Late Again returns with his EP, “Absolutely Almost Sure,” a dreamy collection of songs reflecting on identity, belonging, and the ever-present pull of nostalgia. Released just five months after his acclaimed debut, this EP is proof of Late Again’s artistic growth and the advances in his quest to push boundaries within the dream pop genre.

The four-track EP navigates between contemporary arrangements and nostalgic soundscapes. This sonic exploration reflects the artist’s attempt to reconcile with his past and heritage while trying to grow roots in a completely different world.

The release feels warm and cheerful. It reflects Late Again’s determination to free himself from the concern of being too sentimental. The melodies are honest, and the lyrics are more candid than ever. 

“Absolutely Almost Sure” does not only excel musically, but it also explores the past through visual productions. Created in collaboration with Rollinos, the music video introduces a 90s visual world that just matches 2024. Showcasing the artist’s family’s lost VHS tapes, this visual project makes the EP more personal and immersive.

In this exclusive interview, we had the opportunity to discuss the creative process behind the EP, exploring the artist’s inspirations, collaborations, and the profound emotions that fuel his music.

 

Can you tell us about the inspiration behind the title of your EP “Absolutely Almost Sure”? What do these words mean to you?

Fun question. I think second-guessing has consistently been part of my personality and my work, and it isn’t always a bad thing. “Absolutely Almost Sure” is kind of an ironic nod to that. This EP talks a lot about belonging and searching for answers. And this time, I’m 100% almost entirely kinda sure I’m closer to finding them.

How would you describe the EP for those who haven’t listened to it yet?

This new EP is a dream-pop collection of songs with a nostalgic feel. It has a more optimistic perspective than my previous work—I just wanted to create an EP you could listen to while chilling in a hammock, watching the leaves fall this autumn. Or something like that.

A couple of months ago, you set the bar high with your debut, “Flood.” How does “Absolutely Almost Sure” differ from your previous work?

“Flood” carried a more introspective, groovy energy, which I really like and want to keep exploring. However, this second EP was important for me to draw some new boundaries. Not every song has to be as dense as “Caterpillars”. I guess you could call it a self-therapy exercise—the idea of sounding cloying always bothered the hell out of me, but I decided to lower my guard a little on this EP, which led to more candid lyrics and sometimes more personal melodies.

 

There are several influences present in your music, such as Gorillaz or David Byrne. However, “Absolutely Almost Sure” feels more personal than ever. Where did you get your inspiration for the distinctive sound of this EP?

My musical references remain the same—from the indie staples I grew up listening to (Gorillaz, David Byrne) to the Brazilian influences that ground me in my roots (Caetano Veloso, Arthur Verocai), along with all the amazing dream pop albums that have come out in recent years. The biggest shift in my inspiration has been internal, I think. After beating myself up for years before my debut, the band-aid was ripped off. Whatever happens, happens.

How did collaborating with artists like Arthur Verocai and Heal Mura contribute to your artistic expression and creative direction?

Absolutely. Verocai’s music opened my mind to a new world ten years ago, and collaborating with him was a massive honor. Having a bit of his talent in my music gave me a motivation boost I really needed, while also keeping me close to where I come from. You see, the reason I sing in English and try hard not to have an accent is because I really don’t want to be put in a box. But like Arthur, I was born and raised Brazilian, and I’m freaking proud of it.

As for Heal Mura, he’s a very dear friend of mine who made all of this possible. He opened the doors of his studio to me and was incredibly open to my ideas while keeping me honest about my crappy mixes. I feel that his background in electronic experimental music really helped add an extra layer to some otherwise neutral arrangements. At the end of the day, most musicians have worked with at least one douchey co-producer or sound engineer, and I’m lucky to say Mura couldn’t be farther away from one of them. Listen to his music, by the way!

The feelings of nostalgia are present throughout the EP and its music videos. Is there any specific moment that you wanted to go back to that you used as inspiration while creating these songs?

I’m a very nostalgic person, but not in the sense that I’d ever consider going back to any moment. You know, “no time like the present”—all that self-help stuff. I guess the thing with this EP is that I really wanted to make amends with my past. I live 4000 miles away from everyone who knew me as a kid now. Finding my dad’s lost VHS tapes made me realize very special things about the people I care for.

Now, here’s a fun exercise for ya: create a Spotify playlist with every single song that takes you back to a time in your life. Then arrange the songs chronologically. Press play in the year you want to go back to. It’s magical. My playlist has 400 songs and is called “Time Machine for Mildly Autistic People”.

The EP’s opening song is “Like Albie Said.” Could you explain who is this Albie you talk about and why this person is so relevant?

My man Albie would be Albert Camus, the Algerian/French philosopher who helped shape a lot of my existential views growing up. I thought that name-dropping “Camus” in a song would sound corny and forced as hell, so I chose to call him Albie instead. If you don’t know him, it’s totally fine, and I hope the lyrics still make sense. But if you do… I guess I’d add that the song talks a bit about Sisyphus and how we need to learn to shape our own meaning in what we call meaningful relationships in this world.

 

 

Identity and belonging are constantly present in the music you create. How do you explore these themes in the EP, especially in “Sad, Sad Funk”? Which I have to say is my favorite song from the EP.

So glad you liked it. To me, this song wraps up the entire concept of “belonging” of the EP, which is something I hope everyone can relate to. In my personal case, the whole thing is that I often feel like I exist in a cultural limbo. Though I’m from Brazil, I grew up watching the same cartoons as you while listening to the Britpop songs they played on MTV. I grew up in a sterile town with Olive Gardens. I wanted to be one of The Strokes. And it took me 17 years to even start getting MPB. Sometimes I don’t feel entitled to my own culture. And at the same time, I’m not from here either. Living in the US, people frequently put me in the “Latino” box automatically. And I don’t feel I live up to what people think that means. That’s why I wrote this song: I picked a Brazilian phonk beat, lowered the hell out of its BPM, and wrote a song about not knowing how to funk.

Finally, what can we expect from Late Again in the future? Do you envision translating the music from “Absolutely Almost Sure” to the live stage?

I’m currently working on my debut album, which I’m absolutely almost sure will come out next year. All new songs. I just need to roll up my sleeves and clean up a folder with 30 crappy demos. It’s the most fun part for me, though. As for the live stage, I’ve been getting the itch for a while now, and I’ll be playing some gigs very soon. The set is ready, and hopefully, a micro-tour on the East Coast will happen in a few months. Hope you can come!