album, entitled Mercy. To produce the album, DeLuca chose to work with Lanois, who had produced a number of albums for rock band U2, including The Joshua Tree, Achtung Baby, and All That You Can't Leave Behind, as well as other artists like Brian Eno, Peter Gabriel, and Bob Dylan. DeLuca has cited Lanois as a hero of his and Lanois has many times made guest appearances with him on stage. For Mercy, DeLuca decided to strip down the setup to make the live experience "more personal." Shortly thereafter, DeLuca and Carman toured as a duo without Beste and Velasquez, who were both featured in the studio recordings for the album. Kiefer Sutherland directed the music video for the album's most-promoted single, "Save Yourself", which was used as the promo for Sutherland's television movie 24: Redemption. Following touring for the album, DeLuca and Carman also split ways. Solo career 2010-13: Solo touring and Drugs 'N Hymns He participated as a guest artist on the 13 cut of the album Slash, interpreting the theme Saint Is A Sinner Too. DeLuca began touring as a solo artist, continuing to hone a raw, confessional, bluesy sound. No longer with the band, he parted ways with Ironworks and signed with 429 Records in December 2011. On March 6, 2012, 429 Records released DeLuca's third full-length and first solo album, Drugs 'N Hymns. The album was a decidedly different sound from his first two albums, featuring sparse production and a brooding, ethereal tone. 2014-present: Rocco DeLuca On August 19, 2014, DeLuca released his self-titled fourth album, his second for 429 Records. Once again produced by Daniel Lanois, the album found DeLuca returning to the more stripped-down sound of Drugs 'N Hymns and building upon it. To craft the album, DeLuca invited a number of local California musicians to his home to record sessions in his bedroom. He toured the United States until November of that year. Goodbye To Language was released on September 9, 2016. DeLuca joined forces with Lanois once again to create Goodbye To Language. Constructed entirely from the sounds of steel guitars, DeLuca and Lanois contribute a compositional rigor that recalls the 20th century dreamscapes of Ravel and Debussy, with a sense of sonic futurism and yet also with the naturalness that can only come from artists rooted in centuries of grassroots music. Uncut Magazine featured Goodbye To Language as one of