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The War On Drugs

The War On Drugs, I Don’t Live Here Anymore: A Foreword
On The War On Drugs’ 2017 album A Deeper Understanding, Adam Granduciel sang about
wanting to “find what can’t be found.” In a way, the history of this band has been a chronicle of
their frontman’s ongoing search for greater meaning. Along the way, they’ve grown with each
record. In the aftermath of A Deeper Understanding, they won a Grammy for Best Rock Album.
The New Yorker called them “the best American ‘rock’ band of this decade.” Even The Rolling
Stones recognized Granduciel’s talents, inviting him to remix their long lost collaboration with
Jimmy Page, “Scarlet,” which was previously an unreleased gem from Goats Head Soup.
By any metric, The War On Drugs have made it. They are now firmly embedded in the classic
rock lineage. And yet the quest for that ineffable something continues. In practical terms,
Granduciel was facing a familiar quandary as work began on the new War On Drugs album, I
Don’t Live Here Anymore, in early 2018: What next?
Looking ahead, he was staring down his 40th birthday. He was on the verge of starting a family.
And then there was the extended brotherhood of The War On Drugs, who had just spent many
months on the road gelling into an excellent live act, as documented on 2020’s Live Drugs. In the
2010s, they had put out three classic studio albums in a row. But now it was time for a new
statement for a new decade.
When he reflects on the making of I Don’t Live Here Anymore, Granduciel is quick to talk about
the contributions of his bandmates as well as his trusted co-producer and engineer, Shawn
Everett. That doesn’t exactly square with how we normally talk about this band. Granduciel
typically is portrayed as the loner studio genius diligently pursuing the creation of heartland rock
masterpieces. Think back to the cover of their 2014 breakthrough Lost In The Dream, in which
we see the band’s leader standing in profile, looking pensive but determined.
But the moments that stand out most from the creation of I Don’t Live Here Anymore aren’t the
solitary ones. For Granduciel, the new songs brought him back to the very community he had
forged with his band.
“It just reminded me of all the things I love about making music,” he says, “collaborating with
my friends, and letting everybody shine.”
As Granduciel sings in “Harmonia’s Dream” — one of the most anthemic tracks from an album
positively bursting with them — “sometimes forwards is the only way back.” For The War On
Drugs, the path forward started with paring back to the core of Granduciel, bassist Dave Hartley,
and multi-instrumentalist Anthony LaMarca. As winter turned to spring in March of 2018, the
trio retreated to upstate New York to jam, demo new songs, and deepen their bond.

“Sometimes you have to just get away from the predetermined roles that each member plays in
the live setting,” Granduciel explains. These sessions proved highly productive, turning out early
versions of some of the catchiest and most immediate songs on I Don’t Live Here Anymore,
including the jangly “Change” and the pop-banger-in-waiting “I Don’t Wanna Wait.”
It was the start of an odyssey that lasted about three years. I Don’t Live Here Anymore was made
in New York City and Los Angeles from 2018 through the early part of 2021, and included
stopovers at iconic studios like Electric Lady in Greenwich Village and Electro-Vox in
Hollywood. (Granduciel, as always, is a loyal patron of some of rock’s greatest sonic
workshops.)
One of the most memorable sessions occurred in May 2019 at Electro-Vox, in which the band’s
entire line-up — rounded out by keyboardist Robbie Bennett, drummer Charlie Hall, and
saxophonist Jon Natchez — convened to record the affecting lead-off track and first single from
I Don’t Live Here Anymore, “Living Proof.” Typically, Granduciel assembles War On Drugs
records from reams of overdubs, like a kind of rock ‘n’ roll jigsaw puzzle. But for “Living
Proof,” the track came together in real time, as the musicians drew on their chemistry as a live
unit to summon some extemporaneous magic. The immediacy of the performance was
appropriate for one of Granduciel’s most personal songs to date.
The songs on I Don’t Live Here Anymore were not written specifically about the pandemic. But
at a time when we’re all starting to finally reunite with friends and family members, this record
feels extra resonant. Who doesn’t feel right now like they’re entering a new phase of life? Who
isn’t looking toward the horizon with a mix of fear and excitement?
The joy of this album is that The War On Drugs aren’t just exploring these themes lyrically. The
sound of I Don’t Live Here Anymore also captures the exhilarating uncertainty of dusting
yourself off and taking your first steps into a larger world. Musically, this is the most rousing and
upbeat War On Drugs album yet. The kind of music you want to play with your friends, arm and
arm, as you steel yourselves against whatever’s coming. It’s medicine.
Of course, there are also the sort of introspective ballads the band is known for, like the folkie
“Rings Around My Fathers Eyes” and the gorgeous “Occasional Rain,” which Granduciel
considers his personal favorite. But the bulk of I Don’t Live Here Anymore unfolds like a
collection of future greatest hits. “Victim” is an electro-pop killer that could put The War On
Drugs in dance clubs. “Wasted” slams like a lost Born In The U.S.A. outtake. The title track,
which is littered with Dylan references, sounds like it was designed in a lab to shake the rafters
in an arena.

As always, Granduciel is a master of crafting singular moments that take your breath away. The
guitar solo in “I Don’t Wanna Wait.” The mammoth synth hook in “Harmonia’s Dream.” The
stunning piano coda from “Change.” The sultry backing vocals from special guest stars Lucius in
“I Don’t Live Here Anymore.”
And then there’s “Old Skin.” I don’t want to spoil it for first time listeners, so I’ll just say this:
Wait for when the drums come in. It’s the best and most uplifting moment on the record.
Or maybe it’s the final verse of “Old Skin” that deserves such a distinction. It’s where
Granduciel seems to find that special something:
Well there’s a price for everything
That tries to pull us all apart
So take control of anything
That tries to kill you from the start
But I ain’t sure of nothin’ babe
Till I can feel it in my heart
“I keep coming back to it as a record of movement,” Granduciel concludes, “of pushing forward,
of trying to realize that version of our most fulfilled life, in spite of forces at every turn pushing
down and trying to break you.”
Sometimes you hear a record that makes you feel — if only for an hour or so — that nothing can
break you. I Don’t Live Here Anymore is that kind of record.
— Steven Hyden, June 2021

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