With each release, Glenn Donaldson continues to deepen the contrasting hues of his bruised indie pop. Over the past half-dozen years, the San Francisco-based singer/songwriter has written more than 200 songs across nine albums as the Reds, Pinks And Purples, crafting a singular voice rooted in the college-rock idiosyncrasies of the past 40 years. Within his basic template, strummed guitars, drum machines and subtle synth lines frame lyrics that cut with a gentle-yet-persistent ache, balancing melancholy with a disarming tunefulness.
Written over eight months, the new Acknowledge Kindness (Fire) draws on poetry and journal entries, late-night walks and intense listening sessions to expand Donaldson’s emotional reach without abandoning the intimacy that defines the project. Its 11 tracks occupy a self-contained universe where failed love and self-imposed detachment are offset by strangely uplifting moments of fleeting grace.
For a songwriter this prolific, Donaldson sure knows how to trim the fat in conversation. Nary a word is wasted in this recent interview with MAGNET’s Hobart Rowland. Talk about an editor’s dream.
An undeniable sense of reflection pervades Acknowledge Kindness. Was there a particular moment or memory that became a thematic anchor?
The song “New Leaf” is a rewrite of an older song. When I stumbled on that melody again, it put me back into a certain headspace of writing in a more abstract way. I always have nature imagery running through my albums, but I chose to chase that more with this record.
“Heaven Of Love” feels almost defiantly idealistic. How does that track set the tone for the rest of the album?
I’m aware my songs are sad, but I want to let some light in … give myself and the listener a way out of the darkness. Sometimes I feel like a song I’m writing is too dark, so I flip some lines to be positive, and it just makes the song stronger.
You often balance deeply melancholic lyrics with irresistibly melodic arrangements. How intentional is that contrast?
Very intentional. Music is like cooking. You want contrasts and balance, sweet and sour, acidic with richness, etc. I use little guitar and keyboard melodies to help the listener get through the song. It’s what everyone does who makes pop music basically. I’m a melody addict. I was revisiting early Shudder To Think recently, and the singer’s melodies are so wonderfully excessive. A band I get compared to a lot is Felt, and they really piled on the guitar and organ melodies. They’re probably an influence.
The Reds, Pinks And Purples has evolved from a home-recording project into a live band playing festivals and touring internationally. How has performing these songs live changed your relationship to them?
I started to change some of the rhythms and types of songs I was writing to fit the band … thinking of a live set as an expression of the project. I also tried to make the songs better overall, because the audience is there expecting something decent.
You’ve written hundreds of songs and released nine albums in six years. How do you keep things feeling fresh and emotionally honest at that pace?
It’s good to challenge yourself and try to come up with new musical ideas and methods. I try to trust my instincts and do what I enjoy in music. I never force it. It’s pretty self-indulgent being a songwriter/home recordist. It’s my party, so I try to have fun with it.
