Locked-down in a small flat in downtown Toronto and perpetually grounded, Georgas decided to uproot her life in the city to a carriage house in the countryside, three hours east. Despite her pride in what she and Dessner created, her faith in music in this new, unforgiving reality had started to falter. She realised in this moment that the one thing she could lean into was her own talent and work-ethic. 

Before she knew it, Georgas found herself making notes on her phone of lyrics, smooth,  perfectly-rounded thoughts like pebbles ripe for skimming. Then there came the demos, rough impressions of where she wanted to go, anchored by acoustic warmth and electronic touches. Even then, before it had a name, I’d Be Lying if I Said I Didn’t Care felt like an intensely human document, something that carried the hard-earned confidence of an artist who, against all odds, has prevailed in music for over a decade. Her greatest ambition had always been to self-produce an album, and this was the moment.

Everything you hear has been guided by Georgas’ instinct; every sound is her own choice. She was only helped by her partner Sean Sroka (Ten Kills The Pack), who co-produced and together crafted the vision and balance between organic and synthetic production. From there, a coterie of artists were brought in including Gabe Wax (Helena Deland, Soccer Mommy, The War on Drugs, Spoon) who helped uplift the record’s gently off-kilter sounds, Graham Walsh who contributed a variety of synths and bass, as well as drummer James McAlister (The National). Together Georgas and Sroka worked out of various studios in Toronto, exploring analogue equipment for recording and re-amping early inspirations of her demos. The sense of familiarity and trust with the influences Georgas chose to bring into the album’s interior world is woven into its fabric.