While creating her new album, Nobody Loves You More, Kim Deal found herself drawn to the theme of failure. This fascination was inspired by Dutch artist Bas Jan Ader, who vanished at sea in 1975 while attempting a solo voyage from the U.S. to England in a 13-foot sailboat. Ader’s boat was later found wrecked off Ireland’s southern coast in 1976, nearly a year after he set sail. One of the last photos of Ader, taken by his wife, captures him beaming in a blue tracksuit and bright orange life jacket as he embarks on his ill-fated journey.
The album cover for Nobody Loves You More evokes a similar sense of solitude. It depicts Deal adrift on a platform surrounded by serene, dark blue waves, accompanied only by pastel amps, her guitar, a stool, and a flamingo. Despite the isolation, Deal interprets failure differently—not as loneliness or defeat but as something noble and inspiring.
“At least something magnificent was attempted,” says Deal. “Failure means there was an effort to fail at. That’s endearing. There’s a sweetness in seeing someone get their ass kicked because they were in it. It warms my heart and gives me the courage to try something myself. Even if I fail, at least I’m trying.”
Like Ader’s journey, Nobody Loves You More is an ambitious artistic endeavor—personal and unconventional. For Deal, a music industry veteran with over 35 years of experience with Pixies and the Breeders, this album represents her first proper solo release under her name, a step she once found daunting. Previously, Deal avoided using her name for solo projects, opting for pseudonyms like Tammy and the Amps. Reflecting on that era, she says, “I created Tammy and the Amps because I wasn’t comfortable. But the ‘Tammy’ part got on my nerves, so it became the Amps.”
The album’s tracks showcase Deal’s signature blend of soft-loud dynamics and experimental energy. The title track opens with a slow, romantic strum accented by string arrangements. “Coast” brings ska-like horns and a raw Blondie-inspired progression, while “Crystal Breath” ventures into distorted drums, synthy bass, and spidery guitar riffs. Songs like “Disobedience” and “Big Ben Beat” lean into heavier, fuzz-driven sounds, contrasted by atmospheric interludes such as “Bats in the Afternoon Sky.”
Among the standout tracks is “Are You Mine?,” an intimate lullaby that, at first listen, could be mistaken for a love song. However, the track is a deeply personal tribute to Deal’s late mother, who battled Alzheimer’s. The title comes from a poignant moment during her mother’s illness.
“She didn’t know my name or what a daughter was,” Deal recalls. “One day, she stopped in the hallway, grabbed my arm, and asked, ‘Are you mine?’ I said, ‘Yeah, mama, I’m yours.’ It was a fleeting moment of recognition, but it was so sweet.”
This song, along with others, reflects the loss that permeates the album. Deal’s father also passed after a prolonged illness. “My dad was this big, larger-than-life personality,” she says. “Watching them diminish day by day was hard, but I’m proud they both died at home.” Writing songs like “Are You Mine?” provided comfort, with Deal penning its gentle arpeggio on her nylon-string acoustic guitar.
Much of Nobody Loves You More came together in Deal’s Dayton, Ohio, basement, using Pro Tools and an Electrodyne preamp she particularly enjoys. Some tracks date back over a decade, including earlier versions of “Are You Mine?” and “Wish I Was,” which were released as 7-inch singles in 2011. Deal handled many of the album’s drums, bass, and guitar parts at home, while contributions from collaborators—such as Breeders bandmates, Fay Milton and Ayse Hassan of Savages, and Jack Lawrence from the Raconteurs—were added over the years.
The result is a scrappy yet deeply patient record that balances raw emotion and innovative artistry, solidifying Deal’s reputation as a fearless and resilient creator unafraid to embrace failure.
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