B-Side Guys

Collaboration sometimes yields magic that solitude cannot. This principle applies both to the creation of Evan Isaac’s “Takes Two”—born from studio sessions with Keenan Copas at NYC’s Biscuit Head Collective—and to the emotional landscape the track illuminates. The result is a dream pop gem that transforms mutual vulnerability into nocturnal sanctuary.

The song establishes its atmospheric foundation immediately, with production choices that create space rather than density. When Isaac sings, “I couldn’t spot you / Deep in the forest / Out past my eyes all / Over the hill,” the imagery suggests both literal distance and emotional disconnect. This opening evokes a searching quality that persists throughout the track, creating tension between separation and connection that drives the narrative forward.

What distinguishes “Takes Two” from standard relationship fare is its focus on interdependence rather than infatuation. The forest imagery gives way to emotional wilderness when Isaac acknowledges, “When the world tears us both down,” followed by the titular revelation: “They say, they say that it takes two / To work it out.” This recognition of mutual struggle and support creates emotional authenticity that transcends romantic cliché.

The production brilliantly reinforces this thematic duality through its blend of indietronica elements and organic textures. Electronic beats provide structure while atmospheric synths create the “blue moon” environment referenced repeatedly in the lyrics. This balance between mechanical precision and ambient uncertainty mirrors the song’s exploration of partnership as both structured commitment and fluid emotional exchange.

Perhaps most effective is the track’s bridge: “And when it feels / Like you’re walking on ice / Just take my hand / I swear I’ll be nice.” These lines capture relationship dynamics with remarkable economy—acknowledging precariousness while offering steadiness, promising gentleness rather than generic passion. Isaac delivers these promises with quiet assurance rather than grandiose declaration, creating intimacy that feels earned rather than performed.

The recurring image of “test[ing] the waters / Under the blue moon” functions both as sensual invitation and metaphorical framework. The moon’s reflected light suggests that illumination comes indirectly—through another’s perspective—while water imagery reinforces themes of depth and immersion. When Isaac describes the song as feeling like “a really long, sultry, deep first date,” he captures this sense of gradual mutual discovery.

“Takes Two” achieves something remarkable within dream pop’s crowded landscape: emotional specificity without sacrificing atmospheric expansiveness. By focusing on partnership as mutual salvation rather than romantic conquest, Isaac has created something that feels simultaneously personal and universal—a moonlit sanctuary where vulnerability becomes strength precisely because it’s shared.