The maximalist album-making process of yore, during which time it would have taken her two years of writing, recording, arranging, re-arranging, mixing, and mastering to complete the project, is a context made irrelevant by technology, yet I imagine Badu kept her phone down during much of the process. I get that same feeling from But You Caint, which Badu recorded alongside 23-year-old Dallas producer Zach Witness in less than two weeks. I remember things better, I think more clearly, my ideas are stronger, and it’s easier to make creative decisions.
Here’s inevitably what happens when I leave Twitter: I spend 30 days buckling down on work, on friendships, on my piles of neglected reading, on just being a human in a strange world that's getting stranger. I want to tell it to myself until I never forget, until I only pick my phone up when I need it, until my communication feels worth the energy it eats up in return. I want to tell those people to spend more energy making better music and less energy trying to convince strangers on the other side of some app’s cold interface to listen to it. In those moments, I want to escape, to insulate myself from opinions that infuriate me, from rude comments left in my mentions by Twitter eggs, from nonstop haranguing from struggle rappers and struggle singers and struggle bands and struggle producers confident an unsolicited communication will make them pop.
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