Noah Weinman's second studio album as Runnner, titled ‘A Welcome Kind of Weakness,’ serves as a vibrant, energetic reflection on heartbreak, solitude, and the process of healing.
‘A Welcome Kind of Weakness’ – Runnner
“My restlessness somehow became the driving force that made these songs more energetic than my previous works,” he shares.
Noah Weinman’s artistry, presented under the moniker Runnner, melds comfort with uncertainty, translating ordinary experiences into dynamic drums and soft strings. From folk-inspired meditations to ambient projects, Weinman has uniquely intertwined various sounds and instruments to tell stories with each release. His latest endeavor, ‘A Welcome Kind of Weakness,’ showcases a new aspect of his identity, both lyrically and sonically. Driven by a breakup and the rehabilitation of a torn Achilles tendon, his sorrow emerges raw and untamed, supported by a full band and crafted in high quality for the first time.
“I feel much more exposed and vulnerable,” he confesses. Accompanied by intricate layers of sound, ‘A Welcome Kind of Weakness’ features bold, confident vocals that render Weinman more transparent than during his earlier, more subdued acoustic guitar sessions in a dimly lit room.
‘A Welcome Kind of Weakness’ – Runnner
Released on August 29 via Run for Cover Records, Runnner’s second studio album has been a long time in the making. After spending five years in Los Angeles's music scene, Weinman has produced for artists like Skullcrusher, Gigi Perez, Odie Leigh, and Horsepower while honing his own craft. His creative endeavors are relentless, whether penning unfinished lyrics or meticulously producing tracks. However, in the spring of 2023, following a successful tour, Weinman found his life abruptly interrupted.
He tore his Achilles tendon and found himself bedridden, abruptly removed from the fast-paced lifestyle he had grown accustomed to. He attributes the raw energy of his new album to this period of isolation and contemplation. “My restlessness somehow propelled these songs to be much more energetic than before,” he explains. Whereas Weinman usually compresses joyous memories into laid-back reflections, this time, he was striving to be heard.
After his recovery, he embarked on two tours with unrefined demos, lacking a studio to polish them in. Even prior to the injury, he envisioned creating something that resonated with the essence of a late-90s CD – flashy, solid, and unyielding. Influenced by weeks on the road with the music of Liz Phair, Death Cab for Cutie, and Radiohead, Weinman manages to blend a nostalgic sound with modern, vibrant production that moves away from his DIY roots while remaining true to the genre.
Although he tries to move away from the ambient interludes he is known for, the album kicks off with “A Welcome,” a soft track that gradually transitions into the deep “Achilles And.” With a few sharp clicks of the drumsticks, the song launches into a vibrant, powerful beat that elevates Weinman’s reflective vocals. “I’m still in my bed / Writing the same songs over again,” he raps, holding himself accountable for an unforeseen injury, all while maintaining the determination of someone accustomed to being in control. As the album unfolds, some tracks gently tease chords before erupting into vigorous instrumentation, while others dive straight in without hesitation.
One notable track is the recent single “Claritin,” inspired by feeling sluggish on a sweltering summer day and lifelong allergies. Weinman poses the central question of the album: “is it better to feel pain or to feel nothing?”
“I left my shirt back in my room / And I spread myself in dying bloom / ‘Til the sun came up and dried me out / And I held my tongue and quiet down,” the song opens, with Weinman’s voice coming across as quiet and slightly detached, reminiscent of eavesdropping from another room. When the chorus hits, a twangy lead emerges, created from his car keys and a single guitar string.
“It was just what was available in the studio that day, and it’s so perfectly out of tune to me,” he chuckles. For an artist committed to perfecting each sound, this lucky deviation marks a significant shift in Weinman, both artistically and personally. He is open to relinquishing some control despite the meticulous attention given to every creative choice.
“Now I feel much more exposed and raw, presenting it all in high fidelity with vocals front and center. It’s that fear that makes it thrilling.”
When discussing “the greatest stylistic shift on the album,” Weinman points to “PVD,” which stands out as somewhat of an anomaly. In contrast to the upbeat sounds of earlier tracks, “PVD” is dark and heavy, feeling sharp and relentless, almost epic. “PVD” stands as a significant testament to what Weinman
The bass legend has released another single, titled ‘I Wish I Didn’t Waste Your Time’, and has revealed plans for a UK/EU tour in 2026.
Born in the dark confines of London’s underground, driven by a common longing to embrace creative liberty in a field that often suppresses it -
The official trailer for Mitski's upcoming concert film has arrived. The film, titled Mitski: The Land, combines footage from three different performances.
She has devoted her most recent creation to her cherished cat, Mrs.
The Scottish band will be playing songs from various points in their discography, featuring this year's release, 'The Bad Fire'.
Daniel Knox has revealed his plans for his upcoming album 'Mercado 48'. The songwriter has finished his seventh studio album, which emphasizes a sense of intimacy.
Noah Weinman’s second studio album under the name Runnner, ‘A Welcome Kind of Weakness,’ serves as a vibrant and energetic reflection on heartbreak, loneliness, and the process of healing.