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At first, the words seemed almost like a joke, something to keep herself amused as the miles passed. “I want a puppy, but I don't want a mess. I want to know where I’m going without GPS,” she sang from behind the wheel. Soon, the idea snowballed into a list of desires that spanned existential, spiritual, and mundane; romantic to platonic to familial; at once wildly ambitious yet piercingly relatable; all set to a catchy melody that blends her pop instincts with country storytelling and the raw immediacy of a basement punk show. In other words, she was on her way to another classic Esther Rose song.\u003c\/p\u003e\n\u003cp\u003eThis precise blend has made the Santa Fe-based artist one of her generation’s most beloved songwriters: someone whose live shows are known to conclude in mass tears and group hugs. Still, something was different this time. “For me, these songs felt like revelations,” she explains, comparing the 11-song record to a memoir, alive with kinetic storytelling and personal insight. In its newly direct and stirringly nuanced writing, you’ll hear about rock bottom encounters, shifting relationships with substances, evolving perspectives on adult partnership, and, as evidenced by those early lines in “Want,” a few jokes along the way. Vivid and bracing, Want places you in the passenger seat while each of these feelings arrive.\u003c\/p\u003e\n\u003cp\u003eTo match the multi-dimensional tone of the writing, Rose has made the most adventurous, hardest-hitting record of her career. 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The seeds of this artistic synthesis were planted during Joshua's research for his doctoral dissertation, which involved translating and interpreting early modern esoteric manuscripts related to the heterodox mystic Jacob Böhme and his inner circle in Poland, Germany, and the Netherlands. Against the backdrop of a disturbing series of environmental events affecting their live-work space in Northern California, Kathryn and Joshua began collaboratively exploring this emergent world and translating it into imagery, music, and film, which led to the idea of an apocalyptic 'gospel' for the anthropocene. Musically, Lux Interna spun \"New Wilderness Gospel\" out of diverse musical threads that include desert blues, Appalachian folk, gospel, gothic, psychedelia, post-punk and even, warped elements of 60s girl pop and 80s new wave. 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