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\n\t\t\t\t\t\t Billy Law sings about \u201ca sensitivity to light\u201d on \u201cEverglow,\u201d and he’s only giving it half his face. <\/p>\n
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\n\t\t\t\t\t\t Billy Law sings about \u201ca sensitivity to light\u201d on \u201cEverglow,\u201d and he’s only giving it half his face. <\/p>\n
Courtesy of State Fair Records<\/p>\n
Most nights, Billy Law is the guy holding down the low end with a deep bassline while the Ottoman Turks<\/a> tear a Deep Ellum room apart. Rolling Stone once credited the band<\/a> with \u201cunhinged performances and visceral sound.\u201d Law is the steady pulse under all of it.<\/p>\n Then there\u2019s the other Billy Law: a husband and father of two from East Dallas who writes quiet but prickly folk songs about the gap between who you promised to be and who showed up this morning. That Billy Law is back. \u201cEverglow\u201d is out now \u2014 his first new solo music<\/a> in five years and the opening move of \u201cSeconds,\u201d his sophomore album due in February via State Fair Records.<\/p>\n The title does triple duty: second chances, second thoughts and the literal seconds between feeling something and acting on it. It\u2019s a concept record, but there are no cowboys, no spaceships and no rock opera. The drama happens in the kitchen, in the car and in the space behind your ribs.<\/p>\n \u201cThe whole album is about these seconds in time that you have between having a feeling and acting on it,\u201d Law tells us. \u201cThere\u2019s also this idea of second chances and second-guessing yourself that goes along with that, too.\u201d<\/p>\n Sign up for the Music newsletter to get the latest stories delivered to your inbox<\/p>\n THANK YOU!<\/p>\n You’re all set.<\/p>\n CLOSE\t\t\t\t\t\t<\/p>\n Two promises and everything in between<\/p>\n \u201cSeconds\u201d is built like a pair of bookends holding a million stories in between. The opener, \u201cAlways,\u201d is about Law\u2019s wife and the vows they made. The closer, \u201cFor Forever,\u201d is a lullaby written for his first daughter. <\/p>\n \u201cAll of the songs in between are the kind of messiness in between those two promises,\u201d he says. \u201cThere is real life that happens in between, and it\u2019s not as simple as just saying it. You actually have to do it.\u201d<\/p>\n \u201cEverglow,\u201d soon follows \u201cAlways,\u201d questioning how true wedding vows are. Law boils the song\u2019s central question down plainly: \u201cAre you still going to be with me even if I screw things up sometimes?\u201d<\/p>\n He wrote it during a rough stretch. \u201cI saw the weight of responsibility to my wife and to my kids, and I just didn\u2019t feel like I was measuring up,\u201d he says. \u201cThere was that question, like, \u2018Do I even deserve this?’\u201d <\/p>\n He\u2019s quick to admit the logic is broken \u2014 treating love like a scorecard.<\/p>\n \u201cThere\u2019s this looking at the promise as like a point system, which is a bad way of looking at things,\u201d he admits.<\/p>\n Listen to \u201cEverglow\u201d and you\u2019ll notice it sounds part hymn, part IT ticket. Law sings about bruises he doesn\u2019t remember and \u201ca sensitivity to light,\u201d then pivots to \u201ca fault in the hard drive that shuts the system down.\u201d The tech language is deliberate. <\/p>\n \u201cI think I was trying to logic my way out of the depression,\u201d he says. \u201cI wanted to name it and give it some kind of scientific terms instead of letting it just be some esoteric concept.\u201d <\/p>\n The song never resolves, and Law didn\u2019t want it to. Writing it was \u201ctherapeutic\u201d \u2014 a way to put a name to what he was fighting. Why lead the new chapter with something this heavy?<\/p>\n \u201cI don\u2019t have a lot of answers in the album, so things are open-ended,\u201d Law says. \u201cIt\u2019s pretty bleak and messy.\u201d<\/p>\n Living in the gray<\/p>\n If there\u2019s a thesis buried in \u201cSeconds,\u201d it\u2019s that feelings aren\u2019t the problem. Choices are. <\/p>\n \u201cYou can have any kind of feeling about something,\u201d Law says. \u201cBut what you do about it is a lot more indicative of who you are than just having a feeling.\u201d<\/p>\n Tech isn\u2019t the only allegory in the album.<\/p>\n \u201cYou\u2019re trying to build something,\u201d Law says of looking at it like a house. \u201cIt\u2019s certainly not entirely original, so I didn\u2019t want to put it front and center.\u201d<\/p>\n The bleakest corner is \u201cRoom,\u201d anchored by the line: \u201cIf I\u2019ve locked myself inside the room, why does it feel like I\u2019m on the roof?\u201d Law calls it \u201cslow dissociation,\u201d almost without hesitation.<\/p>\n \u201cIt\u2019s like a cartoon when all the color goes out.\u201d <\/p>\n Passion, paychecks and a very loud day job<\/p>\n Law doesn\u2019t talk about music as \u201cthe dream.\u201d He talks about it like a craftsman talks about a trade. <\/p>\n \u201cI could always just write songs and go get a 9 to 5,\u201d he says. \u201cBut I like the way that it\u2019s pushed me to have those two things be bound together. For me, it\u2019s a driver.\u201d<\/p>\n The five-year gap between records was mostly practical \u2014 wrangling musicians, booking studio time and asking a blunt question: \u201cWhen you go through five years of not releasing anything, you\u2019re kind of irrelevant,\u201d he says. \u201cAm I ever going to get to do this again?\u201d <\/p>\n