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The long-running musical project of Los Angeles-based musician Kevin Patrick Sullivan, he makes music that’s so startlingly honest that it can cut the tension in any room. He’s excelled at self-reflection and making deceptively simple folk songs about loneliness, sobriety, and growing up. But for his latest LP, grow your hair long if you're wanting to see something you can change, which is out October 14 via Run For Cover, Sullivan decided to completely reinvent his approach to recording. The result is his most ambitious, fully-formed, and emotionally resonant collection of tracks yet.\u003c\/p\u003e\n\u003cp\u003eMost of Sullivan’s catalog as Field Medic has come from bedroom recorded moments of pure inspiration typically with just an acoustic guitar and a simple drum loop from a boombox. 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He decamped to Goodman’s Los Angeles studio and began tracking songs, allowing Goodman and a team of collaborators like steel guitarist Nick Levine of Jodi and drummer Nate Lich to flesh out the arrangements. “I've toyed with doing studio stuff for a while but it wasn't until I met Gabe and I felt comfortable with him that I decided to dive in,” says Sullivan. “I needed help to get out of a creative rut. It was through that process of working with Gabe that I was able to get excited about recording and writing again.”\u003c\/p\u003e\n\u003cp\u003eThe first track Sullivan brought to record was the LP opener “always emptiness” and the finished product is by far his most immaculately arranged and ambitious song yet. Hearing the track in a new context with a full band felt like a lightbulb moment for Sullivan. “Before the studio, I had been dealing with a lot of existential anxiety and a lack of inspiration,” says Sullivan. “But hearing these songs in this way was so exciting for me and it energized me to keep mining and writing. With these unexpected and fleshed-out arrangements, I was inspired to keep going.” Though he’d only brought a handful of already-written songs to the studio, Sullivan would find himself coming home from these sessions waking up in the middle of the night with a melody and a new line. 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He sings, “I had a dream that you died \/ somehow made it about me.” This vision serves as a vessel for deeper self-reflection, recalling visions of being happy during his childhood contrasted with his darkest moments in depression in which he keeps “fighting each day \/ against this maelstrom \/ i feel like a chia pet \/ the way my hair looks dumb \/ and my heart is made of stone” This dichotomy between joy and despair is where Sullivan thrives both as an artist and a lyrical soothsayer, able to dive into these brutally dark moments with a smirk and a joke.\u003c\/p\u003e\n\u003cp\u003eBut while Sullivan had peppered humor into his previous albums, grow your hair long is his most heartfelt and brooding offering yet. Though “i think about you all the time” on first listen sounds like a traditional love song, according to Sullivan the song deals with his relationship to alcohol. Elsewhere, tracks like the string-laden closer “i had my fun-back to the start,” he gets almost self-lacerating in his introspection. He sings, “I lost my passion and my looks \/ my stomach's turning like a brook.” On single “Stained Glass,” he makes this anxiety tangible: “it’s a bad trip \/ crisis on top of crisis \/ it’s like stained glass \/ when the light hits.” But for Sullivan, this darkness isn’t for wallowing, it’s for clarity. It’s naming these persistent feelings, addressing them, and finding catharsis or healing.\u003c\/p\u003e\n\u003cp\u003egrow your hair long is a triumphant picture of an artist diving deep into himself and coming out stronger than ever, both as a songwriter and as a person. It’s an example of Sullivan putting himself out there and laying bare the most devastating thoughts and emotions. 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