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When I meet up with Krell, who’s home in Chicago for a few days in between tours, I ask him about the dichotomy between his social media style and his songwriting approach, and the “propensity for sadness” he claims to have. “I was trying to explain this to someone recently,” says the lanky, casually dressed philosophy student. (He began work on a doctorate at DePaul three years ago, but his studies are currently on http://www.toppromdressescheap.com/jovani-c-4.html.) “Hold on. Let me look this up real quick.” After thumbing through his phone, he finds a quote: “This bro [Antonin] Artaud [the French playwright] writes ‘No one has ever written, painted, sculpted, modeled, built or invented except to literally get out of hell.’ That’s an extreme way of describing why my music is sad and why I’m not a miserable person. There are bands that write feel-good songs about cheap beer. It’s never registered with me. I’m compelled to make material that’s affectively intense.”

Krell has a careful manner of speaking and the calm assuredness of someone who either thinks a lot about his own artistic philosophy or has done a ton of interviews—probably both. “The emotions on http://www.toppromdressescheap.com/la-femme-c-5.html aren’t my emotions,” he explains. “They’re more like wherever affects live before they become emotions in a specific person’s life.” Unafraid of sentimentality, he trades irony for sincerity in his live performance (which is the same thing he’s doing with Twitter, I suppose, albeit with more smiley-face emoticons). Still, isn’t it draining to perform this vulnerable stuff night after night? Krell says the songs are always different. He often opens his set with “Suicide Dream 1,” from his 2010 debut, Love Remains. “That song has changed so much for me in terms of its meaning. Some nights it’s really sad and other nights it feels celebratory.” Whereas he hit the road solo for his first album, this time he has two tourmates: Cameron Reed, a.k.a. Canadian musician Babe Rainbow, contributes on keyboard and laptop while multi-instrumentalist Aaron Read plays guitar and violin, freeing up Krell to more or less disappear into his vocals.