The second full-length from BØRNS, Blue Madonna, is proof of the strange magic that can be made from embracing instinct and wonder. In creating the album, singer/songwriter Garrett Borns found his curiosity sparked by sonic phenomena of all kinds: impromptu recordings of nocturnal creatures near his parents’ house in Michigan, early-’60s AM pop, Brian Wilson’s teenage symphonies to God, the mariachi music constantly echoing through his former L.A. neighborhood. As on his debut album Dopamine—a 2015 release featuring the platinum-selling breakthrough single “Electric Love”—BØRNS transforms his kaleidoscopic fascinations into dreamlike pop music that bears a classic sensibility but ultimately feels like some glorious future.
Lavishly textured and stylistically unpredictable, drenched in sublime melody and shimmying grooves, Blue Madonna again reveals BØRNS’s limitless originality (a gift once recognized by Prince, who praised “Electric Love” in one of his final interviews, stating “I like that you can’t tell what it’s inspired by”). In bringing the album to life, BØRNS reunited with Dopamine producer Tommy English (K.Flay, Andrew McMahon in the Wilderness) and sculpted a more expansive, ornately arranged sound than he’d ever attempted before.
“For this record I really wanted to push myself with the songwriting and production, and avoid that thing of trying to nail the songs into a certain structure,” says BØRNS. “I wanted to write a little more orchestrally, with different movements and key changes, kind of like the Beach Boys did.”