Dijon's creative philosophy centers on discomfort—both his own and yours. In a revealing conversation about his second album ‘Baby’ with Pitchfork, Dijon admits he's "a little bit embarrassed that some of [his] iconography is deconstruction." He further explains, "It sucks that that's where I'm at: My influence is the rawness of a thing. I wish I had a more definitive—I wish I had more of a thing. But I guess my thing is mistakes."⁠ ⁠ It's a moment of introspection from an artist who has spent the past year writing for Justin Bieber, appearing in a Paul Thomas Anderson film, collaborating with Bon Iver, and starting a family, all while simultaneously questioning whether he should continue making music at all. Dijon explained that before the breakthrough that eventually happened with 'Baby,' he was “having all sorts of ups and downs and a true disbelief that [he] was supposed to continue to be making music."⁠ ⁠ Dijon’s approach to ‘Baby’ was deliberately antagonistic. "I wanted my music...