Like, Love, Lust and the Open Halls of the Soul

Like Love, Lust and the Open Halls of the Soul is the third album by Seattle band Jesse Sykes and the Sweet Hereafter. It was released in 2007 on Barsuk Records.

Like Love, Lust and the Open Halls of the Soul
Studio album by Jesse Sykes and the Sweet Hereafter
Released	2007
Recorded	Seattle, Washington, 2006.
Genre	Psychedelic folk, alternative country
Length	52:49
Label	Barsuk Records Southern Lord Records (SUNN89)
Producer	Martin Feveyear, Tucker Martine
Jesse Sykes and the Sweet Hereafter chronology
Oh, My Girl (2004) Like Love, Lust and the Open Halls of the Soul (2007)

Professional ratings

Review scores
Source	Rating
AllMusic	[1]
American Songwriter	Positive[2]
PopMatters	(8/10)[3]
Hybrid Magazine	Positive[4]
Memphis Flyer	A-[5]
kevchino	(9/10)[6]
Pure Music	Positive[7]
NPR	Positive[8]

Sykes said the structure of the album's songs were often not what listeners initially expected. "Essentially, what we're doing is kind of folk music, but the structures are complex," she said. "It's like country/folk/rock with a psychedelic bent."[9]

She said the album's elaborate title was inspired by a heavily tattooed bar patron Sykes saw outside a club in Reno: "I met this extraordinary guy. He was covered in tattoos, and he had three scripted L's tattooed on his wrist," she recalled. "When I asked him what it meant, he said, 'Like, Love, Lust, baby'—and he pointed at his wife and said, 'That's all that matters. You got that, and you got everything'."[10] Sykes said "Aftermath" drew its inspiration from Swedish singer-songwriter Nicolai Dunger, who provides backup vocals on another song, "Station Grey". "It was magical," she said. "He was just sitting on my couch and playing a bunch of his songs, some of my favorites. He has kind of a strange, complicated style. I was so inspired, and I think 'Aftermath' came out of trying to incorporate that experience."[9]

Four of the album's songs were co-written with Sweet Hereafter guitarist Phil Wandscher, formerly of Whiskeytown. Sykes said: "Phil's playing kind of blows me away, and in my writing process, now, it turns out that the songs have a lot more space for him to do things, important things. They're not guitar solos for the sake of guitar solos. They're actually complex melodic structures that are almost classical at times. There are a lot of counterpoints and layering in the records. Nothing unnecessary; everything seems to be reacting to something else."[9]

The album was initially recorded with longtime producer Tucker Martine, but remixed by English-born, Seattle-based producer Martin Feveyear after concerns over the sound.[10]