Why Langhorne Slim says ‘The Dreamin’ Kind’ is bursting with optimism
In the opening shot of his video for the new single, “Rock N Roll,” Langhorne Slim is shot out of a cannon. It’s a fitting metaphor for Slim (born Sean Scolnick), who has always been a bit wild at heart and on stage, climbing into the audience and dancing on tables during live shows.
But it’s also fitting because Slim’s life has rocketed into new territory in recent years – at 45, he now has a fiancée, a young son, and a stepdaughter – all of which have changed his perspective.
And his new album, “The Dreamin’ Kind” is a blast off in other ways. For years, Slim made his name with introspective rootsy Americana songs like “Changes,” “Worries” and “Panic Attack,” and even his more upbeat and propulsive songs, like “House of My Soul” and “The Way We Move,” start from an acoustic guitar and are “folk forward,” as Slim says.
This, however, is primarily a rock ‘n roll album, one that grew out of his friendship and jam sessions with Sam Kiszka and Daniel Wagner of Greta Van Fleet. Kiszka is the album’s producer.
“‘Haunted Man’ is definitely an ode to Neil Young, and I hear some of the Stooges on “A Strange Companion,” Slim said in a recent video interview to which he wore a Bobby “Blue” Bland T-shirt, which was a Christmas present to this blues-loving musician.
“The Dreamin’ Kind” represents a bold shift, considering his last album, 2021’s “Strawberry Mansion,” marked his debut on the Billboard 200. “I just wanted the songs to all feel alive,” Slim said, adding that this different sound reflects him as a person and musician.
“The best compliment has been from people who’ve said, ‘It sounds different, but it still sounds like you,’” he said.
This interview has been edited for length and clarity.
Q. Did you start the video with that cannon image because it fit the making of this album?
That image was actually in my mind because it’s something I’ve envisioned many times in my life.
Q. Wait, why have you always had that image in your head?
I love old circus and Coney Island stuff. One of the few things my dad left behind when my parents split was a framed glued-together puzzle of the Canadian strongman Louis Cyr. And I love Evil Knievel. All that imagery has just always appealed to me.
It’s the vibe of the record. This record sounds very different to people who know my last couple of records. There’s been something inside of me that’s been wanting to be shot out for a long time – this rock and roll, balls-to-the-wall kind of thing.
Q. This album has more upbeat and hopeful songs than earlier albums. Did you enjoy shooting yourself out of a cannon in your personal life, too?
Of course. But you don’t realize that every day. I just celebrated six years sober, and when you have a sober anniversary, you look back. My life has changed so much, it’s just insane. I think the optimism on the album is partially subconscious and partially conscious – I wanted to put something fun out into the world because I’m feeling good and because we’re hit with so much negativity and darkness.
Q. How different was it collaborating with guys as opposed to writing at home with your acoustic guitar and your cat?
Well, by day I was writing those folk-forward songs people would know, with my acoustic guitar and what is now five dogs and a cat. But in the late afternoon or at night, I was trying to play guitar in ways that I don’t normally play, to come up with riffs that felt cool to me.
What happens for me when I’m on fire creatively is I usually go to my acoustic guitar with a certain set of chords and a certain sort of style, and that becomes the identity and the thing. But there are all kinds of other things that I long to express and do.
I think Sam saw something in me that, with a little help, could be formed or exposed. And I was primed for that. All I needed was love and trust, which can be difficult for a lot of us.
I’d go to his place with new riffs, and then the three of us would just get at it. At first, it wasn’t about making a record; it was just, “Let’s play music for fun.” There was that beautiful, youthful thing of plugging in a guitar with your friends who were on bass and drums in a living room and rocking out. We were smiling and having fun.
And Sam might write a part or Daniel would have an idea – there are some instrumental and bridge-y parts that I would never have come up with on my own.
Then it came together so fast.
Q. You used the word trust. Was it about trusting them or yourself?
My only fear was that I didn’t want to sound like I’m singing karaoke over another band’s stuff.
Also, this record is the most hi-fi production of anything that I’ve done, and that took me a moment to wrap my mind around.
There’s a song called “Haunted Man,” which I think is the furthest from me and had the most collaboration. Sam loved the song and said it should go on the record, but it took me a little while to accept it.
When I’m asking others to validate something that I’m unsure about, that means I’m in trouble. I’ve had records where I’ve asked, “Are you sure this is good enough?” And that’s not a good feeling. So I have to know that deep within my soul and spirit that I believe in it, that it makes my heart smile when I hear it. And when I heard the mix for “Haunted Man,” I thought. “OK, this rocks.”
Q. Was it hard to choose what songs went on the album?
I essentially made two records – one with my band that I’ve played with for many years and one with the Greta guys. We thought one would be similar to what I’ve done and one would be this rock and roll explosion record. But songs got taken from both projects and put together to make the best record for “The Dreamin’ Kind.”
I have these other songs and I don’t know where they’ll fit. There’s the first song that I wrote for my son that means a lot to me, and I see tears in people’s eyes when I play it, which is usually a good sign for me. That will be on my next record.
Q. You said on Instagram that your favorite gig last year was playing for ten people at your Grandma Ruth’s assisted living facility. Why was that so important for you?
I’ve had amazing old people in my life, and they mean so much to me. My grandmother is 97, brother, and I just want her to be comfortable, and I don’t want her to be lonely. Anything that I can do that puts a little smile in her heart is a great gift.
I told the administrators that if they ever needed anybody to let me know. They don’t know or care who I am; I’m just a dude whose grandma is there.
I learned a handful of covers that I thought they’d know like “These Boots Are Made for Walking” and then played a bunch of my stuff. In no way was this musically one of my best gigs, but to see these ten people bop their head or smile is the divine connection I seek with my music.
It’s such a pure experience – not worrying if I’ll sound good in an interview or how a record is going to do or how many people will come to my show – it’s just that ancient thing in humans about making a connection and being of service. That service to others is big in the recovery community and in religions when they get it right and it’s medicine unto oneself. And that’s how it felt. It just felt real.
Langhorne Slim
When: Doors open 7 p.m. April 20th
Where: The Troubadour, 9081 Santa Monica Blvd West Hollywood
Tickets: $33.50 https://wl.eventim.us/