Now based in both Portland, Oregon and Golden, Colorado, Sassparilla has long been known for its raw, electrified blend of Americana roots, punk ethos, and a blues mindset - melding old-time string-band traditions, hill country blues, and punk grit. With their eighth record, Honey, I’m Using Again, the band delivers their most vulnerable and visceral work to date, a fifteen-song collection born out of addiction, loss, and the process of reckoning. Recorded in songwriter Kevin Blackwell’s basement in Golden, the album explores the deepest corners of human experience, touching on themes like substance abuse, aging, homelessness, and the suicide of close friends. Blackwell’s songwriting continues to blend religious imagery, gut-level despair, and a desperate hope that fights its way through the darkness.

The album’s title track, "Honey, I’m Using Again," captures the essence of the album’s concept. Blackwell explains, “There are so many people who struggle with all kinds of addiction and self-destructive behaviors. As unambiguous as the title sounds, I really intended it as a metaphor for any behavior or choice we make that we may be ashamed of or wish we could change... stop. We all get stuck in these patterns, routines, complacency that at the end of the day we question. I imagined what it would be like if we could be that honest with someone about our 'thing' and be honest about slipping up again and again. I chose it as the album title because I felt it was a bit shocking. I imagine saying those words to someone you love would be really difficult.”

In making Honey, I’m Using Again, Blackwell was joined by longtime collaborators and new contributors, many of whom played key roles in the creative process. “One of my good friends Doug Ebert moved to Colorado from San Francisco. He was a jazz musician and composer there. I had played music with him in a band called Blue Utah in college. At the same time, a very close friend of mine and our lead guitarist from that band, Dan Power, also lives here and we had been talking about doing something for years. When Doug moved here, we took the opportunity. They are both outstanding musicians and it was a joy to make this record. I had been wanting to make another and start playing out again, they made it happen. They are both super inspiring people to be around. Hardworking and honest.”

As with any Sassparilla record, the songs are driven by personal experiences and raw emotion. When reflecting on the lyrics of the album, Blackwell mentions, “I don’t necessarily think its 'significant,' but [the lyrics] that rings most true to me is, 'despite all my kicking, my protesting, I’ll be damned that I got old.' It’s funny how it sneaks up on you.”

The record is distinct in both its sound and approach. Blackwell notes, “I think it is similar in feel to The Darndest Thing, and the more rootsy albums we made. Honey is mainly banjo and has sparse percussion. This makes it very different from the other records. Like all songwriters, I found that every time I picked up my guitar my fingers started playing the same chord progressions and riffs. It was really hard to find something new. Because the banjo is so different, I was able to break away from what I normally do. A conversation I had with John Johnson from Hillstomp has haunted me for years. He told me that I should use fewer chords in my songs. I remember him saying, 'too many chords.' Now, Hillstomp uses VERY few chords and is riff-heavy so I felt there was a middle ground, but I took this advice while making this record. I tried to keep things very simple.”

Reflecting on his previous work, Blackwell shares that his years of collaboration with producer Chet Lyster were key to his growth as an artist. “I was always heavily involved in the making of the past records with our longtime producer and engineer Chet Lyster. I am nowhere near the producer or engineer he is, but I feel like he gave me a master's degree worth of knowledge all those years. This record was entirely recorded and produced in my basement and any magic that has been captured is completely owed to what I've learned from Chet. From vocal phrasing to songwriting to mic placement.”

Despite the stripped-down approach to this record, Blackwell was confident it would come together. “It absolutely did. I knew what I had with Dan and Doug. I knew they could help me make this record. Their patience with me and their work ethic is so appreciated.”

One of the most surprising things for Blackwell was how the album reignited his creativity. “How it has inspired me to play and write again. So many songs came so fast. We have another ten from this session that we will release soon after Honey. You worry that you will dry up. I was pleased that I hadn't. Being in a strange state, away from Oregon and my adopted family left me feeling the music part of my life was over. Having Dan and Doug here changed that. Also, having my twins to play music with has also been such a thrill. They are such fantastic musicians at thirteen. They have such taste and valuable opinions. They should get production credit, honestly.”

For Blackwell, the highlights of Honey, I’m Using Again are about more than just the music. “Being able to make music with old, dear friends and having my son Emmett on drums,” are the highlights for Blackwell. His son, who is just thirteen, adds a youthful energy to the record that gives it even more authenticity.

When asked about where the album fits in the musical landscape, Blackwell is candid. “Boy, I have no idea. I am in such a rut with what I listen to. While in Oregon I was so exposed to top-notch players and acts it was like drinking from the proverbial fire hose. Colorado is still the land of the jam band. So I am unsure how we will fit in here. I think Denver can stand a little grit.”

The album’s themes of aging, substance abuse, and love lost are deeply personal for Blackwell, who reflects on the losses he’s experienced in recent years. “Yes. Aging. Substance abuse and addiction. Suicide and love lost. As I age, I look back at the friends I have lost to horrible deaths. I feel like I have cheated to make it this far. It’s like being in a running race and I am dropping people as I go. I can’t help but wonder when I will be outlasted.”

Blackwell also emphasizes the synergy between the music and lyrics. “The themes of this record are somewhat dark. I think the sparse arrangements and banjo give it a Southern-gothic feel. At least that was my goal/intention.”

When asked if the album will sound different live, Blackwell says, “No. We recorded and arranged this record to be played exactly as it is on the record.”

In discussing his peers musically, Blackwell remains humble, yet expresses admiration for those who have inspired him over the years. “Boy. That is a hard question because I feel that by saying I am a peer to someone it means we are somewhat equal. I have reverence for so many bands that I feel live in the same musical landscape. For instance, Hillstomp, The Devil Makes Three, and the Agnostic Mountain Gospel Choir, but I would never say I was on the same level. I am happy to have simply been inspired by them.”

Looking ahead, Blackwell shares his hopes for the record: “I want to take this record as far as I can and to start playing out regularly again. I miss moving around, meeting new folks and having those experiences. I feel this is a good album and I am hoping to get it out to folks.” With Honey, I’m Using Again, Sassparilla continues to push the boundaries of their sound while maintaining the raw, electrified spirit that has earned them a loyal following.