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Speaker 1: Pushkin. Today on the show, we'll be hearing from sylvan Essos,

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Speaker 1: Nick Sanborn and Amelia Meath. They've been making music together

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Speaker 1: since twenty thirteen, when Amelia asked Nick, a music producer

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Speaker 1: and bassist, to remix her band Mountain Man's hit single

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Speaker 1: play It Right. He did. End as they say, the

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Speaker 1: rest is history. From the very beginning, sylvan Esso's had

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Speaker 1: a very sleek electro pop feel to their production. Amelia's

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Speaker 1: powerful voice is front and center, surrounded by harmonies and

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Speaker 1: samples of her own voice. Nick's genre destroying bass creates intricate,

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Speaker 1: pulsing grooves for Amelia's voice to inhabit. Now, the married

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Speaker 1: couple and electronic duo have released their fourth studio album,

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Speaker 1: No Rules Sandy. It's a follow up to the band's

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Speaker 1: Grammy nominated twenty twenty album Free Love. This new album

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Speaker 1: is a mix of improvisation and experimentation, recorded primarily in

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Speaker 1: the span of three weeks at a rented studio space

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Speaker 1: in La just earlier this year. On today's episode, Bruce

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Speaker 1: had them speaks with Amelia and Nick about their creative

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Speaker 1: process and how No Rule Sandy came to be. They

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Speaker 1: also play songs off their new album Live for Us.

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Speaker 1: This is broken record liner notes for the Digital Age.

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Speaker 1: I'm justin Richmond. Here's Bruce had them with Amelia Meath

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Speaker 1: and Nick Sandborne of sylvan esod banging coming fine watchman,

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Speaker 1: I'm looking fine streets back in the same body. Try

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Speaker 1: to where be wait wait just for me me. There's

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Speaker 1: a lot of down fallow down. When she said, when

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Speaker 1: they got down beating down to follow, follow to let

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Speaker 1: see the lading, be let the echo, gut your v

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Speaker 1: there's a lot of people down down fall down, she stays,

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Speaker 1: when they got drive beating baring all around, everybody played

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Speaker 1: down to how there's a lot of em falled down.

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Speaker 1: When she stays, when they got laid down, you want

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Speaker 1: to do now, there's a lot of people want people work,

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Speaker 1: they don't. You don't work. They don't. They don't work.

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Speaker 1: They don't. Don't You don't work, they don't. So fortu listen,

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Speaker 1: you were were so many many as among you. I

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Speaker 1: was waving a small mon bye bye bye bye bye

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Speaker 1: bye bye bye thane bye bye bye bye bye thne

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Speaker 1: bye bane bye bye bye b bye bye bye bye

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Speaker 1: bye bye bye bye bye bye bye bye bye bye

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Speaker 1: bye fine fine, fine, do now do play down right?

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Speaker 1: No right now no right no no no no right

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Speaker 1: no no no r no no no no no no

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Speaker 1: no no no. Well, thank you so much. That was

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Speaker 1: a live version of Echo Party from Sylvan Esso's new album,

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Speaker 1: which is No Rule Sandy. All. That sound was created

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Speaker 1: by just two people in the studio with me Amelia

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Speaker 1: Meath and Nick Sandborn. Thank you so much for coming,

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Speaker 1: thanks for having us, and thanks for that great version

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Speaker 1: of that song. I will also mention that the new

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Speaker 1: album got a rave review from the New York Times,

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Speaker 1: which does not often give rave reviews. Before we get

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Speaker 1: into how you create so much music just the two

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Speaker 1: of you, let's talk a little bit about this new

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Speaker 1: album how it came about. Nick and I have started

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Speaker 1: a tradition where every January we load our car full

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Speaker 1: of things and drive from North Carolina to Los Angeles.

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Speaker 1: This January was no different. We were on our way

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Speaker 1: to go both do a bunch of songwriting sessions and

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Speaker 1: also go to the Grammys at the end of the

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Speaker 1: month and gets in Los Angeles sunshine. And then when

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Speaker 1: we got there to our rental, the omicron variant had

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Speaker 1: spiked and everything was canceled. So Nick and I found

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Speaker 1: ourselves like a little baby studio set up in this

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Speaker 1: house with no one to hang out with other than

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Speaker 1: each other. And so every day we tried to write

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Speaker 1: a song, and the most magical part of it was

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Speaker 1: that every time we tried we could. We wrote all

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Speaker 1: these songs about the span of three weeks together. Yeah,

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Speaker 1: it was just kind of this magical, totally unexpected time

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Speaker 1: that neither of us really saw coming, and it was

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Speaker 1: all kind of born out of this wild trip that

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Speaker 1: like where everything went wrong except this. Do you write

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Speaker 1: every day when you're in Durham as well or only

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Speaker 1: only when you have to put out an album? No,

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Speaker 1: I don't. I don't. I find that when I'm in

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Speaker 1: the practice of songwriting it won't be like around a

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Speaker 1: record necessarily, but I'll do it in a short period

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Speaker 1: of time, pushing towards something. But normally I have to

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Speaker 1: like chill out between writing. Otherwise I only write songs

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Speaker 1: about writing songs, and you can only write so many

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Speaker 1: of those when you are writing, because you, guys, this

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Speaker 1: is electronic music. How does the song typically begin? Does

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Speaker 1: it begin with a loop? Does it begin with a sound?

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Speaker 1: Does it begin with a lyric. How does this come together?

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Speaker 1: It happens in all sorts of different ways. How it's

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Speaker 1: been happening most recently is Nick and I will sit

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Speaker 1: in the same room and we'll Nick will start making noise,

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Speaker 1: and I will encourage him in the directions that I like,

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Speaker 1: so like if he finds like a beautiful section then

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Speaker 1: he makes I'll be like, loop that, Let's loop that

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Speaker 1: and then let's build something around that. Or sometimes he's

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Speaker 1: just doodling around and then I begin responding by writing lyrics. Yeah,

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Speaker 1: it doesn't feel like we haven't We haven't never found

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Speaker 1: like a formula, or the minute we do come up

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Speaker 1: with anything that works more than once, I think we

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Speaker 1: immediately get sick of it or it doesn't feel its

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Speaker 1: inspiring anymore. It's kind of it's kind of this process

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Speaker 1: of each of us is trying to kind of shock

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Speaker 1: or prize the other one into maybe something we wouldn't expect,

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Speaker 1: and it's yeah, it's kind of this Jacob's Ladder kind

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Speaker 1: of situation where we're trying to hit the ball a

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Speaker 1: little higher than the other one. Well, there's a host

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Speaker 1: of great songs on this record. Tell me how this

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Speaker 1: one came about? The one you just performed Echo Party. Yeah,

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Speaker 1: we got the chorus first because Nick had that beautiful

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Speaker 1: bass part. Yeah, we had we had like the beat

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Speaker 1: in the bassline, and we knew sometimes that's all you

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Speaker 1: need to know something's gonna be cool. Like you know,

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Speaker 1: you can see you can't quite see the whole song yet,

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Speaker 1: but you have this this piece of it that's so

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Speaker 1: promising that you almost don't want to mess with it

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Speaker 1: too much for fear that you might overcook it or

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Speaker 1: screw it up somehow. Yeah, that was the loveliest part

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Speaker 1: of this song. As we got the chorus first, and

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Speaker 1: then the chorus had no words. It was just me

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Speaker 1: going like yeah, and Nick and I got so stoked,

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Speaker 1: and we kept on trying to play it for other

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Speaker 1: people and everyone would be like, h but I do that.

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Speaker 1: It was Nick and I were like this loally great. No,

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Speaker 1: we could only hear it in our heads though, Yeah,

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Speaker 1: and now you got to like kind of let it

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Speaker 1: reveal itself. Yeah. And then one day I just sat

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Speaker 1: Unlike all of our other records, usually I agonize about

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Speaker 1: lyrics and they either they either appear right when I'm

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Speaker 1: writing the melody on top, or they are incredibly elusive.

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Speaker 1: But with this record, I just sat down and would

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Speaker 1: make myself just write them out, so like one day

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Speaker 1: we got all the lyrics. I knew that it was

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Speaker 1: going to be about like being in an empty city

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Speaker 1: at nighttime and like trying to find the party of

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Speaker 1: your dreams. Well, you had that idea of the of

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Speaker 1: there being less people every time you go back to something,

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Speaker 1: and that's kind of where that that echo party phrase

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Speaker 1: cards started happening, and that kind of became like the

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Speaker 1: central like everything kind of not looking around that. Yeah,

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Speaker 1: it's about how it fades in everybody verberation. Oh yeah,

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Speaker 1: that's really interesting now because of the way the songs

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Speaker 1: are put together and they're or loops and then there's

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Speaker 1: a baseline, often very syncopated. Are you guys thinking in

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Speaker 1: terms of conventional chords? Are you like you ever say

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Speaker 1: well this sounds good, but here I'll I'm going to

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Speaker 1: play a C minor on top of that, because that's

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Speaker 1: how most people write. They sit at a guitar or

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Speaker 1: they sit at the piano and they play a few chords.

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Speaker 1: Whereas you, guys, it feels like you're on a high

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Speaker 1: wire with what you're doing because it doesn't have that

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Speaker 1: sort of harmony running through the whole set. I think

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Speaker 1: a big thing we do is more like reharmonizing. That's

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Speaker 1: a big we want. A second earlier about trying to

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Speaker 1: surprise each other is something that I will do a

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Speaker 1: lot is She'll have a melody that we really love,

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Speaker 1: but like, let's say the third time it happens, I

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Speaker 1: want to it's like she changed, the lyrics change, and

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Speaker 1: the feeling of what she's saying changes, even if the

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Speaker 1: melody doesn't. So like, in that way, we'll absolutely think

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Speaker 1: about in a more theory kind of base menthet of like, Okay,

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Speaker 1: how can I reharmonize the thing she's already doing to

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Speaker 1: kind of change your perception of the same idea. We

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Speaker 1: do that all the time. I love we do. I

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Speaker 1: learned how to play the guitar during the pandemic, and

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Speaker 1: all the songs that I write on the guitar aren't

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Speaker 1: as melodically interesting as the ones that I write in

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Speaker 1: the air or in like in response to what Nick makes.

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Speaker 1: So I'm sticking to that at the moment. Oh that's interesting.

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Speaker 1: You find it more confining then, yeah, or like maybe

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Speaker 1: it's also because I'm a little guitar. Baby, you know,

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Speaker 1: it's a CDG world for me in the guitar, and

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Speaker 1: if I'm just writing in the air, all chords are open. Yeah,

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Speaker 1: it's just much freer. Now. What was your music experience

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Speaker 1: growing up in your home? I'm from a theatrical singing family.

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Speaker 1: We used to sing around the dinner table a lot.

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Speaker 1: And I grew up in Cambridge, Massachusetts, and there was

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Speaker 1: a solstice celebration called the Revels, So every Solstice we

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Speaker 1: would all get together and sing folk songs. Wow, were

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Speaker 1: your parents were they performers or are they just amateurs? Yeah?

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Speaker 1: There were amateurs. My mom was in audio and my

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Speaker 1: dad was in TV. But there's a lot of singing

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Speaker 1: in musicality and creativity. So you grew up on their

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Speaker 1: folk music. Is this like sixties folk music? Or oh really,

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Speaker 1: what we're listening to in the house is like Bonnie

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Speaker 1: Ray and Foreigner and Nick Lowe. But the songs that

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Speaker 1: we would sing were all were like a mix of

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Speaker 1: those and folk songs. Okay, And then you're I don't

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Speaker 1: know if it's your first career, but you sing mountain

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Speaker 1: music with Mountain Men, which was your first group. Yeah,

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Speaker 1: Mountain Man, right, and you still perform, is that right? Okay?

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Speaker 1: Uh so, and did you play piano growing up then

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Speaker 1: or anything else? It was just it was just a

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Speaker 1: singing thing. I tried to play piano, but or I

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Speaker 1: just hated practicing, right, yeah, well hated it, couldn't do it. Yeah,

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Speaker 1: you took piano lessons, which just kills more piano players

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Speaker 1: than anything. I also think that's one of those things.

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Speaker 1: I was always jealous of people who could sing really

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Speaker 1: well at a young age because I think if you

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Speaker 1: have that, you're kind of set like nerds like me

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Speaker 1: who didn't have that. I think that's why I practiced

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Speaker 1: so much, because I really wanted to be in a band,

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Speaker 1: but I couldn't do the natural thing. You know, Well,

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Speaker 1: but you actually know what you're doing, But only because

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Speaker 1: I've sat for a billion hours looking at charts and

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Speaker 1: stuff like that, you know. I think that's cooler also

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Speaker 1: the thing that you do, like, I feel like you

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Speaker 1: get to relish the experience of having gotten good at something.

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Speaker 1: I'm much better at singing than I was when I

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Speaker 1: was six. But like it doesn't Oh is there no

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Speaker 1: like moment? No, yeah, no, it's just the thing you do,

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Speaker 1: so you never felt I've achieved this level of expertise. No, no, no, no,

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Speaker 1: I don't think so maybe I can see that when

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Speaker 1: you get your honorary degree from Berkeley. Oh my god,

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Speaker 1: I hope you feel. Oh my god, last that you've got.

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Speaker 1: Once you have that piece of paper exactly, then we'll know. Yeah, oh,

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Speaker 1: what's going to happen. When that happens, that's gonna be

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Speaker 1: great dance all around. Yeah, you're the you need the

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Speaker 1: diploma you look from the Wizard of Oz. Yeah, yes,

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Speaker 1: that's what you need. I love diplomas. Yeah. Uh, and Nick,

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Speaker 1: you need a heart. Yeah, I'm kidding weirdly, I'm the

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Speaker 1: one without a diploma, but yeah, it's true. Okay, So

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Speaker 1: what was your musical experience, Grip? Oh my my dad's

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Speaker 1: a really great manelin and guitar player. Um, and so

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Speaker 1: we always were singing in the house and he taught

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Speaker 1: me how to play a guitar when as a little kid,

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Speaker 1: and I was just always excited about it, like I

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Speaker 1: got you know, we could get into orchestra in like

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Speaker 1: the fourth grade or whatever. And it was lucky enough

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Speaker 1: to go to a public school it had a music

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Speaker 1: program and Madison, Wisconsin. Okay, so that kind of opened.

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Speaker 1: I mean, that was just like massive for me as

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Speaker 1: a kid, you know, being able to being able to

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Speaker 1: do that was was just crazy. So I like, you know,

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Speaker 1: got into like I think it played like violin or

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Speaker 1: something horribly. And then I started playing saxophone and ended

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Speaker 1: up playing bass in the jazz band. I really loved that.

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Speaker 1: And then when I went to college before dropping out,

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Speaker 1: that was the composition major. Where was that? You to

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Speaker 1: be Milwaukee? Okay? Yeah, And then we will have to

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Speaker 1: describe your setup because this is electronic music and I'm

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Speaker 1: looking at a table with a bunch of different modules.

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Speaker 1: Oh yeah, including one that has many many patch chords

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Speaker 1: running in or out. I don't know how to describe

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Speaker 1: it except to say that if your breaker box at

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Speaker 1: home looks like this, call an electrician. It's just an

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Speaker 1: utter chaos up here. Tell me what you've got, and

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Speaker 1: can you give me a sample two or two of

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Speaker 1: the sounds you create? Yeah, so we have I kind

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Speaker 1: of have this whole computer setup that has kind of

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Speaker 1: all the individual little pieces of our songs, and it

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Speaker 1: set up kind of in this like really a Abert

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Speaker 1: DJ style, Like I'm DJing each individual little piece of

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Speaker 1: a thing. So that's one side of it, and then

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Speaker 1: I'm sampling Emilia's voice, and then I also have this

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Speaker 1: whole other side that's all these other instruments. Uh, the

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Speaker 1: the breaker Rocks who were referring to my modular synth

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Speaker 1: is doing a bunch of drums and processing and stuff

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Speaker 1: like that. Um, but it's all Actually, is that a

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Speaker 1: mugue or I'm never sure if it's mug or moug No,

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Speaker 1: there is a moge. I think it's I think it's

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Speaker 1: mug it is. There's a mug in here. This thing

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Speaker 1: called a d fan which sounds like this. It's this

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Speaker 1: little like kind of does a lot of drums and

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Speaker 1: stuff like that. Right, you know, it's all getting the

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Speaker 1: clock from the computer. But then there's also all sorts

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Speaker 1: of little drums in here. I've got this little thing

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Speaker 1: that makes kind of a it's kind of weird little

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Speaker 1: wavetable thing. All this is just to kind of bring

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Speaker 1: like a live edge, and it's all things where I

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Speaker 1: can replace something that's happening from the record, or alter

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Speaker 1: it in some way, or stretch it out. I always

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Speaker 1: like it when I see a show and it feels like,

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Speaker 1: you know, there's this beautiful painted picture of the song

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Speaker 1: as it was, and then you can go in and

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Speaker 1: just kind of mess it all up and then try

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Speaker 1: to snap it back into focus. So all the things

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Speaker 1: are kind of leaning into trying to make something like

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Speaker 1: that happen. I have this little sampler that I use

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Speaker 1: all the time that's got, you know, pieces of Amelia's

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Speaker 1: voice or pieces from the records that I can then

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Speaker 1: kind of pitch all around. Now, are you ever sampling

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Speaker 1: her voice live? Yeah, when she's singing. Oh yeah, you're

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Speaker 1: sampling as well? And then yeah, definitely Amelia is that

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Speaker 1: does he often surprise you? He's suddenly your voice. You're

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Speaker 1: hearing your voice in a way you didn't expect. Yeah.

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Speaker 1: I usually had to keep pretty low in my mix

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Speaker 1: because if you're if a voice comes in while you're singing,

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Speaker 1: it can pull you off pitch. But Nick is able

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Speaker 1: to sample anything that I say. Wow, I would say,

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Speaker 1: it's a it's a good thing. You guys get along

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Speaker 1: so well. It really he wanted to mess you up.

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Speaker 1: He really could. He could mess you up in a heartbeat.

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Speaker 1: And then you sometimes use a drum machine on stage?

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Speaker 1: Is that right? I do it sometimes, But honestly, I

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Speaker 1: really like when we're live. I'm like being able to

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Speaker 1: sing and connect directly with the crowd and with Nick

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Speaker 1: and have that be my role. And Nick, you are

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Speaker 1: playing this like a DJ. You don't have a keyboard,

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Speaker 1: a traditional well, I do, you know? I do? Normally,

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Speaker 1: we didn't bring it today because we weren't playing any

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Speaker 1: songs that needed it. But I have. I have this

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Speaker 1: one synthesizer that I use a lot, but none of

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Speaker 1: it even that it isn't getting I don't know what

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Speaker 1: it's all live, you know, I'm playing little or peggios

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Speaker 1: and stuff over the tops of the songs. But yeah,

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Speaker 1: most of it is just this kind of more abstract

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Speaker 1: way of thinking about it, which is my That's just

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Speaker 1: my favorite. I like it when something feels a little

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Speaker 1: bit more like an idea maybe than an instrument, if

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Speaker 1: that makes sense. How does that? How did you discover

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Speaker 1: that then? After playing guitar, after playing bass, after playing mandolin,

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Speaker 1: in which you're locked into fairly traditional role. Yeah, what

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Speaker 1: was your first encounter with electronic music and what do

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Speaker 1: you remember what grabbed you? I think a big thing

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Speaker 1: for me was when I was playing in the jazz

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Speaker 1: band and I was about to go to college. I

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Speaker 1: kind of had this realization that if I was going

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Speaker 1: to keep doing what I was doing, I was going

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Speaker 1: to be practicing like eight hours a day to just

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Speaker 1: try to be a middle level jazz player. And I

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Speaker 1: think I kind of started realizing that the idea of

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Speaker 1: what was happening was so much more interesting to me

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Speaker 1: than what I thought I had to say as a player,

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Speaker 1: and so that I leaned into that, and I moved

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Speaker 1: into composition and started going that way, and I think

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Speaker 1: electronic music was just a natural extension of that. It

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Speaker 1: was like, okay, like I've been, well, I've been in

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Speaker 1: this role playing bass and kind of filling this spot

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Speaker 1: within a band, and that's its own skill set. But

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Speaker 1: with electronic music, it was like, well, how do I

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Speaker 1: put this whole piece together? What does this full picture

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Speaker 1: look like? And that's just became way more interesting because

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Speaker 1: I could be the whole band, you know, and I

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Speaker 1: could try things out without worrying about wasting anyone else's time.

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Speaker 1: There's no set way to do it, and so everybody

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Speaker 1: who gets into it is kind of reinventing their own

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Speaker 1: wheel in a way, and that to me is really exciting.

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Speaker 1: I love thinking about like systems and how something could

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Speaker 1: work to me. One of the things that's interesting about

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Speaker 1: your music you mentioned you came in with a chorus

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Speaker 1: first on this is you move from ideas very quickly.

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Speaker 1: If you were if you were in a big band

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Speaker 1: or the kind of bands you grew up with, you

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Speaker 1: would be you guys would get a groove and then

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Speaker 1: someone would be soloing. But it's very much about kind

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Speaker 1: of finding that one thing and finding people playing over it. This.

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Speaker 1: You move very quickly from peace to idea to idea,

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Speaker 1: and just when I think, oh, you know, I like this,

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Speaker 1: and then it veers into something else. Is that just

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Speaker 1: part of playing electronic music for you? I think we

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Speaker 1: definitely love surprising each other, and I think that leaks

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Speaker 1: is lean into contrasts, you know, So I think generally speaking,

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Speaker 1: we love having things that feel like there's a bunch

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Speaker 1: of hard left turns being made and that feels really engaging.

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Speaker 1: But it's also pop music, so every part that appears

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Speaker 1: usually comes back, unless it's the bridge, So if it veers,

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Speaker 1: usually it returns once more. That's I think the most

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Speaker 1: interesting part too, is like seeing how hard of a

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Speaker 1: turn you can make and still make it make sense

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Speaker 1: that you got back where he started, Yeah, and live

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Speaker 1: inside the pop music structure. And maybe that's maybe when

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Speaker 1: I said high wire earlier, maybe that's what it is.

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Speaker 1: That is like jazz and that like how far can

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Speaker 1: this guy go on a solo or how far can

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Speaker 1: she go on al Yeah? Is she gonna be able

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Speaker 1: to find her way back? Is always kind of the

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Speaker 1: fascinating question. I love that idea too, of like communicating

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Speaker 1: intent to the listener, like figuring out ways to show

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Speaker 1: them that they can trust you to make their make

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Speaker 1: your way back, or that you're not just going to

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Speaker 1: waste their time. We think about that a lot, with

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Speaker 1: things like how can we design a song or a

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Speaker 1: recording that shows somebody that we made this wild choice

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Speaker 1: on purpose so that next time we do, you know

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Speaker 1: that we're not gonna fake you out like we're gonna

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Speaker 1: This is all like an equation, like we're getting somewhere.

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Speaker 1: We'll be right back with more from Bruce Headlam, Amelia Meath,

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Speaker 1: and Nick Sanboy. We're back with more of Bruce's conversation

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Speaker 1: with Amelia and Nick. Now, Amelia, was your first encounter

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Speaker 1: with electronic music when you guys met oh No I've

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Speaker 1: always been a fan of a like music. Okay, what

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Speaker 1: in particular was you know? What did you like? Yeah?

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Speaker 1: I started with Elo naturally, and then got more excited

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Speaker 1: about the the independent music of the early ADTs, you know,

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Speaker 1: Animal Collective, Caribou, Fortet, just the people who were popular

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Speaker 1: or interesting when I was like a little baby going

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Speaker 1: to shows. And then when and when Nick and I met,

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Speaker 1: it was the first opportunity I'd had. I thought to

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Speaker 1: find a collaborator with whom I could make pop music. Now,

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Speaker 1: there is the story that the first time you met

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Speaker 1: you asked him to arrange a song that you had written.

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Speaker 1: Is that true? Yeah? It was a song that was

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Speaker 1: for Mountain Man, and I wanted to do a remix album,

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Speaker 1: and so I asked Nick. And that was the first

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Speaker 1: time you'd met. Shortly thereafter, yeah, shortly thereafter, yeah, because

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Speaker 1: he opened for us in Milwaukee at the Cactus Club.

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Speaker 1: And when we became friends on Twitter, it was like

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Speaker 1: the early days of Twitter when it was nice to

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Speaker 1: be on there. It was like when you could like

396
00:25:17,676 --> 00:25:20,556
Speaker 1: make friends and stuff. Yeah, it was nice. We had

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Speaker 1: followed each other on Twitter for a little while, and

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Speaker 1: I asked Nick for a remix of that song, mostly

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Speaker 1: because so many of Mountain Man's the arrangements that I

400
00:25:28,156 --> 00:25:32,036
Speaker 1: would do for Mountain Men were naturally quite sparse, and

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Speaker 1: it took him a really long time. No Pressure, well,

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Speaker 1: no pressure next year. I didn't know. What did you

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Speaker 1: think if you were you guys dating at that point

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Speaker 1: or no band? First? Oh? Yeah, but if I think

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Speaker 1: if I had known that it was going to lead

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Speaker 1: to this, it would have taken me even longer, though

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Speaker 1: I would have been I would have felt more pressure. Well,

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Speaker 1: that's good that you didn't know, here's my song. No Pressure. Well,

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Speaker 1: it was terrifying too, because the thing that's one of

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Speaker 1: the many things that's so special about Mountain Man is

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Speaker 1: just what isn't there? And so the idea of trying

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Speaker 1: to add instentation to a Mountain Man song as a

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Speaker 1: fan of theirs was like terrifying to me, because every

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Speaker 1: time I put something in, I made the song worse,

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Speaker 1: you know. And there was a kind of light in

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Speaker 1: the attic moment when I figured out that if I

417
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Speaker 1: used their voices as the extra instruments, that that was

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Speaker 1: a way in that was that kind of unlocked the

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Speaker 1: whole thing for me, And then kind of defined a

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Speaker 1: lot of what we still do now. I mean, even

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Speaker 1: that last song we played Echo Party that started on

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00:26:34,316 --> 00:26:37,876
Speaker 1: a as a loop of Amelia's voice, that little backbeat,

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Speaker 1: like we do that all the time to this day.

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Speaker 1: To explain that to me again, that so like we

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Speaker 1: I took her voice, like she sang. We were trying

426
00:26:46,236 --> 00:26:48,116
Speaker 1: to find a way to start, yeah, saying this. One

427
00:26:48,196 --> 00:26:56,396
Speaker 1: day I did a stack yeah, like and then I

428
00:26:56,476 --> 00:26:59,076
Speaker 1: did another part on top of that, and yeah, and

429
00:26:59,156 --> 00:27:02,076
Speaker 1: then like another part on that, and then you know

430
00:27:02,276 --> 00:27:03,916
Speaker 1: a thing that we say all the time to each

431
00:27:03,916 --> 00:27:05,676
Speaker 1: other's and then we chopped it up and made it

432
00:27:05,756 --> 00:27:07,516
Speaker 1: into a beat, which is what we did well. So yeah,

433
00:27:07,556 --> 00:27:10,036
Speaker 1: so then I took this local loop of hers and

434
00:27:10,516 --> 00:27:13,116
Speaker 1: put it in this uh what did you call it? Earlier?

435
00:27:13,836 --> 00:27:17,316
Speaker 1: The breaker box put the scary looking Greg, Well, it's

436
00:27:17,356 --> 00:27:19,276
Speaker 1: what the breaker box looks like in my play. Yeah,

437
00:27:19,276 --> 00:27:22,316
Speaker 1: that's I just reminded that my house might be burnt

438
00:27:22,356 --> 00:27:25,516
Speaker 1: down by the time I get there. But yeah, so

439
00:27:25,596 --> 00:27:27,916
Speaker 1: I just kind of kept playing with it and and

440
00:27:28,716 --> 00:27:30,636
Speaker 1: changing the way it was sequenced and moving the little

441
00:27:30,676 --> 00:27:34,516
Speaker 1: bits of it around and and found that initial loop,

442
00:27:34,716 --> 00:27:38,236
Speaker 1: that little that little thing just kind of popped out,

443
00:27:38,316 --> 00:27:39,796
Speaker 1: and the minute we found it we were like, oh

444
00:27:39,876 --> 00:27:42,076
Speaker 1: that here we go, now we can start. Okay, now

445
00:27:42,396 --> 00:27:44,796
Speaker 1: that you've been doing this emelia for eight years, how

446
00:27:44,876 --> 00:27:47,436
Speaker 1: has it changed how you sing? At first? I imagine

447
00:27:47,476 --> 00:27:50,476
Speaker 1: you were singing and he was grabbing parts of it,

448
00:27:50,596 --> 00:27:54,956
Speaker 1: samples and manipulating it. Wouldn't it become tempting after a

449
00:27:54,996 --> 00:27:57,276
Speaker 1: few years to like, well, I'm just gonna I'm gonna

450
00:27:57,316 --> 00:27:59,196
Speaker 1: sing a sample. I'm not going to sing the way

451
00:27:59,196 --> 00:28:01,756
Speaker 1: I used to sing. I'm going to try and sing

452
00:28:01,836 --> 00:28:05,756
Speaker 1: almost in in a kind of in a sampled way,

453
00:28:05,916 --> 00:28:08,476
Speaker 1: in a sampled or electronic in a sound bite way. Yeah,

454
00:28:09,516 --> 00:28:12,476
Speaker 1: I think, if anything, I'm more In order for the

455
00:28:12,556 --> 00:28:15,116
Speaker 1: samples themselves to be good, you have to be singing

456
00:28:15,996 --> 00:28:18,476
Speaker 1: like I really have to be solidly in my lane,

457
00:28:18,596 --> 00:28:23,796
Speaker 1: doing exactly what I'm doing, and then the sample will shine. Otherwise,

458
00:28:23,836 --> 00:28:26,916
Speaker 1: if you're being tentative or if you're not, if you're

459
00:28:26,996 --> 00:28:30,716
Speaker 1: trying to do something as opposed to actually doing it,

460
00:28:31,436 --> 00:28:35,756
Speaker 1: then it gets lost. So I think, if anything, I

461
00:28:35,756 --> 00:28:39,836
Speaker 1: have just become a better, a better and more confident singer.

462
00:28:40,796 --> 00:28:44,716
Speaker 1: Now a lot of Mountain Man's songs were a cappella,

463
00:28:45,516 --> 00:28:48,276
Speaker 1: so I think you must have already felt comfortable singing

464
00:28:48,396 --> 00:28:51,916
Speaker 1: without a kind of full arrangement behind you or a

465
00:28:51,996 --> 00:28:55,316
Speaker 1: piano or a guitar to kind of establish what you're doing.

466
00:28:55,796 --> 00:29:00,676
Speaker 1: What's it like singing in this music? Because you very

467
00:29:00,796 --> 00:29:03,396
Speaker 1: very distinctive style the way you do it, and you

468
00:29:03,676 --> 00:29:08,316
Speaker 1: interact with the sounds in this unique way. I think

469
00:29:08,356 --> 00:29:11,596
Speaker 1: there's big because of the way that I naturally write

470
00:29:12,236 --> 00:29:14,436
Speaker 1: in the air or in response to what Nick is doing,

471
00:29:14,516 --> 00:29:16,996
Speaker 1: and I write lyrics and melody usually at the same time.

472
00:29:18,116 --> 00:29:22,316
Speaker 1: My voice is in general, I kind of think of

473
00:29:22,396 --> 00:29:25,796
Speaker 1: it like a percussive instrument more than I do like

474
00:29:25,916 --> 00:29:29,196
Speaker 1: a like a narrative device, or or both things are

475
00:29:29,236 --> 00:29:32,276
Speaker 1: happening at the same time. So that's the thing, is it?

476
00:29:32,356 --> 00:29:36,276
Speaker 1: Because because I think of it as an instrument, unto itself,

477
00:29:36,356 --> 00:29:39,636
Speaker 1: it's more percussive. It's actually quite easy. It's like being

478
00:29:39,676 --> 00:29:44,196
Speaker 1: a you know, water and more water. M Can we

479
00:29:44,276 --> 00:29:57,716
Speaker 1: hear another song? Sure? Great? It's a jump two right.

480
00:30:00,716 --> 00:30:08,116
Speaker 1: I don't know that it's a step inside its cloud.

481
00:30:09,116 --> 00:30:11,236
Speaker 1: I don't know how to work in this girl, Come onder,

482
00:30:11,476 --> 00:30:21,156
Speaker 1: teach you hull we hope, let me remember how to

483
00:30:21,556 --> 00:30:29,676
Speaker 1: live my life. The room, so each new lening out

484
00:30:30,076 --> 00:30:44,596
Speaker 1: to be seing, but true, it's c real, dy, it's

485
00:30:44,676 --> 00:30:59,236
Speaker 1: your reality. It's a jump two right, lift off right now.

486
00:31:00,156 --> 00:31:02,956
Speaker 1: I don't know he is women the come on teach

487
00:31:03,196 --> 00:31:08,956
Speaker 1: Hull to step inside the strad is God, don't know.

488
00:31:09,156 --> 00:31:11,196
Speaker 1: I don't walk to this guy. Come on that teach

489
00:31:11,236 --> 00:31:18,276
Speaker 1: you her. We let me back back. Let me remember

490
00:31:18,836 --> 00:31:24,676
Speaker 1: up to the b lamy was a rich Now say

491
00:31:25,436 --> 00:31:31,036
Speaker 1: don't any to be sent me, don't let me building

492
00:31:31,636 --> 00:31:36,996
Speaker 1: now watch my chance now that when waking at this train,

493
00:31:38,836 --> 00:31:44,596
Speaker 1: say so, don't snow the same, send my note to

494
00:31:44,756 --> 00:31:51,476
Speaker 1: do so so so resumes you know it's serious, say

495
00:31:51,596 --> 00:32:08,916
Speaker 1: that it sus serious for ba trainer, it's seriously you know.

496
00:32:39,836 --> 00:32:42,236
Speaker 1: So that's on your reality. Nick and I hear the

497
00:32:42,316 --> 00:32:45,796
Speaker 1: one in a different place, and we decided as we

498
00:32:45,876 --> 00:32:48,956
Speaker 1: were writing it that we were going to affirm each

499
00:32:49,036 --> 00:32:54,076
Speaker 1: of our counting styles in it. And I knew in

500
00:32:54,236 --> 00:32:57,996
Speaker 1: order to justify the second rotation of the verse, I

501
00:32:58,196 --> 00:33:04,156
Speaker 1: wanted to have a backup part that would roll continue

502
00:33:04,196 --> 00:33:07,556
Speaker 1: to roll the song forward, but like add add kind

503
00:33:07,556 --> 00:33:13,236
Speaker 1: of a different count to it for myself. So I

504
00:33:13,316 --> 00:33:17,916
Speaker 1: wrote that no rules part, no rules, Sandy, no rule, Sandy,

505
00:33:19,156 --> 00:33:22,116
Speaker 1: tell me what that means. Normally, when Nick and I

506
00:33:22,356 --> 00:33:27,996
Speaker 1: are recording or writing together, I'll like secretly write something

507
00:33:28,116 --> 00:33:30,396
Speaker 1: and then the first time he'll hear it is when

508
00:33:30,916 --> 00:33:34,036
Speaker 1: I record it, And that was the case with this,

509
00:33:34,116 --> 00:33:36,876
Speaker 1: So it's kind of a joke to him and we

510
00:33:36,996 --> 00:33:40,956
Speaker 1: kept Also it just felt like, well, when we played

511
00:33:40,956 --> 00:33:43,996
Speaker 1: the song for our friend Jen, who we play everything for,

512
00:33:44,396 --> 00:33:46,036
Speaker 1: she immediately was like, Oh, that's got to be the

513
00:33:46,116 --> 00:33:49,796
Speaker 1: title of the record. And I think the thing that

514
00:33:50,036 --> 00:33:51,676
Speaker 1: she was pointing out that we realized she was right

515
00:33:51,756 --> 00:33:54,796
Speaker 1: about was just that it kind of perfectly encapsulated everything

516
00:33:54,876 --> 00:33:57,076
Speaker 1: that we were feeling when we were making this thing was,

517
00:33:57,996 --> 00:34:00,236
Speaker 1: you know, just the last couple of years and everything

518
00:34:00,316 --> 00:34:02,836
Speaker 1: everyone's going through this great re examination of like what

519
00:34:03,036 --> 00:34:05,956
Speaker 1: matters and what doesn't and what did I think was

520
00:34:06,036 --> 00:34:09,756
Speaker 1: important that I'm now realizing actually isn't, And did I

521
00:34:09,916 --> 00:34:14,556
Speaker 1: make the box that I see myself in? And I

522
00:34:14,756 --> 00:34:16,716
Speaker 1: think for a lot of different reasons, that just felt

523
00:34:16,756 --> 00:34:19,236
Speaker 1: like all of that was wrapped up, not only in

524
00:34:19,316 --> 00:34:21,716
Speaker 1: this song, but in this whole process of making this thing.

525
00:34:22,356 --> 00:34:26,716
Speaker 1: And it's also just inherently silly, which is I think

526
00:34:26,916 --> 00:34:30,596
Speaker 1: another thing we loved about it was that it's it's

527
00:34:30,716 --> 00:34:35,636
Speaker 1: very true, but it's also kind of unserious in a

528
00:34:35,716 --> 00:34:40,276
Speaker 1: way that felt the way our lives feel. I don't know,

529
00:34:40,796 --> 00:34:44,596
Speaker 1: I think I feel like silliness is a it's such

530
00:34:44,636 --> 00:34:47,036
Speaker 1: a huge part of my emotional experience, like as a

531
00:34:47,116 --> 00:34:51,116
Speaker 1: human being alive. But I hear it in almost none

532
00:34:51,156 --> 00:34:53,876
Speaker 1: of the music that I listened to. But it's such

533
00:34:53,996 --> 00:34:56,676
Speaker 1: to me. It's it's the it's the it's the other

534
00:34:56,836 --> 00:35:00,356
Speaker 1: side of that doom coin. You know. It's like it's

535
00:35:00,436 --> 00:35:05,196
Speaker 1: such a natural way of processing horrible things, and it's

536
00:35:05,236 --> 00:35:10,236
Speaker 1: such a like an important like seasoning in in at

537
00:35:10,316 --> 00:35:14,756
Speaker 1: least my emotional experience. And there's so much silliness even

538
00:35:14,796 --> 00:35:16,996
Speaker 1: in this record to me, even when it's pointing at

539
00:35:17,036 --> 00:35:21,436
Speaker 1: something that's very serious. And the minute she pointed that out,

540
00:35:21,556 --> 00:35:23,436
Speaker 1: it's like we couldn't unsee it. Like that had to

541
00:35:23,476 --> 00:35:25,116
Speaker 1: be the name of the record. I'm going to do

542
00:35:25,196 --> 00:35:29,676
Speaker 1: a little rhythm nerd thing for our older listeners out there,

543
00:35:29,876 --> 00:35:32,116
Speaker 1: because you said you hear the one in a different

544
00:35:32,156 --> 00:35:36,196
Speaker 1: place where you did, meaning the first beat of the bar. Yeah,

545
00:35:36,516 --> 00:35:38,676
Speaker 1: is that right? And so you maintained that you you're

546
00:35:38,876 --> 00:35:44,276
Speaker 1: playing basically you're you're starting at different points. Yeah. Normally

547
00:35:44,356 --> 00:35:46,916
Speaker 1: we that's the kind of thing we would resolve or

548
00:35:47,116 --> 00:35:48,636
Speaker 1: one of us would end up, you know, being quote

549
00:35:48,676 --> 00:35:54,196
Speaker 1: unquote right about but what oncet quote unquote It changes

550
00:35:54,236 --> 00:35:56,516
Speaker 1: every time. Oh okay, but I think once once she

551
00:35:56,596 --> 00:35:58,156
Speaker 1: had written the lyrics and they were about what they

552
00:35:58,156 --> 00:36:00,076
Speaker 1: were about, it was like there was no like we

553
00:36:00,236 --> 00:36:02,716
Speaker 1: had to justify both those things. Like the whole song

554
00:36:03,796 --> 00:36:06,276
Speaker 1: is about letting go of that kind of arbitrary decision

555
00:36:06,556 --> 00:36:11,756
Speaker 1: and having two different experiences of the same moment. Here's

556
00:36:11,796 --> 00:36:14,756
Speaker 1: the rhythm nerd part of this, which is the song

557
00:36:14,876 --> 00:36:17,156
Speaker 1: in the air tonight, the Phil Collins song. Yeah. Yes,

558
00:36:17,956 --> 00:36:20,476
Speaker 1: the drummer who played with him, who's this famous jazz drummer,

559
00:36:20,956 --> 00:36:23,436
Speaker 1: Chester Thompson, always had trouble with that song. That was

560
00:36:23,516 --> 00:36:26,316
Speaker 1: Chester Thompson. I didn't know that. Yeah, yeah, well I'm

561
00:36:26,316 --> 00:36:28,436
Speaker 1: not playing on the rod the record, but he played

562
00:36:28,476 --> 00:36:31,836
Speaker 1: with him live, and it's because in that drum pattern

563
00:36:31,876 --> 00:36:36,356
Speaker 1: there's no one him out. I mean, but that's different

564
00:36:36,356 --> 00:36:38,316
Speaker 1: than what you're doing. You're starting in the one different places,

565
00:36:38,516 --> 00:36:40,276
Speaker 1: which is really interesting. Yeah, we just said we are

566
00:36:40,316 --> 00:36:45,596
Speaker 1: brains interpret that melody differently. I think I'm right. The

567
00:36:45,716 --> 00:36:47,636
Speaker 1: funniest part though, is that we brought to other people

568
00:36:47,676 --> 00:36:50,636
Speaker 1: in on that. So Gabriel Kahan Kahane did the string

569
00:36:50,716 --> 00:36:54,356
Speaker 1: arrangement and t Jmianni played drums on that. And the

570
00:36:54,436 --> 00:36:57,796
Speaker 1: wildest part was that Gabriel heard it the way I

571
00:36:57,956 --> 00:37:00,236
Speaker 1: hear it and TJ heard it the way Amelia hears it,

572
00:37:00,956 --> 00:37:03,316
Speaker 1: and they each tried to lean into making it so

573
00:37:03,436 --> 00:37:06,156
Speaker 1: that neither of us was right. But we were split

574
00:37:06,276 --> 00:37:08,196
Speaker 1: evenly of all the people who played on that song.

575
00:37:08,636 --> 00:37:10,756
Speaker 1: That's how it should be. I love the string arrangement

576
00:37:10,756 --> 00:37:12,876
Speaker 1: on that it and I don't know if this was conscious.

577
00:37:12,916 --> 00:37:16,196
Speaker 1: It reminds me of a Steve Reich piece. Oh thanks,

578
00:37:16,636 --> 00:37:19,756
Speaker 1: that's what gave when I talked about that when he

579
00:37:19,876 --> 00:37:28,956
Speaker 1: was going through a strung Steve Reich phase, no pun intended. Yeah, yeah, yeah,

580
00:37:29,276 --> 00:37:31,836
Speaker 1: And we wanted we wanted to talk about the Yeah,

581
00:37:32,236 --> 00:37:35,716
Speaker 1: that that first loop particularly, Yeah, he's moving in and out. Yeah,

582
00:37:35,796 --> 00:37:40,196
Speaker 1: he's just so he's so good at that feeling of

583
00:37:40,956 --> 00:37:44,436
Speaker 1: having the strings almost like they're like a flock of birds,

584
00:37:44,516 --> 00:37:47,956
Speaker 1: like swarming over the top of the song. You know.

585
00:37:48,036 --> 00:37:49,836
Speaker 1: We talked about that a lot, that feeling of something

586
00:37:49,956 --> 00:37:53,036
Speaker 1: fluttering over the over the top of it, and he's

587
00:37:53,116 --> 00:37:56,236
Speaker 1: just that it's I don't know that you feel the

588
00:37:56,316 --> 00:37:57,956
Speaker 1: movement of it. You almost want to like swirl your

589
00:37:57,996 --> 00:38:00,116
Speaker 1: body around. I want to as I'm as I'm listening

590
00:38:00,156 --> 00:38:03,076
Speaker 1: to it. That's so cool. We'll be right back with

591
00:38:03,196 --> 00:38:06,756
Speaker 1: more from Nick Sanborne and Amelia Meath. After a quick break,

592
00:38:11,316 --> 00:38:13,876
Speaker 1: we're back with the rest of Bruce Edlum's conversation with

593
00:38:14,116 --> 00:38:17,756
Speaker 1: Nick Sanborn and Amelia Meath. I'm not going to express

594
00:38:17,836 --> 00:38:20,436
Speaker 1: this very well, but I'm going to try, which is,

595
00:38:20,476 --> 00:38:22,596
Speaker 1: lots of people perform music and then you're there, Oh,

596
00:38:22,636 --> 00:38:25,556
Speaker 1: they're they're singing this song, they're doing this. There's something

597
00:38:25,596 --> 00:38:30,956
Speaker 1: about your music that you seem that you're inside the song.

598
00:38:31,996 --> 00:38:33,916
Speaker 1: And that's the only way I can express it. I

599
00:38:34,076 --> 00:38:36,316
Speaker 1: don't I'm not even entirely sure what it means. It's

600
00:38:36,316 --> 00:38:41,396
Speaker 1: more of a feeling, but it's it's though something swirling

601
00:38:41,436 --> 00:38:43,236
Speaker 1: around and you're in the middle of it. It's very

602
00:38:43,316 --> 00:38:46,876
Speaker 1: different kind of performance. Does that make any sense? Yeah,

603
00:38:47,436 --> 00:38:51,436
Speaker 1: I think if you're going to performing over Being a

604
00:38:51,596 --> 00:38:53,836
Speaker 1: musician is such a strange thing in general, because you

605
00:38:53,956 --> 00:38:56,916
Speaker 1: have like two main products. You have your performance and

606
00:38:57,036 --> 00:38:59,196
Speaker 1: you have the recording, some would say you also have

607
00:38:59,276 --> 00:39:02,476
Speaker 1: your persona. At first, I was really into performing and

608
00:39:02,596 --> 00:39:05,756
Speaker 1: Nick was really into recording, and now we've kind of

609
00:39:05,836 --> 00:39:08,276
Speaker 1: like met in the middle and maybe shifted a little bit. Yeah,

610
00:39:08,316 --> 00:39:12,076
Speaker 1: definitely a very strong belief that, like, if you're performing

611
00:39:12,116 --> 00:39:16,476
Speaker 1: a song for somebody, it's an energy you're going through

612
00:39:16,596 --> 00:39:19,756
Speaker 1: an energetic shift, and you're you know, anytime you try

613
00:39:19,796 --> 00:39:21,596
Speaker 1: to get someone to listen to your music, you're literally

614
00:39:21,676 --> 00:39:24,356
Speaker 1: holding out your hand being like, here, come with me

615
00:39:25,316 --> 00:39:28,476
Speaker 1: to this place. And it's much more easier to get

616
00:39:28,516 --> 00:39:32,396
Speaker 1: them to come with you if you promise a journey,

617
00:39:32,796 --> 00:39:34,796
Speaker 1: if you go there with them. Well, I also think

618
00:39:34,836 --> 00:39:38,396
Speaker 1: there's a thing a lot of on the records. At least,

619
00:39:39,876 --> 00:39:43,116
Speaker 1: we're both really resistant to the idea of the vocals

620
00:39:43,196 --> 00:39:48,396
Speaker 1: sounding like a performance and we want it to really

621
00:39:48,476 --> 00:39:50,876
Speaker 1: feel intimate and to feel like you're there with us,

622
00:39:51,596 --> 00:39:53,676
Speaker 1: And so a lot of times that leads us to

623
00:39:54,516 --> 00:39:57,476
Speaker 1: using the very first take that Amelia does, like the

624
00:39:57,556 --> 00:39:59,636
Speaker 1: minute after she writes it, she'll sing it into a

625
00:39:59,676 --> 00:40:01,436
Speaker 1: microphone and we'll kind of think it's going to be

626
00:40:01,556 --> 00:40:04,316
Speaker 1: for the demo or whatever, but like that ends up

627
00:40:04,356 --> 00:40:06,236
Speaker 1: being the real take, And every time we try to

628
00:40:06,316 --> 00:40:08,716
Speaker 1: redo it inherently, we kind of hear it as some

629
00:40:08,876 --> 00:40:11,916
Speaker 1: version of a performance rather than her living the song.

630
00:40:12,756 --> 00:40:15,556
Speaker 1: And it's it's a really sensitive and really specific thing,

631
00:40:15,676 --> 00:40:18,636
Speaker 1: but so much of our music is about inviting the

632
00:40:18,716 --> 00:40:23,076
Speaker 1: listener in, and I think that's just another way that

633
00:40:23,156 --> 00:40:27,996
Speaker 1: we're really sensitive to that. But it's everything's very integrated somehow.

634
00:40:28,196 --> 00:40:31,076
Speaker 1: And again I'm struggling to explain this, but it's not

635
00:40:31,236 --> 00:40:32,756
Speaker 1: as though, you know, if you're listening to an old

636
00:40:33,396 --> 00:40:35,276
Speaker 1: Gerald record, you're like, well, here's where she hits that

637
00:40:35,396 --> 00:40:37,316
Speaker 1: high note. You're not really thinking what the band's doing

638
00:40:37,396 --> 00:40:39,956
Speaker 1: behind her. It may be a great record. It's not

639
00:40:40,036 --> 00:40:42,996
Speaker 1: a criticism, but your records seem to be it's the

640
00:40:43,196 --> 00:40:46,956
Speaker 1: space or something that you're in. Thanks. I also think

641
00:40:46,996 --> 00:40:50,316
Speaker 1: a part of that maybe is that everything that's not

642
00:40:50,636 --> 00:40:53,476
Speaker 1: her voice that's in the track we try to make

643
00:40:53,516 --> 00:40:55,596
Speaker 1: it a thing that came from her voice in some way,

644
00:40:55,676 --> 00:40:57,276
Speaker 1: So if even if it's just the musical idea, like,

645
00:40:57,636 --> 00:41:00,236
Speaker 1: all of it to me is intended to point back

646
00:41:00,396 --> 00:41:04,836
Speaker 1: towards her voice, like because that's the doorway, you know,

647
00:41:04,836 --> 00:41:06,996
Speaker 1: at least emotionally, for me, when I'm hearing something, it's

648
00:41:07,076 --> 00:41:10,236
Speaker 1: usually the vocal. If it's a vocal record, I'm that's

649
00:41:10,276 --> 00:41:13,396
Speaker 1: what I'm hearing. So a lot of our songs, the

650
00:41:13,516 --> 00:41:16,996
Speaker 1: minute something distracts me from her voice, will usually get

651
00:41:17,076 --> 00:41:19,596
Speaker 1: rid of it. Well, we want all of it to

652
00:41:19,676 --> 00:41:22,596
Speaker 1: be like kind of like like the realization of a

653
00:41:22,716 --> 00:41:25,676
Speaker 1: dream that she's having. Well, it's interesting because a lot

654
00:41:25,716 --> 00:41:33,436
Speaker 1: of electronic music almost ideologically wants to eliminate human sounds

655
00:41:34,396 --> 00:41:37,436
Speaker 1: or acoustic sounds. But ironically, to me, it's like, but

656
00:41:37,596 --> 00:41:39,596
Speaker 1: all those instruments were still made by humans with this

657
00:41:39,756 --> 00:41:43,156
Speaker 1: idea of perfection in them, like like even like an

658
00:41:43,196 --> 00:41:45,516
Speaker 1: eight to eight drum machine, Like that's a fascinating device

659
00:41:45,596 --> 00:41:49,036
Speaker 1: to me on a human level, just because somebody sat

660
00:41:49,116 --> 00:41:51,156
Speaker 1: down and thought, all right, well it's in four to

661
00:41:51,236 --> 00:41:53,996
Speaker 1: four and there's sixteen steps, and these are what these

662
00:41:54,076 --> 00:41:56,276
Speaker 1: drums sound like, and this is what swing sounds like.

663
00:41:56,596 --> 00:42:01,036
Speaker 1: It's like, it's like, by creating your idea of a perfection,

664
00:42:01,956 --> 00:42:06,796
Speaker 1: idea of perfection, you're showing the humanity of it. You're

665
00:42:06,836 --> 00:42:10,036
Speaker 1: showing kind of like what we what we think of

666
00:42:10,396 --> 00:42:13,676
Speaker 1: as the right quote unquote thing to do. That's super

667
00:42:13,756 --> 00:42:16,476
Speaker 1: interesting to me. I love I love incorporating those things,

668
00:42:16,516 --> 00:42:20,076
Speaker 1: and especially when they're right up against very broken human elements,

669
00:42:20,796 --> 00:42:22,396
Speaker 1: because I think it draws out like kind of the

670
00:42:22,516 --> 00:42:24,556
Speaker 1: humanity the whole thing. If that, I don't know if

671
00:42:24,556 --> 00:42:26,756
Speaker 1: I'm saying that quite excularly. I think you're totally doing

672
00:42:26,756 --> 00:42:28,556
Speaker 1: it right. Also, it's the most human thing in the

673
00:42:28,636 --> 00:42:32,396
Speaker 1: world where where we're like, well, it's electronic sound, as

674
00:42:32,436 --> 00:42:38,956
Speaker 1: if electronics were born and not made, you know, yes, well,

675
00:42:39,076 --> 00:42:42,436
Speaker 1: mandolins and guitars are made, yes too. You know. The

676
00:42:42,876 --> 00:42:46,876
Speaker 1: early electronic music, a lot of those people were obsessed

677
00:42:46,956 --> 00:42:50,516
Speaker 1: with the sounds they were hearing in everyday life, which

678
00:42:50,596 --> 00:42:54,236
Speaker 1: was industrial. Yeah, and that's what they they thought, well,

679
00:42:55,076 --> 00:42:58,956
Speaker 1: music needs to reflect people's everyday soundscape, which is now.

680
00:42:59,076 --> 00:43:01,116
Speaker 1: They thought everybody lived in the city, so it wasn't.

681
00:43:01,356 --> 00:43:05,076
Speaker 1: There were a lot of synthesizers that imitated cows. We

682
00:43:05,156 --> 00:43:07,916
Speaker 1: were talking about this before. We live in a digital world,

683
00:43:07,996 --> 00:43:09,996
Speaker 1: and those are the kind of sound you're dealing with.

684
00:43:10,796 --> 00:43:13,236
Speaker 1: To me, the most interesting things happen when you when

685
00:43:13,276 --> 00:43:16,236
Speaker 1: you push all those textures up against each other. When

686
00:43:16,276 --> 00:43:19,556
Speaker 1: there's this you know, kind of idealized drum machine sound

687
00:43:20,036 --> 00:43:24,836
Speaker 1: next to a very raw feeling vocal next to you know,

688
00:43:25,476 --> 00:43:28,596
Speaker 1: a scratchy sounding acoustic guitar. That is that you can

689
00:43:28,636 --> 00:43:30,996
Speaker 1: tell has been manipulated. I love that feeling when when

690
00:43:30,996 --> 00:43:34,996
Speaker 1: you can tell somebody's changed something, the kind of human

691
00:43:35,196 --> 00:43:38,556
Speaker 1: fingerprint on that, even if it's an electronic sound, that's

692
00:43:38,596 --> 00:43:42,156
Speaker 1: when that's when all those kind of feelings of humanity

693
00:43:42,236 --> 00:43:45,156
Speaker 1: come out more to me. So, for example, the last

694
00:43:45,196 --> 00:43:48,396
Speaker 1: song in your album is a big surprise because it

695
00:43:48,476 --> 00:43:53,356
Speaker 1: starts with somebody's drumming an acoustic guitar, which I don't

696
00:43:53,356 --> 00:43:54,716
Speaker 1: know if that's the first time you've done that in

697
00:43:54,716 --> 00:43:56,676
Speaker 1: a song, but it's it's a it's a surprise when

698
00:43:56,716 --> 00:43:59,556
Speaker 1: those acoustic sounds come in. It's it's a it's a

699
00:43:59,676 --> 00:44:03,436
Speaker 1: jeweled Yeah. So you have the acoustic but then but

700
00:44:03,556 --> 00:44:05,596
Speaker 1: then I think your your vocal is treated. Isn't it

701
00:44:05,676 --> 00:44:08,476
Speaker 1: that you ran it through something? It's not just he's

702
00:44:08,476 --> 00:44:11,476
Speaker 1: a really old vocoder. O oh is that Ryan? We

703
00:44:11,596 --> 00:44:14,356
Speaker 1: love that. We love the old vocoders, Yeah, because most

704
00:44:14,396 --> 00:44:17,156
Speaker 1: of them are broken and so they do really wild

705
00:44:17,236 --> 00:44:19,396
Speaker 1: and strange. Again, you like hear the chip like, I

706
00:44:19,516 --> 00:44:22,556
Speaker 1: just love that feeling. But that one, like you know,

707
00:44:22,756 --> 00:44:26,596
Speaker 1: like we to me that the vocoder in that song

708
00:44:26,676 --> 00:44:29,436
Speaker 1: as just as much humanity as Sam saxophone. You know,

709
00:44:29,556 --> 00:44:32,676
Speaker 1: it's it's because it's all coming from her voice. Like

710
00:44:32,796 --> 00:44:35,796
Speaker 1: both the vocoders sound and Sam's melodies that he's that

711
00:44:35,876 --> 00:44:38,956
Speaker 1: he's playing are all are both from this very raw

712
00:44:39,076 --> 00:44:42,876
Speaker 1: vocal take that she did, and it feels like they're

713
00:44:42,916 --> 00:44:46,516
Speaker 1: all leading back to that same thing. It's been amazing

714
00:44:46,636 --> 00:44:52,316
Speaker 1: watching you work here circuit board there um your toy

715
00:44:52,396 --> 00:44:55,276
Speaker 1: train sat yes, my trains. Yeah, it reminded me of

716
00:44:55,796 --> 00:44:58,556
Speaker 1: m I don't know if you've seen those famous probably

717
00:44:58,596 --> 00:45:02,556
Speaker 1: in documentaries, you know, George Martin or Paul McCartney will

718
00:45:03,316 --> 00:45:07,636
Speaker 1: demonstrate how they used faders on tomorrow never knows. Oh yeah,

719
00:45:07,676 --> 00:45:09,516
Speaker 1: those are great and and I don't know if this

720
00:45:09,596 --> 00:45:11,316
Speaker 1: is actually the case. I'm sure it's not the case,

721
00:45:11,436 --> 00:45:13,436
Speaker 1: but it's probably the case in pop music. It's the

722
00:45:13,516 --> 00:45:18,156
Speaker 1: first time the performance was really the engineer's performance that

723
00:45:18,276 --> 00:45:20,956
Speaker 1: really made that. Yeah, mixer is still an instrument. That's

724
00:45:20,996 --> 00:45:24,876
Speaker 1: what I love playing a mixer. Yeah, um, well you

725
00:45:24,996 --> 00:45:26,956
Speaker 1: did it. Well. It's just it's just amazing to watch.

726
00:45:27,036 --> 00:45:31,036
Speaker 1: It's it's a very if someone's used to more traditional instruments,

727
00:45:31,076 --> 00:45:35,156
Speaker 1: it's it's just an amazing thing to watch. Thanks I

728
00:45:35,236 --> 00:45:38,076
Speaker 1: mean for people who kind of perform in this space,

729
00:45:38,796 --> 00:45:41,636
Speaker 1: it's kind of digital space. I would say two things.

730
00:45:42,036 --> 00:45:46,436
Speaker 1: You seem fascinated by analog technology. You've got a song

731
00:45:46,516 --> 00:45:50,076
Speaker 1: about a train, you got a radio song. And is

732
00:45:50,116 --> 00:45:52,716
Speaker 1: it true you used old tape of your Is it

733
00:45:52,836 --> 00:45:57,196
Speaker 1: your mother used to cut tape for radio? We used

734
00:45:57,236 --> 00:46:00,636
Speaker 1: her old, real real for that. Yeah, oh that's amazing.

735
00:46:01,076 --> 00:46:03,716
Speaker 1: The second thing is, and you know you've got little

736
00:46:03,756 --> 00:46:07,916
Speaker 1: snatches of conversation and phone messages. Musicians now have to

737
00:46:08,036 --> 00:46:11,796
Speaker 1: live in that world. They have to be active on

738
00:46:11,916 --> 00:46:14,196
Speaker 1: social media. They have to interact with fans in a

739
00:46:14,276 --> 00:46:16,796
Speaker 1: way they didn't before, not like in the good old

740
00:46:16,876 --> 00:46:20,916
Speaker 1: days of Twitter. Good old days Twitter so nice on there,

741
00:46:21,076 --> 00:46:24,476
Speaker 1: and music has made in a very different way. Now.

742
00:46:24,916 --> 00:46:29,036
Speaker 1: I'll put on a record at home and my son

743
00:46:29,116 --> 00:46:30,996
Speaker 1: who's eight, will say, well, it hasn't started yet, and

744
00:46:30,996 --> 00:46:33,396
Speaker 1: I'm like, well, no, it's just really quiet, like you're

745
00:46:33,436 --> 00:46:37,396
Speaker 1: not used to quiet music anymore. Just wait for the

746
00:46:37,476 --> 00:46:39,076
Speaker 1: vocal to come in. Actually it's been on, like the

747
00:46:39,116 --> 00:46:41,396
Speaker 1: piano has been there for thirty seconds. But you know,

748
00:46:41,476 --> 00:46:44,636
Speaker 1: the range is different everything. I know every musician is

749
00:46:44,676 --> 00:46:49,276
Speaker 1: in this world now, you guys sort of also exploit

750
00:46:49,396 --> 00:46:52,916
Speaker 1: those things as part of your sound and I think

751
00:46:53,036 --> 00:46:56,956
Speaker 1: almost part of your philosophy. What's it like being those

752
00:46:57,076 --> 00:47:00,156
Speaker 1: kind of digital creatures. The only way I figured out

753
00:47:00,196 --> 00:47:04,116
Speaker 1: how to do it is to do it authentically, which

754
00:47:04,276 --> 00:47:09,716
Speaker 1: isn't as glamorous looking as the way other people do it.

755
00:47:10,076 --> 00:47:12,516
Speaker 1: In order to be able to interact with the Internet

756
00:47:12,636 --> 00:47:15,716
Speaker 1: in any way that feels honest, I have to be myself,

757
00:47:16,196 --> 00:47:19,596
Speaker 1: which is kind of unfortunate because being yourself is embarrassing

758
00:47:19,836 --> 00:47:22,836
Speaker 1: most of the time, particularly when you're when you're doing

759
00:47:22,916 --> 00:47:25,876
Speaker 1: it for your job. But that's the that's the only

760
00:47:25,956 --> 00:47:28,316
Speaker 1: way I've been able to do it. It takes a

761
00:47:28,316 --> 00:47:31,236
Speaker 1: lot of energy, but because of that, because of the Internet,

762
00:47:31,316 --> 00:47:33,436
Speaker 1: like here we are, we're able to do this. This

763
00:47:33,596 --> 00:47:35,716
Speaker 1: is our job because of the amount of people we

764
00:47:35,796 --> 00:47:39,756
Speaker 1: were able to reach. But your your song radio addresses that.

765
00:47:39,916 --> 00:47:43,196
Speaker 1: It asks about how many clicks and have you done

766
00:47:43,236 --> 00:47:47,196
Speaker 1: something so you can make the news it does it does?

767
00:47:49,036 --> 00:47:53,596
Speaker 1: Was that performed with or was that written with some ambivalence? Yeah? Yeah,

768
00:47:53,716 --> 00:47:55,516
Speaker 1: I was in a phase of songwriting where I was

769
00:47:55,596 --> 00:48:00,556
Speaker 1: really into being very direct and talking about what I

770
00:48:00,716 --> 00:48:05,436
Speaker 1: was feeling. I'm with that song in particular, I wanted

771
00:48:05,476 --> 00:48:07,836
Speaker 1: to write about, you know, wanting to get on the radio,

772
00:48:08,036 --> 00:48:11,676
Speaker 1: trying to make our sound something that was consumable by

773
00:48:11,716 --> 00:48:15,356
Speaker 1: a lot of people, or to be able to convince

774
00:48:15,436 --> 00:48:18,996
Speaker 1: a radio promoter that it was consumable by a lot

775
00:48:19,076 --> 00:48:21,756
Speaker 1: of people, but also trying to be authentic at the

776
00:48:21,836 --> 00:48:25,476
Speaker 1: same time, and the way that those two things interact.

777
00:48:26,116 --> 00:48:30,236
Speaker 1: Also how pop culture and media is just an excellent

778
00:48:30,356 --> 00:48:35,636
Speaker 1: distractor from disaster. You've mentioned disaster a couple of times

779
00:48:36,196 --> 00:48:39,156
Speaker 1: during this interview, So do you see yourself sort of

780
00:48:39,196 --> 00:48:42,716
Speaker 1: as a bulwark against disaster your music or is it

781
00:48:42,836 --> 00:48:45,556
Speaker 1: just what people have to do if they feel they're

782
00:48:45,596 --> 00:48:50,596
Speaker 1: facing something terrible in life. Oh my god, no, I can't.

783
00:48:50,676 --> 00:48:53,356
Speaker 1: I would never even I think, you know, an important

784
00:48:53,436 --> 00:49:00,156
Speaker 1: part of living is experiencing destruction and heartbreak and sadness.

785
00:49:01,396 --> 00:49:03,116
Speaker 1: And I think for me, the thing I like to

786
00:49:03,276 --> 00:49:09,036
Speaker 1: think that my hope is that the music can be company,

787
00:49:09,676 --> 00:49:13,796
Speaker 1: a friend, something that people can look at and say,

788
00:49:15,596 --> 00:49:20,156
Speaker 1: here's this this this happened to them, or this is

789
00:49:20,236 --> 00:49:22,876
Speaker 1: my song for for feeling how I feel right now.

790
00:49:23,516 --> 00:49:31,356
Speaker 1: It's something that can float float people through the saddest times. Okay,

791
00:49:32,636 --> 00:49:35,716
Speaker 1: you guys made a terrific film and during the pandemic

792
00:49:36,436 --> 00:49:38,676
Speaker 1: where you you did a bunch of your songs with

793
00:49:38,756 --> 00:49:42,556
Speaker 1: a full band, yeah, which and it's called with Love,

794
00:49:42,596 --> 00:49:44,516
Speaker 1: and I suggest everybody would go out and watch it.

795
00:49:44,676 --> 00:49:46,316
Speaker 1: What was that like? Is that the first time you

796
00:49:46,356 --> 00:49:49,556
Speaker 1: would you had rearranged the songs for no, we had

797
00:49:49,596 --> 00:49:52,156
Speaker 1: done so we right in the fall of twenty nineteen,

798
00:49:52,276 --> 00:49:54,556
Speaker 1: we took that same band out on tour and we

799
00:49:54,676 --> 00:49:58,396
Speaker 1: did like seven shows. We did like four cities. We

800
00:49:58,436 --> 00:50:00,876
Speaker 1: didn't do very many, and then we put it. There's

801
00:50:00,876 --> 00:50:02,636
Speaker 1: a there's a full length doc of that out that

802
00:50:02,716 --> 00:50:04,916
Speaker 1: you can find on the It's just called with And

803
00:50:04,996 --> 00:50:07,316
Speaker 1: So that was kind of the first time we had

804
00:50:07,396 --> 00:50:09,996
Speaker 1: really leaned into that wed I tried playing stuff with

805
00:50:10,236 --> 00:50:11,876
Speaker 1: people before and it had been great, but this was

806
00:50:12,036 --> 00:50:14,156
Speaker 1: the first time we like really put a show together

807
00:50:14,276 --> 00:50:17,236
Speaker 1: and put it on for people. And then when the

808
00:50:17,356 --> 00:50:21,356
Speaker 1: pandemic hit and we were putting this record out, we

809
00:50:22,156 --> 00:50:24,596
Speaker 1: realized that this could be a great excuse for us

810
00:50:24,676 --> 00:50:26,636
Speaker 1: all if we could figure out a way to safely

811
00:50:26,676 --> 00:50:29,836
Speaker 1: get together, that this could be a just an amazing

812
00:50:29,916 --> 00:50:32,076
Speaker 1: thing for all of us involved. That we missed each

813
00:50:32,076 --> 00:50:36,236
Speaker 1: other so much, and we really wanted to find a

814
00:50:36,316 --> 00:50:37,676
Speaker 1: way to do it, and so you know, it was

815
00:50:37,676 --> 00:50:40,796
Speaker 1: like right when testing was getting really available and you know,

816
00:50:40,916 --> 00:50:43,676
Speaker 1: we had this whole thing worked out. But that was

817
00:50:43,716 --> 00:50:47,476
Speaker 1: kind of the whole impetus was just we miss our friends.

818
00:50:47,836 --> 00:50:51,316
Speaker 1: And the craziest part has been hearing other people who

819
00:50:51,436 --> 00:50:53,956
Speaker 1: watch it who weren't there, saying that they connected with

820
00:50:54,036 --> 00:50:56,516
Speaker 1: that same thing about it, that it made them feel

821
00:50:56,556 --> 00:50:58,956
Speaker 1: more together. It was it was I'm so grateful for

822
00:50:58,996 --> 00:51:02,196
Speaker 1: the entire experience. It was really fun to shoot, mostly

823
00:51:02,196 --> 00:51:04,436
Speaker 1: because we hadn't gotten to play music with other people

824
00:51:04,996 --> 00:51:08,556
Speaker 1: in you know, a year, and we'd put out a

825
00:51:08,596 --> 00:51:13,076
Speaker 1: record during the pandemic, Free Love. Everyone who released an

826
00:51:13,196 --> 00:51:17,396
Speaker 1: artistic feat during the pandemic knows the strange feeling of

827
00:51:18,556 --> 00:51:22,916
Speaker 1: like dropping a pee down at a plumb line or something.

828
00:51:23,596 --> 00:51:27,156
Speaker 1: So it felt really great to get to celebrate with

829
00:51:27,356 --> 00:51:30,636
Speaker 1: our friends for a live stream for something that had been,

830
00:51:30,996 --> 00:51:34,436
Speaker 1: you know, a way of revisiting the songs that we

831
00:51:34,516 --> 00:51:37,236
Speaker 1: hadn't gotten to play yet, and it was just it was,

832
00:51:37,516 --> 00:51:40,836
Speaker 1: it just existed for its own sake. That was I

833
00:51:40,876 --> 00:51:42,236
Speaker 1: think one thing I loved about it was that there's

834
00:51:42,276 --> 00:51:46,076
Speaker 1: no nobody had to do that. I mean, we weren't

835
00:51:46,356 --> 00:51:47,916
Speaker 1: making a ton of money or anything. It wasn't like,

836
00:51:47,996 --> 00:51:50,796
Speaker 1: you know, it's just it just existed because we wanted

837
00:51:50,836 --> 00:51:53,756
Speaker 1: to be together. It was great. Well, I recommended to everybody.

838
00:51:53,956 --> 00:51:56,956
Speaker 1: So you've got this new album out, What is next? Oh,

839
00:51:57,316 --> 00:52:00,876
Speaker 1: we're going a tour forever? Yeah, right now. We put

840
00:52:00,916 --> 00:52:04,436
Speaker 1: the record out so fast. For the first time in

841
00:52:04,476 --> 00:52:07,356
Speaker 1: like seven years. Were opening for a band right now,

842
00:52:07,476 --> 00:52:10,556
Speaker 1: which is really fun. But we'd already signed up to

843
00:52:10,716 --> 00:52:14,516
Speaker 1: open for them before we'd written the record. So now

844
00:52:14,556 --> 00:52:16,276
Speaker 1: we're in this interesting space where we just put this

845
00:52:16,396 --> 00:52:20,876
Speaker 1: record out and we're opening an arena tour. Who are

846
00:52:20,876 --> 00:52:26,036
Speaker 1: you opening for? Oh? Okay, yeah, so tell me. What's

847
00:52:26,076 --> 00:52:29,236
Speaker 1: it like playing this music to so many people, to

848
00:52:29,356 --> 00:52:34,236
Speaker 1: such a big audience. It's nice, it's good. Yeah. Well,

849
00:52:34,356 --> 00:52:36,916
Speaker 1: you know, when we play shows, it's usually it's like

850
00:52:38,516 --> 00:52:42,516
Speaker 1: four thousand less people, but not that they're comparable to

851
00:52:42,596 --> 00:52:46,396
Speaker 1: our to our size. It's like side too. It's yah yeah, yeah, no,

852
00:52:46,476 --> 00:52:53,236
Speaker 1: I didn't mean like they ever played to like I

853
00:52:53,396 --> 00:52:57,876
Speaker 1: wish I miss bars. It's really nice. It's interesting. It's different. Uh,

854
00:52:58,036 --> 00:53:01,636
Speaker 1: it's different group of people than like our fan base,

855
00:53:02,436 --> 00:53:04,876
Speaker 1: and it's a whole different job to open shows. Than

856
00:53:04,956 --> 00:53:07,836
Speaker 1: it is to host them. So we're like getting our

857
00:53:07,916 --> 00:53:10,356
Speaker 1: chops back. Yeah, this part is that's all we used

858
00:53:10,396 --> 00:53:11,996
Speaker 1: to do. Like that's how we kind of came up.

859
00:53:12,036 --> 00:53:13,836
Speaker 1: We got a couple of great opening slots, like for

860
00:53:13,956 --> 00:53:16,196
Speaker 1: two Yards and Volcano Choir, like right when we started,

861
00:53:16,316 --> 00:53:21,516
Speaker 1: kind of miraculously, and we just like loved, we relished

862
00:53:21,556 --> 00:53:24,156
Speaker 1: that feeling of like having thirty five or forty minutes

863
00:53:24,236 --> 00:53:26,836
Speaker 1: or whatever to like convince everyone to like you. And

864
00:53:26,996 --> 00:53:30,516
Speaker 1: we've been pretty much headlining ever since. And so it's like,

865
00:53:31,716 --> 00:53:33,356
Speaker 1: I don't know I've said this before, but it feels

866
00:53:33,356 --> 00:53:35,116
Speaker 1: like I'm like working out every night. It feels like

867
00:53:35,196 --> 00:53:38,276
Speaker 1: we're like getting a muscle back that we lacks, you know,

868
00:53:38,596 --> 00:53:40,876
Speaker 1: through the cushiness of everyone already knowing all the words

869
00:53:40,916 --> 00:53:44,036
Speaker 1: to our songs. Yeah, it's been great. I love it.

870
00:53:44,116 --> 00:53:46,316
Speaker 1: It's like, you know, trying to figure out what they're

871
00:53:46,316 --> 00:53:47,916
Speaker 1: going to react to on any given night is so

872
00:53:48,236 --> 00:53:51,236
Speaker 1: it changes so wildly. It's cool exactly. So we're going

873
00:53:51,276 --> 00:53:54,916
Speaker 1: to finish this tour and then hopefully in twenty twenty

874
00:53:54,956 --> 00:53:59,556
Speaker 1: three will actually to our new rules. Sandy, right, and

875
00:53:59,716 --> 00:54:02,516
Speaker 1: this is how musicians make their living now. Oh yeah,

876
00:54:02,836 --> 00:54:04,676
Speaker 1: that's right, that's the only place where the money is

877
00:54:05,636 --> 00:54:10,036
Speaker 1: that and you know car commercials looking forward to both.

878
00:54:10,516 --> 00:54:12,356
Speaker 1: Thank you so much for coming in. It's been just

879
00:54:12,476 --> 00:54:15,156
Speaker 1: fabulous and the performances were wonderful. It's just great. Thank

880
00:54:15,196 --> 00:54:17,036
Speaker 1: you for so much for having us. Yeah, thank you.

881
00:54:19,876 --> 00:54:22,356
Speaker 1: Thanks to Amelia Meath and Nick Sanborn if silvan Esso

882
00:54:22,436 --> 00:54:24,956
Speaker 1: for coming through Broken Record to talk about their lives,

883
00:54:25,196 --> 00:54:28,916
Speaker 1: creative process and their new album. And you're all of

884
00:54:28,956 --> 00:54:32,156
Speaker 1: our favorite Sylvaneso songs on a playlist at broken record

885
00:54:32,236 --> 00:54:35,956
Speaker 1: podcast dot com. Be sure to subscribe to our YouTube

886
00:54:36,076 --> 00:54:39,716
Speaker 1: channel at YouTube dot com slash Broken Record Podcast, where

887
00:54:39,716 --> 00:54:42,156
Speaker 1: you can find all of our new episodes. You can

888
00:54:42,236 --> 00:54:45,916
Speaker 1: follow us on Twitter at broken Record. Broken Record is

889
00:54:45,916 --> 00:54:49,556
Speaker 1: a producer of help from Leah Rose, Jason N Brow, Vantaladay,

890
00:54:49,836 --> 00:54:54,076
Speaker 1: Eric Sandler, and Jennifer Sanchez. Our editor is Sophie Crane.

891
00:54:54,356 --> 00:54:58,996
Speaker 1: Our executive producer is Mio Lava. Broken Record is a

892
00:54:59,076 --> 00:55:01,956
Speaker 1: production of Pushkin Industries. If you like this show and

893
00:55:02,036 --> 00:55:06,156
Speaker 1: others from Pushkin, consider subscribing to Pushkin Plus. Pushkin Plus

894
00:55:06,276 --> 00:55:09,876
Speaker 1: is a podcast subscription that offers bonus content an uninterrupted

895
00:55:09,956 --> 00:55:13,196
Speaker 1: ad free listening for four ninety nine a month. Look

896
00:55:13,196 --> 00:55:16,796
Speaker 1: for Pushkin Plus on Apple Podcasts, subscriptions, and if you'd

897
00:55:16,836 --> 00:55:19,276
Speaker 1: like the show, please remember to share, rate, and review

898
00:55:19,396 --> 00:55:22,276
Speaker 1: us on your podcast app. For Things Expect Any Beats,

899
00:55:22,596 --> 00:55:23,556
Speaker 1: I'm justin Richmond,