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That sounded too simple, so I sent it to Ryan from Crying, who wrote all these crazy, math-y guitar parts. It started with a drumbeat that I'd made in Ableton and a bassline I was trying to turn into a Future Islands-esque dance song.

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Eventually it devolved into, of all things, a series of solos, but I really love it.

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I had a really hard time figuring out how to make it work. So I guess this song is what I wish I would’ve said.” I personally was not that wise I would’ve told someone to stay behind. I was thinking back to how I felt when I was 18, when things were just so all-important. Even though the song is rooted in classic teenage feelings, it's also very mature he's like, ‘You have to go show the world all the parts of you that I fell so hard for.’ It’s about knowing that you're too young for this to be it, and that people aren’t meant to be kept by you. It's sort of got this ‘Wouldn't It Be Nice’ vibe, which I like, because Kokomo feels like a Beach Boys reference. It’s sung from the perspective of a character I made up who’s this teenage boy in Kokomo, Indiana, and he’s saying goodbye to his high school sweetheart who is leaving. “This is my favorite song off of the album. To me, it almost feels like a Madonna, Whitney Houston, or Janet Jackson song.” I think the distance of writing it for ‘someone else’ allowed me to take on this sassy '80s women-of-the-night persona. Of course, once we started putting it together, I realized I really loved it. We didn’t have anyone specific in mind, we just knew it wasn’t going to be for either of us. I'm not writing a record.’ So we decided we’d just write a pop song to sell and make some money. What happens is they lie to you and say, ‘Jack loves your music and wants you to help him write his new record!’ And to him they’d say, ‘Michelle loves Wild Nothing, she wants to write together!’ Once we got together we were like, ‘I don't need help. My publisher had set me up with Jack Tatum of Wild Nothing.

“Back in 2018, I decided to try out writing sessions for the first time, and I was having a tough go of it. It's about reveling in the beauty of music.”

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We actually maxed out the number of tracks on the Pro Tools session because we used everything that could possibly be used on it. “This song is the perfect thesis statement for the record because it’s a huge, ambitious monster of a song. “Album three is your chance to think big,” she says, pointing to Kate Bush and Björk, who released what she considers quintessential third albums: “Theatrical, ambitious, musical, surreal.” Below, Zauner explains how she reconciled her inner pop star with her desire to stay “extremely weird” and walks us through her new album track by track.

Occasionally, as on “Savage Good Boy” and “Kokomo, IN,” she uses fictional characters to illustrate meta-narratives around wealth, corruption, independence, and selfhood. “I was ready to celebrate feeling.” Her third album Jubilee is unguardedly joyful-neon synths, bubblegum-pop melodies, gusts of horns and strings-and delights in largesse her arrangements are sweeping and intricate, her subjects complex. “I felt like I’d done the grief work for years and was ready for something new,” she tells Apple Music. After two critically acclaimed albums about loss and mourning and a New York Times best-selling memoir, Michelle Zauner-the Brooklyn-based singer-songwriter known as Japanese Breakfast-wanted release.

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