It transforms from quiet, piano-driven melodies to full bursts of synths and electric instruments, creating a blend of traditional and modern sounds akin to Jones' influences. Wait Til I Get Over paints a deeply nuanced portrait of Jones' life and the Southern customs that raised him. "I felt the need to really be open about my bisexuality because I know how stigmatized it can be for a queer, young person in the rural South." There's so many rules and boundaries we set up for ourselves that really limits and tarnishes us to be empathetic with one another and to love one another," says Jones. "I began to realize I was moving away from these fragile forms of masculinity. In the video, two men encounter each other as adults and slowly remember the tender love they shared - and hid - as teenagers. He explains that the relationship that inspired "That Feeling" was beautiful but filled with shame. The song marks the first time Jones has publicly addressed his sexuality. "The emotions of that song stayed with me for so long because that was the first intimate relationship I shared with another man," Jones explains. And he opens up about other key experiences that shaped him, like an early romance - and breakup - chronicled in the soulful ballad, "That Feeling." On the title track of Wait Til I Get Over, he layers his voice repeatedly to recreate those childhood sounds. "Whenever I went back to Hillaryville as a grown man and went back to church and saw they weren't doing the lining hymns anymore, it really broke my heart," he says. That meant returning home, both musically and spiritually. "I really felt like the fans only knew parts of me, and I wanted to be transparent and vulnerable in a way that I haven't been before," says Jones. Other events would shake out in the interim, between the start of Jones' graduate studies and the band's success - an incident with law enforcement, a rocky period back in Louisiana, and finally, a return to Bloomington to finish his master's degree and begin touring with The Indications in 2016. There, he met his bandmates and formed Durand Jones & the Indications. In 2012, Durand Jones moved to Bloomington to study classical saxophone at Indiana University. There's so many rules and boundaries we set up for ourselves that really limits and tarnishes us to be empathetic with one another and to love one another. I began to realize I was moving away from these fragile forms of masculinity. "The mantra me and Durand's generation was to always leave Hillaryville, to get out of Hillaryville," says Damon Jones, Durand's younger brother. Jones says the war on drugs and a nearby state highway, cutting through, turned the town into a much more desolate place. But Hillaryville changed from how she remembered it. Jones grew up attending church, singing in the choir and living in his dad's trailer, not far from his grandmother's house. In an early interlude, over melancholy piano, strings and sounds of a creek, Jones narrates Hillaryville's history and how his grandmother described what it was like when she first moved there: "the place you'd most want to live." "Rather, it would smell like zesty magnolias on a hot July day in Louisiana," he says.Īnd so began Jones' journey to memorialize his hometown of Hillaryville, Louisiana, a small community on the banks of the Mississippi River, on new album Wait Til I Get Over. When he approached his label, Dead Oceans, about releasing a solo album, he didn't explain what it might sound like. But after several years, three albums and international tours, frontman Durand Jones felt the need to step out on his own. Durand Jones & the Indications have been making vintage soul cool again since the mid-2010s.
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