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On her new album, Meet Me at the Gloaming, Los Angeles-based singer, songwriter, multi-instrumentalist, and producer, A.O. Gerber carefully grapples with the constraints she was taught as a child to reach for the flourishing that comes when we look past the black and white, and into the gray gauze of the in-between. InchI was thinking about how damaging it can be to exist in that binary space of good and evil, Inch Gerber explains. InchWhen we see everything in either/or's, we lose the nuance and complexity that make life rich enough to be worth living.Inch By interlocking memory and imagination, Gerber crafts a gleaming future, where the light and the dark don't just coexist-they create a new color entirely.Gerber's debut LP, Another Place To Need (2020), garnered critical acclaim for it's candid, orchestral ruminations on splintered relationships and the cage of overthinking. While that record took three years to complete, and saw Gerber collaborate with much of her musical community in Los Angeles and the Bay Area - including Sasami, Madeline Kenney, Marina Allen, and Noah Weinman (Runnner) - Gerber stripped back the team for Meet Me at the Gloaming. Once again co-producing with Madeline Kenney, Gerber shunned the usual process of seeking constant feedback, and instead leaned into a more isolated process, later producing much of the record at home. InchI found a lot of healing while making this record because I had to be the person to call the shots, Inch she says. InchI realized that I can exist as a musician completely outside of other people's opinions of me.Inch Recording at Kenney's home studio on nights and weekends in-between their day jobs, Alex Oñate joined Gerber and Kenney on drums while Gerber also collaborated remotely with Megan Benavente on bass and Lauren Elizabeth Baba on violin and viola.This somewhat secluded process serves as a mirror to the dee
