Casey Harris is one third of the alt-rock trio X Ambassadors, a band he formed with his brother and lead vocalist, Sam Harris. He's also been legally blind since birth.

In the band, Harris plays keyboards, but the lifelong musician also plays a fundamental role in their songwriting, producing and engineering. At times, he even provides the primary motivation for the direction XA takes with their projects.

That's no exception when it comes to their third full-length album, The Beautiful Liar, which will be released September 24th. In tribute to the sci-fi and fantasy audio dramas the brothers listened to growing up, The Beautiful Liar tells the story of Clementine, a blind teenager who struggles with anxiety, discovers her long-dormant superpowers and, eventually, attains self-acceptance.

Read More: X Ambassadors Want To Redefine What It Means To Be A Band

The band also took songwriting inspiration from the state of the world during the ongoing COVID-19 pandemic and the political unrest that unfolded in the U.S. under Trump's presidency, having to face an unpredictable future for their own careers as musicians and the entertainment industry overall.

We connected with Harris to learn more about X Ambassadors' creative process during the pandemic, pushing for inclusivity in the music industry and the satellite projects of The Beautiful Liar.

Casey Harris. Photo: Tyler Jay Hanson

This interview has been edited and condensed for clarity.

How have you been managing throughout the last year and change during one of the most difficult times in our history?

Yeah, I'm doing pretty good. I'm just sort of adjusting to not knowing things yet again. I mean it's crazy, you know, obviously everyone's dealing with this whole Delta variant and the lack of information on anything and everything, but [I'm] just trying to handle being safe with that.

Obviously, we're trying to get back to business, trying to get back to playing music, and that sort of thing, so it's a juggling act. It's been a while, too, because it's pretty much just been within this last month that we've suddenly kicked it back into gear. So, it's kind of zero to 100, but it's really, really been nice to rehearse and play music together again. I've forgotten how much I love doing that. It's really been great.

Despite that XA created and released several projects. What was it like going through the creative process during a global pandemic and political turmoil? Sam has said that was the inspiration for some of the songs on the new album.

Yeah very much so. Both [our multi-part, collaborative series] (Eg) and the EP were largely material that we were lucky enough to have recorded right before the pandemic hit—like, months to weeks beforehand. 

And then, we all three know how to produce music, at least fairly well on our computers. Probably not me quite as well as, say, Adam, but we're all at least good enough that we can record ideas and cool-sounding parts and send them back and forth to each other and build a song out of it.

So we did a lot of that, taking the foundations of what we started before the pandemic and just doing that remotely. There have been technological ways to work around it, and to listen to what each other is doing. But it's still not that real time. It's not in the same room, seeing each other, so it's been a lot of adjusting there.

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Honestly, that was so very much our writing style to have everyone in the room together. But yeah, we adapted it. I think for all of us, if anything it improved our skills as producers and as audio engineers and that kind of thing, which is probably something I needed to brush up on anyways, but yeah, we've been fairly productive I'd say over the last year, surprisingly so considering everything.

I think it's just because it's an outlet. When you're feeling trapped, claustrophobic, like the world is a dangerous, threatening place, at least you can go write music, go play music, and it makes you feel at least somewhat better. It helps you escape that for a minute.

I think that's one of the reasons why no matter what we're all three always making music. [Those technologies] made it at least possible to keep putting out material and keep putting material together.

This new album was phone calls and ironing out the details, and again, sending tracks back and forth for final production notes. Just a lot of back and forth. A lot of it was very much shaped by how kind of crazy and unpredictable and unknown everything was and that's very much how this album goes.

And the fact that everything just felt so bleak. This album, there's some hopeful moments on it, but a lot of it is kind of not bleak, but it very much does not shy away from the darkness of everything, of life, of love, of everything we've all been going through.

I think it's very representative of where we've all been over the past year-plus.

It seems like the inspiration behind this most recent body of work comes from some of your experiences growing up as a blind person. How do you translate your personal experiences into music and visual art? There's a companion podcast with this latest release. Tell me how that came about.

It varies so much. The songwriting always comes before any of the stuff surrounding it. But I think a lot of the time, the songwriting draws on some themes that me and my brother in particular have experienced throughout our lives.

[The Beautiful Liar companion] podcast and the whole theme of this girl with superpowers—me and my brother, ever since we were little, have been obsessed with superheroes and Marvel and all that. It's been kind of a lifelong thing. 

We've always wanted to make our own comic series or something like that. I obviously have been more of an audio books and podcast kind of person, so it wasn't one of those "ah-ha" moments. It was a no-brainer moment when we thought, "Oh why don't we make a podcast that's like a comic book?"

The story just organically came together. I mean we knew we wanted it to be about someone who was blind, a blind character, mainly because no one has really done that since Daredevil. We wanted it to be sort of a coming of age story, something very personal and very relatable, but also have this superhero element to it.

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A lot of the story just came from the songs. We didn't necessarily have the story in mind while we were writing the songs. But when you listen to them in a certain order, they string together and they tell a natural story.

It's really a story of, I guess when you come right down to it, trust, betrayal, and finding out who you can and cannot trust, and who really does care about you. Also, finding out what harm, unfortunately, people who do care about you but make the wrong choices can do.

A lot of it is a story about self-discovery and discovery about where you fit in the world. I'm really proud of it. It's been a long, arduous process getting it together, but we finally started recording. We're actually getting actors' voices on audio files now, so it's really exciting.

It's a separate piece from the album but it's a companion piece, it uses the songs from the album throughout as a soundtrack and as part of the storyline as well. We're still working on plans of how we want to release it, but it will be available on all major streaming platforms. It'll be a way to deepen people's understanding of the album and the stories behind it between the songs. It's really coming together and I'm excited for the world to hear it.

It seems like you guys really got your creative juices flowing during the pandemic and that you were able to find ways to pursue projects that you'd maybe dreamt of doing but previously didn't have the time to do.  

If anything, the pandemic has forced us all to spend more time focused on our personal and private lives. In a weird way, especially when it comes to music, I think spending some time with your nose not to the grindstone somehow results in more creative, more inspired material.

We're just around the corner from National Disability Awareness Month. How do you think being an artist with accessibility needs has shaped and impacted your experience in the music industry?

It sounds funny to say, but oddly, it wasn't quite as much of an issue in the olden days. Back when we were just a band slugging it out on the road, I would schlep my keyboards around. Obviously there were challenges like finding my way around venues and that sort of thing, but we all made do.

One thing I really started to discover during the pandemic is how inaccessible a lot of audio recording and production tools are for blind and visually impaired people in particular. Because, ironically enough, it's all incredibly visual. Even though you're ostensibly doing something with an auditory medium, the way the programs and most audio tools are laid out is extremely visualized.

A few months back, I did an interview with Vision Australia Radio. Afterward, one of the hosts asked me what my tips and tricks and techniques were for editing audio and audio processing on the computer when you can't really see very well. We had a whole back-and-forth discussion.

That's unfortunately become one of my biggest gripes with, I suppose, the music industry, but the music tech industry in particular. I've actually been throwing around the idea of trying to team up with a software company to try to address this.

It really is crazy how difficult it is to do professional audio production and editing when you're visually impaired.

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Do you have any suggestions for companies who are trying to lead the charge in making the industry more inclusive? It sounds like a good place to start would be organizing and leading conversations with music tech industry executives about the current limitations on their tools and how that's impacting creators with disabilities.

Absolutely. I know that with current technology, it's very possible and very doable. It just takes the motivation and having those conversations and getting those people to actually pay some attention and focus coding on these issues. So, yeah, I think that's a good place to start.

The Beautiful Liar tour this fall is said to feature a "multi-sensory live show." What can fans expect to experience at one of these shows?

Unfortunately, right now, I can't give any specifics. First, because I don't want to give anything away, but also with the Delta variant, tour planning is very much in flux right now.

We have started to do rehearsals to prepare for it. We've always toyed with this idea as a band to have dramatic sets, in the sense of where it's almost kind of like a Broadway show with different sections and themes and vibes to it. I think that's even more the case this time.

For instance, we're going to have two separate sections to the set. The first section will be the brighter—not necessarily more optimistic—but the brighter more upbeat section, and lighting and music will all reflect that.

And as the story progresses, we'll get to the second half of the set where the lighting and the vibe and the music will all change. That half is focused more on the shadow and the slightly more sinister side of the album and the story.

It's going to be a whole journey. I can't wait to play this tour. You'll walk out of there feeling like you've taken a trip.

Any last thoughts you'd like to share with readers?

Stay tuned for upcoming releases. We've got songs coming out. We've got so many songs we've been sitting on, just waiting for proper music videos and other material like that to go with them and we're finishing all that up right now. So, be prepared!  

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Since Mike Piacentini’s switch from computer science to audio engineering in college, his family has been his biggest champions. So, when he received his nomination for Best Immersive Album for Madison Beer's pop album Silence Between Songs, at the 2024 GRAMMYs, it was a no-brainer to invite his parents and wife.

“He’s always been into music. He had his own band, so [the shift] wasn’t surprising at all,” Piacentini’s mother says in the newest episode of Family Matters. “He’s very talented. I knew one day he would be here. It’s great to see it actually happen.”

In homage to his parents’ support, Piacentini offered to let his father write a short but simple acceptance in case he won: “Thank you, Mom and Dad,” he jokes.

Alongside his blood relatives, Piacentini also had support from his colleague Sean Brennan. "It's a tremendous honor, especially to be here with [Piacentini]. We work day in and day out in the studio," Brennan explains. "He's someone who's always there."

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Mastodon's drummer and singer Brann Dailor assures you he did not purchase his shiny golden gramophone at his local shopping mall.

“I won that! I’m telling you. It’s a major award,” he says in the latest episode of Where Do You Keep Your GRAMMY?

The metal musician won his first GRAMMY award for Best Metal Performance for Mastodon's “Sultan’s Curse” at the 2018 GRAMMYs.

“‘Sultan’s Curse’ was the jumping-off point for the whole theme of the album,” he explains. “The protagonist is walking alone in the desert, and the elements have been cursed by a Sultan.”

It’s a metaphor for illness — during the creation of the album, the band’s guitarist Bill Kelliher’s mother had been diagnosed with a brain tumor and bassist Troy Sanders’s wife was battling breast cancer.

For the band, the GRAMMY award represented their version of the American Dream and culmination of their career work. Even if Mastodon didn’t win the award, Dailor was happy to be in the room: “We felt like we weren't supposed to be there in the first place! But it's an incredible moment when they actually read your name."

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In April 1993, journalist Stuart Maconie coined the term Britpop for a Select magazine article celebrating the UK's fight back against the dominance of American rock. Remarkably, London four-piece Blur weren't even mentioned in the story. And yet, frontman Damon Albarn, guitarist Graham Coxon, bassist Alex James, and drummer Dave Rowntree would provide the catalyst for the scene's mainstream breakthrough.

Just a year later, Blur released what many consider to be Britpop's defining statement. Parklife served as a colorful, vibrant, and incredibly infectious love letter to all things Anglocentric, drawing upon the nation's great cultural heritage while also foreshadowing what was to come. And it instantly struck a chord with homegrown audiences desperate for guitar music that wasn't drowning in abject misery, and better reflected their day-to-day lives.

Remarkably, Albarn had predicted Parklife's success four years earlier. As he declared to music writer David Cavanagh in 1990, "When our third album comes out, our place as the quintessential English band of the '90s will be assured. That is a simple statement of fact."

Three decades after its game-changing release, here's a look at how Parklife forever changed both Blur's career trajectory and the history of British rock.

It Kickstarted Britpop's Greatest Rivalry

In one of those great rock coincidences, Blur's third LP hit the shelves just 24 hours after "Supersonic" gave a then-relative unknown Manchester outfit named Oasis their first ever UK Top 40 single. And the two bands would remain intertwined (perhaps begrudgingly so) from then on, culminating in the most high-profile chart battle in British music history.

You could argue that Oasis' Noel Gallagher threw the first stone, describing Parklife as "Southern England personified" in a manner that suggested it wasn't exactly complimentary. And according to his manager Alan McGee, Definitely Maybe cut "Digsy's Dinner" was written as a deliberate "piss-take of Blur."

An increasingly bitter war of words then broke out in the summer of 1995 as the "Country House" versus "Roll With It" war swept the nation. Blur emerged victorious, although Oasis had the last laugh when (What's The Story) Morning Glory spent 10 weeks atop the UK album chart.

It Brought Storytelling Back To Indie Pop

Heavily inspired by Martin Amis novel London Fields, Parklife was inhabited by a cast of intriguing fictional characters, essentially doubling up as a series of short stories. "Tracy Jacks," for example, is about a golf-obsessed civil servant who ends up getting arrested for public indecency before bulldozing his own house.

"Magic America" is the tale of Bill Barret, a Brit who commits to a life of excess during a Stateside holiday ("Took a cab to the shopping malls/ Bought and ate until he could do neither anymore"), while "Clover Over Dover" explores the mindset of a manipulative boyfriend threatening to jumping off the titular white cliffs.

Over the following 18 months, everything from Pulp's "Common People" and Space's "Neighbourhood" to Supergrass' "Caught by the Fuzz" and The Boo Radleys' "It's Lulu" were combining classic British guitar pop with witty Mike Leigh-esque vignettes of modern life.

It Originated The Big Indie Ballad

Dramatic ballads aren't necessarily the first thing that come to mind with Parklife, a record famed for its jaunty, "knees-up Mother Brown" ditties. But it boasts two examples: "To The End," an alternate Bond theme featuring a burst of Gallic flair from Stereolab's Laetitia Sadler, and the swoonsome "This Is A Low." Turns out the "mystical lager-eater" the record was designed to embody could also get a little vulnerable from time to time.

This appeared to give all of their laddish peers some pause for thought. Oasis, the most fervent advocates of the "cigarettes and alcohol" lifestyle, later scored their biggest hit with acoustic ballad "Wonderwall." And bands including Cast ("Walkaway"), Shed Seven ("Chasing Rainbows") and Menswear ("Being Brave") all enjoyed UK hits revealing their softer sides. No doubt Coldplay, Travis, and every other sensitive post-Britpop outfit that emerged in the late 1990s were taking notes, too.

It Paid Respect To The Greats

The Britpop scene was renowned for its slavish devotion to the first time British guitar bands ruled the airwaves, the Swinging Sixties. Oasis freely admitted they modeled themselves on the Beatles, while the likes of Ocean Colour Scene, Kula Shaker and The Paul Weller all released albums that sounded like they'd been discovered in a vintage record shop.

And while Blur would later distance themselves from the past with a sense of invention (which Albarn would also parlay into his various side projects, including the virtual band Gorillaz), they were more than happy to get all nostalgic on Parklife. See "Far Out," their only track to feature James on lead vocal, which resembled the trippy psychedelia of Pink Floyd in their Syd Barrett era, and the Sgt. Pepper-esque brassy instrumental "The Debt Collector," while there are also echoes of the Walker Brothers, The Kinks, and Small Faces. Suddenly, retro was the new cool.

It Turned Blur Into Britain's Biggest Guitar Band

The UK Top 10 success of 1991's "There's No Other Way" proved to be something of a false start for Blur, with the band soon falling by the wayside like every other baggy pop outfit that emerged at the turn of the decade. "Popscene," the 1992 single intended to revolutionize both their career and British guitar music in general, stalled at No. 32, while 1993 sophomore Modern Life is Rubbish sold just 40,000 copies.

But Parklife single-handedly turned Blur into Britain's biggest guitar band, reaching No. 1 in their homeland, spending 82 weeks in the Top 40, and eventually becoming a million-seller. It went on to pick up four BRITs, a Mercury Prize nomination, and has been recognized as an all-time great by Spin, Pitchfork, and Rolling Stone. Further proof of its glowing reputation came in 2009 when Royal Mail selected it as one of 10 albums worthy of commemorating on a postage stamp.

It Spawned A String Of Classic Singles

Parklife's campaign was kicked off in March 1994 with "Girls and Boys," a glorious dissection of British vacationers — which, surprisingly in the days when genre-hopping was frowned upon — evoked the '80s synth-pop of Duran Duran and Pet Shop Boys. Rowntree was even replaced by a drum machine, not that he particularly minded, luckily.

This indie floorfiller was followed up by the hugely underrated "To The End" and then the much-quoted title track. Everything about "Parklife" the song is larger than life: the Cockney geezer narration from Quadrophenia's Phil Daniels, the festival-friendly sing-along chorus, and the brightly colored video in which James — perhaps tipping his hat to Queen's "I Want to Break Free" -– donned soap opera drag. But fourth release "End of a Century," a melancholic tale of domestic drudgery complete with mournful trombone solo, once again proved there was a depth beyond their cheeky chappy personas.

It Made Brits Proud To Be British Again

Unable to connect with the oppressive angst and flannel shirts of the grunge movement that had plagued their first major North American tour in 1992, Blur first started to embrace their inherent Englishness on the following year's Modern Life is Rubbish. Unfortunately, this throwback to the original British Invasion was met with a resounding shrug of the shoulders on both sides of the Atlantic.

Undeterred, however, the band doubled down on all things Anglocentric on its follow-up, from its original title of London, to its greyhound racing cover art, to its celebrations of bank holidays, Club 18-30 holidays, and shipping forecasts. This time around, they managed to capture the zeitgeist (at home, at least), as the rise of New Labour and the forthcoming hosting of Euro '96 made everyone proud to be British again. Within 12 months, the UK charts were littered with homegrown guitar bands selling the idea of the English dream — and it all started with Parklife.

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Using lively, raw instrumentals as a vehicle for emotional catharsis, Sleater-Kinney’s Little Rope takes the lead as one of their most vulnerable projects to date. 

The "Dig Me Out" singers approach their 11th studio album with a fresh perspective, influenced by their experiences during the pandemic. Despite the departure of drummer Janet Weiss in 2019, the band maintains their iconic post-riot grrrl take on rock music. Carrie Brownstein and Corin Tucker infuse Little Rope with reflective lyrics and raw energy, mirroring their personal growth and resilience. 

While working on the album one day, Brownstein received a call with news that nobody ever wants to hear, nor expects. She had been informed that her mother and stepfather had been involved in a fatal car accident while on vacation in Italy. Faced with grief and a sense of unfamiliarity, the band turned to something that always brought them comfort: making music. Little Rope was born.

Despite such a tragic, major life change and trying to make it through a global pandemic, Sleater-Kinney’s motive remains consistent.

"We hope to find people where they're at," Tucker explains to GRAMMY.com. "And it seems like we have, in each stage of someone’s life."

After hosting a GRAMMY U SoundChecks event with the Pacific Northwest Chapter of GRAMMY U, Sleater-Kinney sat down with GRAMMY.com to talk about their perspective on the ever-changing industry and the legendary bands they pull inspiration from.

This interview has been edited for clarity.

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It has been almost 30 years since you all released your first album. In what ways has Sleater-Kinney changed since then and what has stayed consistent? 

Corin Tucker: We still try to write songs that are emotional and that reach people. Our songwriting has developed over the years and I think we have different methodologies for writing. But, really the most important point of a song is that it makes people feel something. We still try to judge what we do by the same metric as we did 30 years ago.

Carrie Brownstein: One thing we set out to do is to have a unique sound and I think we created a sonic language with each other that we've tried to maintain, but also push the narrative forward and challenge ourselves with each album. That's been consistent from the beginning, we never — even in the early years — wanted one album to sound like the last one. Things change and the industry changes. We just try to stay true to ourselves, but also adapt.

Are there any of your early projects that you feel still resonate to this day? 

Corin Tucker: The funny thing about streaming is that people are finding some of those older songs and really getting into them. We found out at the end of last year that people were really into one or two songs off of our very first self-titled record. A really nice thing about having your music available digitally is that it's available to everyone all over the world. 

Path of Wellness (2021) was self-produced, as it was made during the peak of the COVID-19 pandemic and Little Rope (2024) was produced by GRAMMY-winning producer John Congleton. What was it like going from a self-produced project to having John on the next project? Was there a certain reason you chose to work with John? 

Carrie Brownstein: Self-producing for us was very anomalous. We've always worked with producers and one of the reasons is to just have an outside perspective — somebody to come in and be the tiebreaker or to just bounce ideas off of. So, it was kind of a no-brainer to return to a producer after the solitary of the pandemic. 

We have always been fans of John Congleton's work. We come from similar backgrounds and have been in talks to work with him for a while. Fortunately for this album, it worked out and we felt like these songs would be really well served by his productions. 

Could you tell us a little bit about your dynamic as a music duo? When writing songs, do you both try to work on them 50/50 or is it on-and-off, where one of you may take the lead for certain songs? And what was this collaboration like specifically with Little Rope? 

Corin Tucker: Our goal is always to make the song as strong as it can be. We’ve worked together long enough to know that that's the most important thing. Sometimes a song is more an idea of one or the other, and you need to wait until they’ve fleshed it out to come in with your parts. We have a bunch of different modalities and we just try to keep the conversation going. It's a lot about communication – it's an ongoing constant conversation between the two of us on where the song is at and what we think it might need.

Can you share any standout memories or experiences from when you were writing Little Rope?

Carrie Brownstein: My friend has an apartment in Downtown Portland and he was out of town. So, he let us use the space as a writing studio. And neither of us live in Downtown Portland, so it was interesting to be in this highrise in Portland looking out over the city — sort of being in conversation with the city and changing the landscape in which we were writing was nice to have.

As Pacific Northwest natives, how do you see your Pacific Northwest roots stick out in your music? 

Corin Tucker: A lot of the sounds from the historic bands you can hear in our music. You can hear Nirvana, you can hear the Fastbacks, so you can hear so many of those Pacific Northwest musicians. They were bands that we grew up with and bands that we still try and emulate with what we do.

I feel like a good number of Sleater-Kinney fans have stayed fans and grown with you all over the years. What about your music and your brand do you think resonates with people even in different stages of their lives, and how did you foster this dynamic? 

Carrie Brownstein: Sleater-Kinney’s a very earnest band. We wear our hearts on our sleeves and I think our audience appreciates that rawness and vulnerability. It's emotional music.

We have a lot of younger and newer fans. I think they relate to the emotionality and the honesty in the music, so that’s what we try to stick with.

You have said that The Showbox is one of your favorite venues to play at in Seattle. How does it feel being back at The Showbox for two sold-out shows? 

Carrie Brownstein: We really enjoy the intimacy of a smaller venue, allowing the fans to get a little closer to the stage and feeling more connected with them. It's just nice to feel a sense of history, a through line with our career and our relationship with the city. We're really excited to be here. 

I’m curious to know how your fans reacted to Little Rope. Have you noticed any common reactions to the project? Or any particular responses that have stood out?

Corin Tucker: People really relate to the emotion in the music. We've gotten a lot of people saying that it helped them through a hard time. Having that impact on people is pretty special when they feel like it's okay to be emotional and process things with music.

Lastly, you have the rest of your international tour to go, but what else is coming up for Sleater-Kinney? 

Corin Tucker: We're very excited to play shows internationally. There may be some cool stuff coming up that maybe hasn't been announced yet, but we're looking forward to more touring.

Carrie Brownstein: For an album cycle, it's almost two years and so, for the most part it will be, it'll be touring and then we'll write something else.

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