeps, there's something kind of crawling about that.

that whole record in the best way.

So I love that record cover.

And then, you know, almost on the polar opposite end, I love the Pink Moon, Nick Drake album cover.

I haven't seen that.

It's really beautiful.

It's this, you know, quite, it's like this green painted kind of surreal,