While crafting their debut album in a rented house in Massachusetts, isolation seeped through the windows and apprehensions through the floorboards, which soon soaked into the structures of Wet’s world. The Brooklyn meets Massachusetts electro-R&B trio – comprised of song-writer and vocalist Kelly Zutrau and multi-instrumentalists Joe Valle and Marty Sulkrow – created a project to be proud of, brimming with eleven tracks as opulent as they are honest.

Kelly writes about relationships. Hearing them at first, their universality ring true, although admittedly so, they’ve come from a place more private and peculiar - inside where her relationship with self morphs, her fears dwell and her talent spits out something piercing.

Words are upheld through lush synthesizers and conflicted words, as Wet's debut album shimmers. It's taken what seems like forever for Don't You's release but following a major label record deal, the trio used time as a luxury rather than a limitation, moving away minimalist sonic valleys towards gorgeous textured peaks.

Finally, Don't You is on the cusp of delivery. Why is now the perfect time for everyone involved to deliver Wet's debut studio album?

Marty: We would be lying to pretend that we had anything to do with the release date of this album (that is up to our label). We certainly hope that now is the perfect time, but mostly I think we are just excited and relieved to finally put it out into the world.

Kelly: Glad that we had some time to get the live show to a place that hopefully does the record justice, that took a while.

Joe: I think that for those of us up here in the Northern Hemisphere, winter is an appropriate season for the album.

Incredibly lush album. Incredible writing. You should be proud. Kelly, I read that when you write, you use an autoharp technique that you've been doing since you first began writing songs. How did it become an effective practice for you?

Kelly: Thanks! I started writing with the autoharp out of necessity because I’m not a musician. It’s a very easy instrument to use and I like that it's limiting, I think it's much easier for me to start something if I have a structure to work within. The songs can always get more complicated later on in the process. I'm learning piano now but I'm still much more comfortable writing on the autoharp.

Each song on Don’t You is intensely personal and autobiographical, and you were able to hone your writing skills during the isolated process of putting the album together. But how did that meticulous process of creating the album effect the band's dynamic, especially after being close personal friends for so long?

Kelly: We got a lot better at recognizing each other's and our own strengths and weaknesses and figuring out roles within the band based on those. In the beginning it was more fluid and collaborative than it is now, there are still parts of the process that are that way but a lot of the time we work individually on the parts we are each good at and interested in.

Kelly, your relationships have obviously had a deep impact on the themes that are covered throughout the album. They conceptualize your work. After you've written them, what have your songs taught you about yourself in regards to who you keep close – the ones that inspire you for the good or bad?

Kelly: Sometimes I'm writing about relationships that I'm struggling with as they're happening or years later. Sometimes I'm using the specific relationships almost as stand-ins for more abstract relationships like my relationship with myself or my fear of death or vague feelings of rejection that become more concrete in the songs with the 'you' I'm usually singing to or at. Writing songs usually brings some clarity to the relationships I'm exploring but I don't know if it has ever inspired any action, the songs are more like observations that help me feel more in control of my life.

You've previously said that 'Island' is the most important song on the album and it's where the album title came from. Why is this the center of the album for you?,

Kelly: I love the way the way the production combines with the words and the instruments and creates a world that I think is believable and somewhat unique. I feel like I’m in the water when I’m listening to it. The chorus was written while we were on tour in Europe and Joe and I were walking around in Paris talking about the song and how the song as it was didn't go anywhere. Joe came up with a new melody and I immediately knew what the words should be. That's the only vocal melody on the album that I didn't come up with and that makes it even more special and unique to me. I hear the title specifically at 3:35 seconds into the song. That line "Don't you want me" sung in that way, with the instruments and production swelling up like that, sums up what a lot of the album is about for me, it's the part of the album that I find the most moving.

Production is more lush and multifaceted this time around, as producers and musicians, how did you get to these gorgeous peaks like on what we hear on 'All the Ways' and 'It’s All In Vain'?

Marty: A lot of it has to do with time. The EP was recorded relatively quickly. With the album we had a lot more time to experiment; play with different textures; sit with elements and be able to revisit them. We also wanted to avoid letting minimalism turning into a crutch for us, and made a point of challenging ourselves to incorporate more organic textures and instruments into the process.

Joe: Yea, time was a luxury rather than a limitation this time around. Personally I feel like I had a lot of time to grow as a producer from the time the EP was released to the time we were working out the songs for the album and I'm glad that this growth is noticeable. I think a really important part of my process that I developed over the course of working on the album was getting things out of the computer a bit more - using different media as ways to effect sound like recording things to tape and manipulating the playback speed, routing signal out of the computer through through various effects and then back in, and generally just treating instruments and other sound sources as equals. I think all of this gives the production a more organic, lived-in feel that more accurately reflects the tone of Kelly's lyrics and songwriting and the overall aesthetic that we're trying to achieve with Wet.

I read that at times when you were writing the record in a rented house in Western Massachusetts last year, that although intense and cathartic, it felt torturous at times and that there was a lot of pressure. What pressured you more, the suits, the fans or yourselves?

All of these, but of these three: ourselves.

When you listen to the album, do you hear that fear or pressure? What do you hear?

Kelly: There are some songs on the album that I can’t listen to. All I can hear is the struggle to figure out what they were supposed to be and the compromises we made to get them done. I'm proud of the album, some songs more than others but I'm really excited to get going on new music with all that we've learned.

Joe: I hear it on certain songs but I don't think it's recognizable unless you've heard all the iterations that some songs went through before we arrived at these final versions.

This has been a slow build-up and an extensive process for you but the album is here. Has the label experience been something you’ve enjoyed leading up to the release in comparison to the EP?

Joe: We were told by our A&R at the label that waiting for your album to come out is often the most stressful time in an artist’s career and I can attest to that fact. It is really hard to wait to release something that you’ve worked so hard on, but overall I think it was a really important experience and I’m glad we are finally coming to the end of it. In the past few weeks the press stuff surrounding the album has been really fun, especially performing on Fallon.

The album is different from your EP, but a natural progression to Don’t You. What do you think the natural progression is from here?

Marty: Don’t You was a natural progression from our EP because it was an organic process that occurred in real time through a lot of a trial and error during its writing and recording. We can speculate about how our sound might change in the future, but I don’t think we’ll really know what the natural progression is until it is happening (naturally).

Joe: For me I think the natural progression is to skew back towards more minimal arrangements and really focus on simplifying all the elements of the production to ensure that every choice is intentional, functional, and essential. I think this album at moments tends towards maximalism in some ways, which was more or less a reaction to making a relatively minimal EP. I’d like to keep exploring and find the production niche that is really our sound and that most supports the songwriting.

What were your goals when you first formed and what are they now that your debut studio album is here?

Joe: I don’t think any of us started this project with specific goals in mind and where we’re at with things is certainly far beyond any expectations - conscious or subconscious - that I had. For me, the goal is now to just keep working really hard in the hopes that we can continue making music for a long time. A specific goal is to improve our live show and get to a place where it’s a really impressive production. I’d love to keep adding live performers - piano, keys, strings, bass, additional guitars, backup singers, the works - so that every element of each track can be performed live.

What are you most proud of?

Joe: Getting to collaborate creatively with other artists whose work I admire.