Speaker 1: Pushkin.
Speaker 2: Tunday at Abimpe is a creative powerhouse. He's a cartoonist,
Speaker 2: a painter, a director, a Hollywood actor, and for the
Speaker 2: past twenty years, he's been the lead singer of the
Speaker 2: band TV on the Radio. His latest offering, another of
Speaker 2: his many artistic pursuits, is a solo project called The
Speaker 2: Black Bolts. Tunday began writing these songs back in twenty nineteen,
Speaker 2: and after a stint composing music for the PBS kids
Speaker 2: show City Island with producer Wilder Zobie, the two decided
Speaker 2: to set their sights on Tunday's growing collection of solo songs.
Speaker 2: Bul Chu, Leo Bunten and Joah Fittlandis of TV on
Speaker 2: the Radio also contributed to the album, which sounds every
Speaker 2: bit as fresh and thrilling as Tunday's past work. On
Speaker 2: today's episode, Lea Rose talks to Tunday out A Bempe
Speaker 2: about how stain steeped in creative projects keeps him sane.
Speaker 2: He also recalls his day's work and as a stop
Speaker 2: motion artists on MTV Celebrity Deathmatch, and why he thinks
Speaker 2: TV on the Radio isn't cool enough to be considered
Speaker 2: INDI sleas this is broken record, real musicians, real conversations.
Speaker 2: Here's Leah Rose's conversation with Tunday out of Bempe.
Speaker 3: So I have I have a theory about how you
Speaker 3: came to record to finally put out this solo album.
Speaker 3: So I saw that in the not so distant past
Speaker 3: you learned how to mix, how to master, how to produce,
Speaker 3: and you started sort of like messing around in ableton
Speaker 3: and you know, you had been in TV on the
Speaker 3: radio for over twenty years, So was was you learning
Speaker 3: how to technically use those tools? Was that what kind
Speaker 3: of like pushed you to do your own project?
Speaker 1: Not exactly. I think I went into that.
Speaker 4: I went to this, yeah, this place a friend taught
Speaker 4: at this school dub Spot, which I think has gone now,
Speaker 4: and did some you know, just just kind of getting
Speaker 4: my head around able to end mixing and mastering.
Speaker 1: And I think it was more so.
Speaker 4: I wouldn't have to wait for us all get together
Speaker 4: while I was making something as a band, and I
Speaker 4: could just be like send people stuff and be like
Speaker 4: here's a stronger basis for this and you can fuck
Speaker 4: around with it or do whatever. But I will also
Speaker 4: say that one of the things that experience taught me of,
Speaker 4: at least as far as the mixing and mastering end
Speaker 4: of it, is that like, I absolutely am not the
Speaker 4: person who should be doing that with any of my
Speaker 4: own stuff. I can do it, but it's it would
Speaker 4: take me. There are things that you know, I'm working
Speaker 4: with Wilder right now.
Speaker 1: Who is just.
Speaker 4: He is however he would put it, I'm telling you
Speaker 4: that he's he's He's a person who's fluent, you know,
Speaker 4: doing that. And I'm a person who, like, if I
Speaker 4: am pushed to, I will sit there and do it myself.
Speaker 4: But it is not it's not that end of it
Speaker 4: is not like I'm more a person who's making tons
Speaker 4: and tons and tons of voice notes and then taking
Speaker 4: those and making demos from them and right and then
Speaker 4: kind of like sitting with someone and fleshing things out
Speaker 4: and leading, you know.
Speaker 1: Like I feel like the it's it's a skill to
Speaker 1: to tag in the right people.
Speaker 4: Forever, yeah, and just be like you were great at that,
Speaker 4: You're great at that, You're great at that, and I
Speaker 4: want you to do that, you know, in conjunction with
Speaker 4: this with.
Speaker 1: This p.
Speaker 3: Yeah, yeah, yeah, So how did you meet Wilder? What
Speaker 3: have you known him for a while or how did
Speaker 3: that relationship?
Speaker 4: Yeah, and then Wilderford for a really really long time.
Speaker 4: I think we probably met like nineteen ninety eight or something.
Speaker 4: I just had a lot of mutual friends and just
Speaker 4: bands playing around in New York like Brooklyn on the
Speaker 4: Lower East Side, but have just been like, you know,
Speaker 4: really been friends forever and it never worked together. And
Speaker 4: he you know, he does a lot of work with
Speaker 4: Run the Jewels and other projects, and actually got a
Speaker 4: gig doing a soundtrack for a kids show on PBS
Speaker 4: called City Island. One of my my degenerate animator friends
Speaker 4: from MTV as we all grew up is now just
Speaker 4: an incredibly h generous and peaceful and wonderful person who
Speaker 4: wants to put good things into the end of the
Speaker 4: world and made an awesome kids show to soundtrack it.
Speaker 4: And so I kind of I called Wilder to kind
Speaker 4: of like you know, the split the there's a lot
Speaker 4: of a lot of music, and just said, would you
Speaker 4: want to like work on this.
Speaker 1: Thing with me?
Speaker 4: And we started doing that just as as a gig,
Speaker 4: and just kind of halfway through it, i'd been you know,
Speaker 4: I put these demos that I've been working on for
Speaker 4: my own thing of these songs that I thought could
Speaker 4: turn into something else aside, and I started thinking about
Speaker 4: them again and I just let him know. I was
Speaker 4: just like, if you want to tribe something on some
Speaker 4: of these, please be my guest, and you know, just
Speaker 4: like another thing to do. And he worked on two
Speaker 4: songs and sent them to me, just like even in
Speaker 4: the most like skeletal form, and I basically was like,
Speaker 4: if if we can do this entire record ourselves together
Speaker 4: right here, because it was funny because we developed this
Speaker 4: working relationship. This is kind of nine to five get
Speaker 4: we gotta get these notes in, like we got to
Speaker 4: do all this stuff for PBS kids. Yeah, so then
Speaker 4: it was a pretty natural jump to just working on
Speaker 4: these songs together kind of with the same attitude. The
Speaker 4: funny thing of working for a show or SOUNDTRACKINGCAU someone's like,
Speaker 4: you know, someone will call you about something you spend
Speaker 4: two days working on. Just be like this is great,
Speaker 4: except all of it's wrong and you have to have
Speaker 4: to change everything, and you just realize very quickly that
Speaker 4: you can't get attached to anything. You just have to
Speaker 4: It's hard, but again, it's also kind of freeing in
Speaker 4: a way because you're it's this thing of like as
Speaker 4: long as it sounds right in the end. The there's
Speaker 4: a lot of hold up I find, either recording with
Speaker 4: the band or just other projects, there can be a
Speaker 4: lot of pausing going like ah, I'm not sure about this,
Speaker 4: Like you know, it's not even before something's done. There
Speaker 4: can be a lot of hesitation and I feel.
Speaker 5: So that's definitive feedback.
Speaker 1: Yes, definitive feedback.
Speaker 4: And it's also sort of like I know that this
Speaker 4: can go a million different ways and none of them
Speaker 4: are wrong and none of them are right. It's just
Speaker 4: kind of like, you know, do something, does it feel okay?
Speaker 4: Not sure about it? Step away for a bit. But
Speaker 4: also we had a while working on the record, we
Speaker 4: had a code for going back in and working on
Speaker 4: something or leaving it alone, and it was the code
Speaker 4: was is this dry paint or is this wet paint?
Speaker 4: And there were it's great to have someone to bounce
Speaker 4: something off of where you're like, no, I really want
Speaker 4: to go back and fix that, and they're sort of like,
Speaker 4: I think it's dry paint. And then you got to
Speaker 4: walk around for a second and just come back and
Speaker 4: be like, actually you're right, I don't need to mess
Speaker 4: with that. And it's fine that I feel a little
Speaker 4: uncomfortable about it, because we'll see that's the whole part
Speaker 4: of putting something out too, is like that's it's for
Speaker 4: It's a circuit for someone else to complete in a
Speaker 4: lot of ways. Yeah, right, Like this is this all
Speaker 4: these spots on the record that I'm not sure about.
Speaker 4: First off, no one's ever going.
Speaker 5: To know, no one, Yeah no.
Speaker 3: And also, like when you're talking about engineering, like I
Speaker 3: wonder if I'm sort of fascinated by engineering because I
Speaker 3: don't think I have the tools to really distinguish, you know,
Speaker 3: like if something you know, people listen to albums like
Speaker 3: oh this is mixed so well, and I'm like, oh yeah,
Speaker 3: Like I wonder if if you were to just mix
Speaker 3: the album, like would it sound wildly different? But now
Speaker 3: you know, because you sort of have you've seen the
Speaker 3: back end.
Speaker 1: Sure.
Speaker 4: I mean, if I were first off, it was if
Speaker 4: it was just going to be me mixing it, it
Speaker 4: wouldn't be done by no, it would just be it
Speaker 4: just would not and it wouldn't be good. I'm just
Speaker 4: I'm safely I can safely say.
Speaker 5: I'm not like it would be muddy, or.
Speaker 4: It would be muddy, and it would be I would
Speaker 4: scrap a lot of things out of frustration that someone
Speaker 4: who just that wilder would be like, no, just do
Speaker 4: this and this and this and keep working on it
Speaker 4: and it's done.
Speaker 1: Yeah.
Speaker 4: Yeah. So I think most of the stuff that I
Speaker 4: was uncertain about on the record between the two of
Speaker 4: us would be more kind of aesthetic choices. Yes's sort
Speaker 4: of like, I don't know if this.
Speaker 1: With me.
Speaker 4: Sometimes it would be lyrics and I would just say, like,
Speaker 4: I like, I'm eighty percent on these lyrics, thinking like
Speaker 4: this all lands really well for me and makes some
Speaker 4: kind of sense because you know, you say with something
Speaker 4: forever and you're sort of like, are these words anymore?
Speaker 5: Oh totally.
Speaker 4: But it's but again, it's like there's some things where
Speaker 4: you're sort of I feel like with TV on the radio,
Speaker 4: I would sit there for a very long time and
Speaker 4: to obsess over certain things lyrically, just because it's there
Speaker 4: was a there was something I don't know that was
Speaker 4: that was a mode of being in all of that,
Speaker 4: Whereas with this, I feel like I didn't obsess a
Speaker 4: lot about things, and if I felt myself going in
Speaker 4: to do that because ultimately it also doesn't really matter
Speaker 4: that much at.
Speaker 1: The Yeah, exactly, it's me here. Yeah.
Speaker 4: And also I feel like with TV on the radio,
Speaker 4: it was sort of after a point you realize you're
Speaker 4: writing something that you're gonna have to sing literally hundreds
Speaker 4: of times, and so kind of like which is a
Speaker 4: bad way for me. I would say that's a bad
Speaker 4: way to think about writing anything, you know, like anticipating
Speaker 4: the torture of like saying this stuff that you thought
Speaker 4: was stupid before you recorded it, and now you're like, now
Speaker 4: it's stupid in public and it's great.
Speaker 5: Yeah.
Speaker 3: Well, is there anything any songs that now when you're
Speaker 3: performing them hundreds of times that you're like, oh, I
Speaker 3: wish that I would have changed that.
Speaker 1: There are two answers, and both of them are no.
Speaker 4: The first first, the first part of it is I
Speaker 4: think I've been and it's worked out.
Speaker 1: I don't we don't play those songs.
Speaker 5: Oh good call, you just don't.
Speaker 4: Play and there but there are a couple of songs
Speaker 4: where just on stage, if I had a lyric that
Speaker 4: I thought was better that I never recorded, I'll just
Speaker 4: sing that one.
Speaker 1: Oh it doesn't matter.
Speaker 5: Great, Yeah, feel those are two brilliant fixes.
Speaker 4: Yeah, don't do it or bend reality.
Speaker 3: Yes, I wanted to ask you about the title the
Speaker 3: Black Bolts.
Speaker 5: How did you come upon that?
Speaker 4: I came upon it just it just came out of
Speaker 4: a lot of free writing. I'll just write, like just
Speaker 4: to shake the shake the garbage can or the brain
Speaker 4: out in the morning, just free write whatever and look
Speaker 4: at it a few weeks later and think, are these lyrics?
Speaker 1: Is this nothing? Am I crazy? Whatever?
Speaker 4: And that was in there and the essentially it's the
Speaker 4: idea of a point of illumination in some heavy darkness,
Speaker 4: and the idea of lightning actually realized, like a lot
Speaker 4: of the songs ended up having this this mentioned of
Speaker 4: lightning or theme of lightning, and started to feel like
Speaker 4: the Black Bolts are. There is a spark of inspiration
Speaker 4: that can come in the middle of a very heavy
Speaker 4: time or a depression or events that kind of seemed
Speaker 4: to you know, obscure, obscure the good things from from
Speaker 4: your sight, but you know the whole You know, thunderclouds
Speaker 4: can generate bolt of electricity that illuminates the whole landscape
Speaker 4: and for at least for a second, you can see,
Speaker 4: like the beauty and it the tragedy in it, you know,
Speaker 4: all aspects of it, and maybe maybe feel better about
Speaker 4: the you know, and actually appreciate that that darkness of
Speaker 4: it too.
Speaker 3: Yeah, it made me think it's very evocative, the title,
Speaker 3: and it made me think that maybe you're making a
Speaker 3: metal album.
Speaker 1: I would. I mean, that's the other part of it.
Speaker 4: As I was kind of finishing it up, I was like,
Speaker 4: this is a very good name for a metal band. Yeah,
Speaker 4: and maybe I'm a metal band.
Speaker 1: Now. Maybe that's fat to do, but yeah, now I
Speaker 1: feel like it's.
Speaker 4: A it's a good It definitely works, and it stuck
Speaker 4: as something that was like a good Like I think
Speaker 4: I before I even started putting songs in order or
Speaker 4: knew that I was making a record, I kind of
Speaker 4: had that as the a guiding a guiding theme and
Speaker 4: guiding set away.
Speaker 2: Yeah.
Speaker 5: Yeah, yeah, that's cool.
Speaker 3: What is the feeling in you when you realize like, oh, okay,
Speaker 3: I'm about to put out an album.
Speaker 5: Are you excited? Are you nervous? Are you a little bit?
Speaker 4: Like?
Speaker 5: Do you get self conscious.
Speaker 1: With this? I feel like.
Speaker 4: I was around it for so long because it just
Speaker 4: kind of got done and kind of and fits and starts.
Speaker 4: I've been working on it from the end of twenty
Speaker 4: nineteen until last spring. Wow, I feel like just you know,
Speaker 4: with a lot of interruptions, but I feel like that's
Speaker 4: kind of the timeline of all of those songs being created.
Speaker 4: So I right now, I just feel relieved that it's
Speaker 4: actually going to, you know, get away from me and
Speaker 4: out into the world. Can kind of see what that does.
Speaker 4: And I feel like again, another part of working on
Speaker 4: it for such a long time is that I'm not
Speaker 4: too attached or detached from any of the songs or
Speaker 4: the record. I just feel like it's a really it
Speaker 4: has the feeling of we made something that feels like
Speaker 4: a really good gift, and now it's time to give
Speaker 4: it away and it's up to.
Speaker 1: Whoever gets it.
Speaker 4: Whoever gets it physically or mentally or emotionally, it's for them. No.
Speaker 2: After quick break, we're back with more from Leo Rose's
Speaker 2: conversation with Tundai out of Binbai.
Speaker 3: There's a lot of life that happens between twenty nineteen
Speaker 3: and now. Oh totally was there like seasons in your life?
Speaker 3: Are things you were going through that are you know,
Speaker 3: whether it's like personally or professionally that showed up on
Speaker 3: this album for you.
Speaker 1: Oh, definitely the I mean, the biggest thing was.
Speaker 4: Basically I started writing these demos in twenty nineteen when
Speaker 4: TV on the Radio took a break, and then when
Speaker 4: I started to really get into it and decide like, Okay,
Speaker 4: I'm gonna maybe look around for some producers to collaborate
Speaker 4: with or some folks that collaborate with the pandemic hit
Speaker 4: and it was kind of like, I'm not looking around
Speaker 4: to do anything with anybody because everybody's freaked out and
Speaker 4: at home trying to figure things out. So that was
Speaker 4: kind of a rocky beginning to that. But during that time,
Speaker 4: you know, wrote a couple of songs and edging into
Speaker 4: the end of twenty twenty, had shopped some things around.
Speaker 4: Like nobody wanted to do anything because I think there
Speaker 4: was a lot of uncertainty, But there were a lot
Speaker 4: of labels who were kind of like, yeah, we're not
Speaker 4: really trying to get anybody on our label right now.
Speaker 4: We don't know what's going to I think it was
Speaker 4: the uncertainty about touring and how people would like make
Speaker 4: a return on their investment. But that was definitely a
Speaker 4: that was a humbling experience. It was like, oh right,
Speaker 4: it's not two thousand and eight. Nobody cares nobody, nobody
Speaker 4: cares about what I'm making and that's fine, which is fine,
Speaker 4: but you know, kind of got it together, put some
Speaker 4: more demos together, and thought about Subpop because they are
Speaker 4: one of the labels that made me deeply interested in music,
Speaker 4: and also.
Speaker 1: Just the really.
Speaker 4: Foundational feeling of you can you don't have to be
Speaker 4: of virtuo, so you can make whatever you want, just
Speaker 4: finish it. You know, it's kind of the the mode
Speaker 4: and you also you know, it's it's very expansive.
Speaker 1: Yeah, it was a lot of teenage teenage.
Speaker 4: Jet fuel from Subpop for me and Yeah, so we
Speaker 4: finally called them and they essentially said, it'd be so
Speaker 4: great to work with you. We wanted to work with
Speaker 4: you and the band forever, which was not a piece
Speaker 4: of information that made it to me until I was
Speaker 4: talking to them. I was just like, if you if
Speaker 4: I'd known that, like, you know, a long while ago,
Speaker 4: it probably would have happened. So they were really very
Speaker 4: down for it, and two weeks after I signed with
Speaker 4: them and they were, you know, into making the record.
Speaker 4: My sister, my younger sister passed away very very suddenly,
Speaker 4: like out of nowhere, and this is the person who,
Speaker 4: I will say, without any hesitation, was like easily the
Speaker 4: most important person to me in my life, you know,
Speaker 4: like sorry everyone, sorry, everybody else. Yeah, that's that's the
Speaker 4: that's the the case. Sorry, yeah, thank you.
Speaker 1: Yeah. It was heavy, you know, really a bizarre thing.
Speaker 4: She was not you know, was not ill, was not
Speaker 4: There was no lead up to it, so that, you know,
Speaker 4: going from I've got this record to make, I just signed,
Speaker 4: and like people are expecting something in a matter of
Speaker 4: months going to I don't want to do anything like
Speaker 4: at all. I have to actually stop doing almost anything
Speaker 4: and just kind of you know, like regroup and take
Speaker 4: some time, you know, to actually process a lot of that,
Speaker 4: because that was one of those things, you know, and
Speaker 4: during I think people had a lot of time to
Speaker 4: think in the thicker pandemic.
Speaker 1: Of just like what is my.
Speaker 4: Life still and think and have and they're they're also
Speaker 4: I think during that time there were a couple of
Speaker 4: other losses that I hadn't really processed that had happened
Speaker 4: in the last ten years, and I realized I hadn't
Speaker 4: really processed them because I was essentially in this band
Speaker 4: that was putting out a record and going on tour
Speaker 4: and putting out a record and going on tour, putting
Speaker 4: out a record and going on tour, and then pandemic
Speaker 4: hits and this big loss hits, and it's a lot
Speaker 4: of just kind of not I don't know if not
Speaker 4: running away is the right way to put it, but
Speaker 4: just suddenly having time and in that, you know, in
Speaker 4: the negative space of that time, all of this stuff
Speaker 4: comes rushing in and you have there's no opportunity for
Speaker 4: you to not think about it. So that was a
Speaker 4: big My sister passing was a big thing. But the
Speaker 4: other side of that is, you know, this person is
Speaker 4: such a humongous inspiration to me. The thing that they
Speaker 4: would want me to do, Yes, to keep going and
Speaker 4: and writing and do yeah, do the thing that like,
Speaker 4: you know, my sister also was a musician and and acted,
Speaker 4: and just do the thing that bonded over and keep going.
Speaker 4: And she would be like, don't you can't. You cannot
Speaker 4: fucking quit because then you would be a loser. She's like,
Speaker 4: and we are not losers.
Speaker 1: We don't.
Speaker 4: Our family doesn't do that. So there's this There is
Speaker 4: a song on the on the record that's dedicated to her.
Speaker 4: The record is dedicated to her and and to other
Speaker 4: family members.
Speaker 3: That which song is that I can see the track
Speaker 3: list on Spotify.
Speaker 5: It's all great out. We can't hear it, but we
Speaker 5: can see it.
Speaker 1: It's the song it's just called It's called il y
Speaker 1: just I love you.
Speaker 4: Oh yeah, yeah, very very simple note to her and
Speaker 4: to thank you to her.
Speaker 1: Yeah.
Speaker 5: So how has the grief evolved now that it's you've
Speaker 5: had a little bit of time, You know.
Speaker 4: If you've experienced it pretty significant loss, you know that
Speaker 4: it doesn't it just it gets better in some ways.
Speaker 4: But more than that, I think it just changes and
Speaker 4: it it sinks. It sinks into a place where it's
Speaker 4: on the level as on the same level as the
Speaker 4: positive memories of this person or the positive aspects of
Speaker 4: of your life. But I will say that making something
Speaker 4: that feels like you're you know, that's a tribute to
Speaker 4: these people that you love, or an offering to these people,
Speaker 4: to the spirits of these people that you that you
Speaker 4: love and lost, is it really? At least for me,
Speaker 4: is was very therapeutic. And I don't I don't think.
Speaker 4: I don't think art always has to be that at all,
Speaker 4: but in this case, for me, it definitely, it definitely was,
Speaker 4: you know, and it was something to do besides the
Speaker 4: any number of horrible things that you could be doing
Speaker 4: to yourself totally to avoid pain or grief.
Speaker 1: Yeah.
Speaker 3: Yeah, No, being constructive and continuing to work seems like
Speaker 3: it could have a big benefit.
Speaker 1: Yeah.
Speaker 2: Yeah.
Speaker 3: And it seems like you have like a really healthy
Speaker 3: work ethic, And it sounds like your sister did as well.
Speaker 4: She definitely more than me. But yeah, when I get
Speaker 4: around to it, I've got I've got a.
Speaker 1: Pretty health Yeah.
Speaker 5: Where do you think the drive comes from?
Speaker 1: I don't know.
Speaker 4: I feel like it's kind of like what else am
Speaker 4: I gonna do? There's a lot of it. And I
Speaker 4: think if you conditioned yourself to put your whether you
Speaker 4: know you're doing it or not.
Speaker 1: To put your.
Speaker 4: Messy feelings or bombastic feelings or basically any way, that
Speaker 4: you kind of can't be in this Like you can't
Speaker 4: run around screaming your head off about you know, how
Speaker 4: wronged you've been, you know, by someone, or how excited
Speaker 4: you are, or how you can revel in the nonsense
Speaker 4: of this world and events and people and feelings. But
Speaker 4: I think if you just through making art, if you
Speaker 4: kind of if that's your way of processing the world
Speaker 4: or making yes, that's your anchor in the world, is
Speaker 4: to be like at least I can write it down,
Speaker 4: or at least I can draw it, or at least
Speaker 4: I can get a few friends together and make a
Speaker 4: short film about it. Then all of it kind of
Speaker 4: makes sense. All of the shit that doesn't make sense,
Speaker 4: this is a place for it to make its own.
Speaker 1: Kind of sense.
Speaker 3: When you guys, So, when TV on the Radio first
Speaker 3: started making music together, how long did it take for
Speaker 3: you to sound like TV on the Radio?
Speaker 4: I feel like it's debatable because I I feel like
Speaker 4: there's so many different ways to sound like TV on
Speaker 4: the Radio and it kind.
Speaker 1: Of kept evolving.
Speaker 3: It did.
Speaker 1: Hopefully we'll keep evolving.
Speaker 4: But you know, the first thing that came out under
Speaker 4: the name TV on the Radio is pretty like probably
Speaker 4: a few months after Dave and I met Dave Sidek.
Speaker 4: When I met, we both had all these four track
Speaker 4: tapes just weirdo stuff that we'd made, and when that
Speaker 4: was kind of our point of like, you know, meeting
Speaker 4: and friendship is that we were both painters and both
Speaker 4: like made silly four track stuff or not so silly
Speaker 4: four track stuff. And that was a compilation of that
Speaker 4: four track stuff, which was all over the place and
Speaker 4: some songs that were a little more I guess, like
Speaker 4: quote unquote produced that we made together. And to me
Speaker 4: that sounded like TV on the radio. It's like, this
Speaker 4: can be recorded in a basement with like one mic,
Speaker 4: or it can be recorded in like a super cheap
Speaker 4: studio with you know, equipment present. And then and then
Speaker 4: with the Young Liar's EP, it got more real bandy yeah,
Speaker 4: and that to me is also like you know, that's
Speaker 4: to me, I guess would be the a solid a
Speaker 4: solid version of the first iteration of a TV on
Speaker 4: the radio sign and then desperate youth. Like we didn't
Speaker 4: know what we were doing, so it was kind of like, is.
Speaker 5: That why there's like two titles for the album?
Speaker 4: Well, yeah, yeah, it's that, And just like I feel
Speaker 4: like in a lot of ways, it was a step
Speaker 4: backwards because we didn't know what we were doing. Not
Speaker 4: in a bad way really, but just like kind of
Speaker 4: in a way of like, well what are we doing?
Speaker 4: Because we went from working occasionally on this thing that
Speaker 4: turned into an EP that might have been a longer record,
Speaker 4: except that someone heard it and wanted to put it
Speaker 4: out and then yeah, they're like, we're giving you a
Speaker 4: record deal, so let's make the next thing right now,
Speaker 4: and we're sort of like, I don't know what that is.
Speaker 1: It's like, I don't know how to you know, Like.
Speaker 4: At least my my observation from it was there was
Speaker 4: a certain amount of new panic about what needed to
Speaker 4: happen and ideas about what it should be, and all.
Speaker 3: Of that was that like inner band conversations or from
Speaker 3: the outside.
Speaker 1: I think from both.
Speaker 4: Just what should this be now instead of just making
Speaker 4: it and saying that's what it is, you know, because
Speaker 4: what should this be? As a real waste of time, yeah,
Speaker 4: you don't know.
Speaker 1: But then after that.
Speaker 4: Cookie Mountain became that's when you know, we we we
Speaker 4: locked in. We locked ourselves in and we locked in,
Speaker 4: and then that turned into a new iteration of the sound.
Speaker 4: But I, you know, I guess I would I would
Speaker 4: probably say, like the first EP was pretty pretty locked
Speaker 4: down at least on on the recordings.
Speaker 5: Did you do you like it? The first EP?
Speaker 1: I really liked it?
Speaker 4: Yeah, which was no, it was and it's a real
Speaker 4: you know it marks a certain spot in time, just
Speaker 4: like emotionally and yeah, just feeling feeling wise, it's I
Speaker 4: actually haven't listened to I haven't listened to anything that
Speaker 4: we've done in its entirety, Like I'll listen to it
Speaker 4: when it's done being mixed and mastered probably I'll listen
Speaker 4: to everything the whole way through, but I haven't looked,
Speaker 4: so I haven't listened to Young Liars like since in
Speaker 4: its entirety since it came out, But.
Speaker 3: So why not just like throw it on one day?
Speaker 3: Like it's what's the why not listen to it?
Speaker 1: Because I feel like that you know that the touch
Speaker 1: was that.
Speaker 4: There's a Christopher Walking Home movie is it the Dead
Speaker 4: Zone where touches people and suddenly like flood of emotions
Speaker 4: and like you can see everything that's happened to them
Speaker 4: and will happen to them. It's kind of like that
Speaker 4: where it's like, oh, something like oh this is good,
Speaker 4: and then I'll like hear one thing and just be like, oh,
Speaker 4: what a terrible time that was where I did this
Speaker 4: and did that and all that.
Speaker 1: But it's less and less. But if I hear it
Speaker 1: when it's on, if it's on somewhere.
Speaker 4: Yeah, Like I'm never like, I'm very rarely am I
Speaker 4: cringing about it?
Speaker 5: Oh that's good.
Speaker 4: Yeah, But I like I like the fact that we,
Speaker 4: you know, we got it together and made this thing
Speaker 4: that didn't I know that people just like, you know,
Speaker 4: it's like, well, doesn't sound like anything else. And I
Speaker 4: was like, but that's the point, Like, no one should
Speaker 4: sound like anything else.
Speaker 5: It's so good.
Speaker 4: But it's it was also so good be able to make,
Speaker 4: you know, get it together with your friends and make
Speaker 4: something that sounded like good and fresh and new to
Speaker 4: and honest, you know.
Speaker 5: To you and you knew it was fresh and new
Speaker 5: when you were making it. Did you have perspective?
Speaker 1: Will? The perspective was kind of.
Speaker 4: And it was weird because it was I think the
Speaker 4: perspective was it was very shortly after September eleventh that
Speaker 4: we started making that would ended up being that EP,
Speaker 4: And I think the deal was this is the this
Speaker 4: is the most important thing to us right now, is
Speaker 4: that we can we can create this reality that we
Speaker 4: can swim in and live in and like energize ourselves with.
Speaker 4: So it was a you know, for as much of
Speaker 4: a whatever that whatever mood that that EP puts people in.
Speaker 4: It was definitely it was an odd kind of pick
Speaker 4: me up for all of us to work This is
Speaker 4: you know, this is something something we have control over
Speaker 4: and it's also something that like we can do anything with.
Speaker 4: So that was a real that's that's that feeling was
Speaker 4: inspiring working on.
Speaker 5: Oh, totally. Yeah, empowering.
Speaker 3: Yeah, that's a similar to what you were saying about
Speaker 3: the grief with your new album is having sort of
Speaker 3: some you know, like a creative life raft at the time,
Speaker 3: something to focus on and something to pour you know,
Speaker 3: pour yourself into and.
Speaker 5: Process emotion through.
Speaker 1: Absolutely.
Speaker 3: Yeah, that's awesome. That's a great thing, great thing to have.
Speaker 3: I saw when I was just like getting ready for
Speaker 3: this interview, I saw that Spotify, you know, Spotify makes
Speaker 3: different playlists and they have a cover image for the playlists,
Speaker 3: and I saw that TV on the Radio is the
Speaker 3: cover image for the Indie Sleeves playlist. Really, yes, right now?
Speaker 3: What does that make sure it's your new it's a
Speaker 3: new promo picture.
Speaker 1: Yeah, it's Is it a black and white picture?
Speaker 5: Might be.
Speaker 1: That's where the we're the delegates from Indie Sleeves.
Speaker 3: Yes, So I'm wondering now that, like, you know, I
Speaker 3: don't know if you saw that yacht.
Speaker 5: Rock documentary, No, I want to.
Speaker 3: It's really great, but it turns out a lot of
Speaker 3: people who were considered yacht rock, which is a term
Speaker 3: that was made up by like a online comedy group,
Speaker 3: a lot of the people who are in that category,
Speaker 3: that that genre, you know, don't like that, don't like
Speaker 3: that classification. So I'm wondering for you now, sitting where
Speaker 3: you're sitting, like, how does how does Indi Sleis sit
Speaker 3: in twenty twenty five?
Speaker 5: And was it even real? Is it a thing?
Speaker 1: I don't know. I don't Yeah, I don't know.
Speaker 4: I uh, It's really it's interesting to me because I
Speaker 4: think when you're in something, it's also very odd because
Speaker 4: you like, I'll never have the bird's eye view of
Speaker 4: someone who, like, twenty years later can look at whatever
Speaker 4: set of images, whatever set of songs or records or
Speaker 4: you know, the first person accounts or rock critic reviews, like,
Speaker 4: I'll never have that overview. It kind of just my
Speaker 4: overview is I started making stuff with my friends, and
Speaker 4: we went to see other friends who made stuff with
Speaker 4: their friends.
Speaker 1: Yeah, and we all.
Speaker 4: And no one had a cell phone there wasn't any internet.
Speaker 4: We got to we got to kind of we had
Speaker 4: really cheap rent and got to make things. Yeah, but
Speaker 4: I personally don't feel like our band was cool enough
Speaker 4: to be part of the indie sleeves.
Speaker 1: See. I just don't. I don't. I didn't see it.
Speaker 4: But there's also one of those things where people talk
Speaker 4: about Electroclash, and I feel like the Electroclash movement was
Speaker 4: like five weekends at this bar called Luxe and then
Speaker 4: it was that was it.
Speaker 1: It was over, you know, but it was.
Speaker 4: This holding just like Electroclash, like you know, blew through
Speaker 4: Blue through New York.
Speaker 1: It was this huge movement.
Speaker 4: I was like, at least Williamsburgers.
Speaker 1: Yeah.
Speaker 4: So I don't know, it is it's it's funny, it is.
Speaker 4: It's funny to me to see that that's a thing
Speaker 4: because it makes me think about it makes me think
Speaker 4: about Seattle and Grudge and or.
Speaker 5: Even like the Summer of Love.
Speaker 3: You know, that was also a pretty short period that
Speaker 3: is like, oh my gosh, we're still talking about it.
Speaker 1: And we're still talking about it, and I don't.
Speaker 4: I mean, and I'm sure like if you talk to
Speaker 4: someone from when that was happening. They can give you
Speaker 4: a list of you know, you felt like something was
Speaker 4: going on, but it's also the I feel like with
Speaker 4: us and our and I'm you know, I guess like
Speaker 4: speaking from myself, but the feeling that all of that
Speaker 4: stuff was active and alive and fleet and not something
Speaker 4: that like like we're making the stuff that we're gonna
Speaker 4: preserve in a glass case and it's gonna stand the
Speaker 4: test of time. Like I feel like it was very
Speaker 4: much this is immediate moment to moment.
Speaker 2: After one last quick break, we're back with the rest
Speaker 2: of Leo Rose's conversation with Tunday out of Bemba.
Speaker 3: I'm sure you you are aware of this, but Wolf,
Speaker 3: like me, was playing at the Super Bowl.
Speaker 4: Yeah, now, I heard a friend told me that too,
Speaker 4: which is was it in a It's It's weird. It's
Speaker 4: one of those things where you'll get an email like
Speaker 4: like three or four years ago or something saying just
Speaker 4: like we're going to use this for a commercial for
Speaker 4: fifteen seconds or whatever, and you're like, okay, that's that,
Speaker 4: and then you'd have no idea where it shows up.
Speaker 5: Is that like a nice check though? Like is that
Speaker 5: a good thing?
Speaker 4: Yeah?
Speaker 1: I mean, I don't know how many times they played it.
Speaker 3: I think I saw so I looked it up on
Speaker 3: Reddit and apparently, I guess Fox NFL plays it in
Speaker 3: their broadcasts.
Speaker 1: Okay, I mean, is it a nice check? I don't know.
Speaker 1: I guess we'll see, but I it's a check.
Speaker 5: Yeah, yeah, yeah, that's nice.
Speaker 4: It's a check. It's also like, I don't know, I
Speaker 4: got laundry lists, I got subscriptions and issues with all
Speaker 4: of that stuff. But I'm glad people are hearing the song.
Speaker 4: The vessel isn't always awesome.
Speaker 5: Yeah, yeah, yeah, totally, but.
Speaker 1: I'm glad people are hearing the song. Yeah.
Speaker 3: Did you have an expectation, because I know, growing up
Speaker 3: you've always been into art, You've always drawn. Did you
Speaker 3: have an expectation at any point to make money or
Speaker 3: was it like a total surprise.
Speaker 4: I think I've always well, I was in an expectation
Speaker 4: to have a job. Yeah, to turn it like where
Speaker 4: I knew. It's like, this isn't a It's not a
Speaker 4: hobby for me, like for better or or worse, because
Speaker 4: I'm incapable of doing anything else, you know, like well
Speaker 4: or just this is what I've been doing and what
Speaker 4: I want to do. But you know, you have examples
Speaker 4: that like when I the first thing I thought I
Speaker 4: was going to do was make comics, like make underground
Speaker 4: comics or you know, at first I think it was
Speaker 4: much younger. I was like, I'm going to do a
Speaker 4: comic strip like Helvin Hobbs.
Speaker 5: Yeah.
Speaker 4: Of course, like telling my dad that, who's like an
Speaker 4: immigrant from Nigeria who grew up in a village and
Speaker 4: worked his way up to being like, you know, a
Speaker 4: medical director and a hospital somewhere. He's like, well, how
Speaker 4: are you going to make money? Yeah, And I said,
Speaker 4: I don't know, I don't know. Do people make money
Speaker 4: doing that? He said, of course, And then he would,
Speaker 4: you know, actually be like here's the just there's actually
Speaker 4: a book in the library that shows what commercial artists make,
Speaker 4: and here's what a comic strip artist makes, poor strip.
Speaker 4: Here's who you write to to get all this stuff.
Speaker 4: And so there was always this idea of just like,
Speaker 4: there's a way to make Yeah, this thing I want
Speaker 4: to do, like I would, I will have to hustle
Speaker 4: and make money doing it. But I also never like
Speaker 4: and I Bill, you know, was never There's never any
Speaker 4: part of me that was like I'm going to do
Speaker 4: this thing and I'm going to make.
Speaker 1: So much money.
Speaker 4: Yeah, so much money. And that's exactly why I'm going
Speaker 4: to do it, because I'm going to make so much
Speaker 4: you know, it's like never it's there's people that I
Speaker 4: looked up to who you know, like I said, these
Speaker 4: underground comic artists or even like superhero comic artists where
Speaker 4: it's just like I make a hundred bucks a page
Speaker 4: and I turn in thirty pages and I'm like that,
Speaker 4: you know, and you're like fifteen, and you're like that
Speaker 4: sounds great.
Speaker 1: You'll realize it's.
Speaker 4: Like literally backbreaking work to sit there like a table
Speaker 4: for like forever to do that. But you know, there's
Speaker 4: always some idea of like I have to turn this
Speaker 4: into a job however I can, like I have to
Speaker 4: support myself doing this thing. And the idea that like
Speaker 4: you also don't like thinking like about make any kind
Speaker 4: of being an artist is there's no you don't really retire. Yeah,
Speaker 4: Like I don't think there's not a point where I'm
Speaker 4: going to be like, Okay, that's it. I did enough
Speaker 4: and now I'm going to, like ye sit on the
Speaker 4: dock of the bay wasting.
Speaker 5: Time, go to Margaritaville.
Speaker 1: To watch a million a million sunsets. Yeah no, but
Speaker 1: but it's.
Speaker 4: The there's there's definitely always a part where it's sort
Speaker 4: of like, I want to be doing this creative work.
Speaker 4: I want to have this mode of processing, you know,
Speaker 4: being alive in events and feelings, and I'd like to
Speaker 4: be able to support myself doing that. And if I'm
Speaker 4: not able to directly support myself doing this creative work,
Speaker 4: I'm going to hustle and find something else to support
Speaker 4: that creative work.
Speaker 5: Yep. How did you get a job at Celebrity Deathmatch?
Speaker 5: How did that happen? And what were you doing there?
Speaker 4: I was animating. I was making puppets beat the shit
Speaker 4: out of each other for a few years. Yeah, making,
Speaker 4: That's what I was doing at Deathmatch. And I got
Speaker 4: the job because I was at the school in New
Speaker 4: York as at NYU, and I went there for live
Speaker 4: action directing, and within two years realized that I was
Speaker 4: really not it was not a good director because I
Speaker 4: didn't feel comfortable telling people what to do.
Speaker 5: Yeah.
Speaker 1: I would just be like, here's a scenario, just just
Speaker 1: like do what you want? Yeah, do you want?
Speaker 4: And I'll just you know, we'll film it and we'll
Speaker 4: edit it, and it'll be what it's it'll be what
Speaker 4: it's going to be. You know, everyone's like in their
Speaker 4: like teens and early twenties and like no one's listening
Speaker 4: to each other. And I was kind of like, I
Speaker 4: don't want it's just it was it wasn't for me.
Speaker 4: And since I you know, like drawing and animating, I
Speaker 4: ended up going into stop motion like yeah, my junior,
Speaker 4: and uh really like loving it, you know, like I
Speaker 4: think I saw the Nightment before Christmas.
Speaker 1: It was kind of just like, oh, yeah, like that,
Speaker 1: that's what I want to do. That's that that looks great.
Speaker 4: And so like I ended up, like my my short
Speaker 4: film ended up winning an award at the end of
Speaker 4: the year, and everyone else was, you know, at that time,
Speaker 4: doing really kind of early computer animation as they were graduating,
Speaker 4: and they're.
Speaker 1: Like, why are you Why are you using puppets.
Speaker 4: You're gonna be broke, You're gonna have to live in
Speaker 4: like a basement and Czechoslovakia to like nake, you know,
Speaker 4: sort of noone cares about that shit here. And I
Speaker 4: was like, yeah, but I care about it, and I
Speaker 4: can learn computers later if I know how to do this,
Speaker 4: then that'll be fine. And then we all got out
Speaker 4: of school. I was I was asked to leave school
Speaker 4: because to do my senior project, I stopped going to classes.
Speaker 4: It was a whole whole issue, the whole stupid thing.
Speaker 4: But it got done. I got out.
Speaker 1: MTV was doing they.
Speaker 4: Were just looking for animators for this new new show
Speaker 4: that was based on this short that one of the
Speaker 4: directors and artists over at MTV Animation made, this guy,
Speaker 4: Eric Fogel. So yeah, I sent my tape in and
Speaker 4: like went in and you know, they said, can you
Speaker 4: come in and talk? And I remember I went in
Speaker 4: and we didn't talk about animation at all. He just
Speaker 4: said all these weird ass toys in his office. And
Speaker 4: I was like, oh, you look, are you like this?
Speaker 4: And and I left and I got a call, like,
Speaker 4: you know, like two days later that I was hired.
Speaker 1: So it was one of the first eighteen animators on
Speaker 1: that show.
Speaker 5: Wow, that's so cool.
Speaker 1: It was good.
Speaker 4: It was like a good boot camp for stop motion
Speaker 4: and because you know, you're doing it five days a
Speaker 4: week for like, you know, eight hours a day, and
Speaker 4: you're sort of like, oh, I'm now I'm making stuff
Speaker 4: that people are going to be watching on TV. And
Speaker 4: if you you know me even saying that, if you
Speaker 4: go back and look at those early episodes, like they're.
Speaker 5: Not good, they're not no like technically or.
Speaker 1: They're yeah, technically now they're Punces in the mill are good.
Speaker 1: And that was the thing.
Speaker 4: It was like the sliding scale of people who had
Speaker 4: like just got out of school and people doing stop
Speaker 4: motion for you know, twenty years.
Speaker 1: It's so specialized.
Speaker 3: Yeah, were you in TV on the radio then? Like
Speaker 3: was were you just starting to play then? Or was
Speaker 3: that did those overlap at all?
Speaker 4: No? I started making four track stuff kind of more
Speaker 4: in earnest around, like while I was working at Deathmatch,
Speaker 4: pretty much as an antidote to the how tedious that Yeah,
Speaker 4: that was yeah to be you know, like the whole
Speaker 4: thing of like I mean, you know, like animation person
Speaker 4: will tell your stop motion, especially where it's like you
Speaker 4: work it eight hours a day for four days in
Speaker 4: a row and at the end of it you've got
Speaker 4: the three seconds of animation, you know, or something like that.
Speaker 4: So having a four track at home was just a
Speaker 4: good way to you know, and withdrawing and painting too,
Speaker 4: it's just like you're taking it's just taking a while.
Speaker 4: So having a four track at home and a little
Speaker 4: like piano and loop pedals to mess around with. At
Speaker 4: the end of your two hours, you have a bunch
Speaker 4: of stuff on a tape that you can play back
Speaker 4: and you can mess with. So that was I would
Speaker 4: say that music was like it was a way to
Speaker 4: get a quicker result than animation.
Speaker 3: Yeah, I'm curious if the way that you work out
Speaker 3: musical ideas has that changed from when you first started
Speaker 3: working with four tracks to now? Is do you sort
Speaker 3: of approach it in the same way or has your
Speaker 3: process changed now that you have more experience.
Speaker 4: It's totally the same. It's completely the same. I'll either
Speaker 4: here here a melody, I'll beatbox something into a voice
Speaker 4: note sor sing into a voice note and then if
Speaker 4: I'm going to, you know, at the time, take it
Speaker 4: to a four track. It's kind of just it's it's
Speaker 4: really the same of making a just a vocal sketch
Speaker 4: of something and then layer fleshing it out with you know,
Speaker 4: just instrumentation or you know, any kind of sound. I
Speaker 4: would say, actually, yeah, it's come back around to being
Speaker 4: closer to what it was when I started making four
Speaker 4: track stuff. I feel like just over the years making
Speaker 4: stuff with the band, my thinking about writing started to
Speaker 4: include and leave space for you know, like I would
Speaker 4: have a part of a song where I'd be like,
Speaker 4: I don't I don't really know what to do over there,
Speaker 4: but I know that Kip is going to have twelve
Speaker 4: ideas for that and that's going to be a great
Speaker 4: I want to hear what he wants to do there
Speaker 4: and or Jaliel can do something here, or I know
Speaker 4: Dave is going to have a billion ideas for this.
Speaker 4: So I think the like, now it's gone just for
Speaker 4: this stretch of you know, my record and just how
Speaker 4: I'm writing now without without the guys, It's gone back to,
Speaker 4: you know, the way it was before, or where I
Speaker 4: was like I at least have to make I got
Speaker 4: to make a more detailed sketch, you know, and it's
Speaker 4: all me, you know, it's all yeah, for better or
Speaker 4: for worse, Like the good and bad decisions are all
Speaker 4: are all mine?
Speaker 3: Are there any decisions that made it to this album
Speaker 3: that you presented to TV on the radio that got
Speaker 3: shot down? And now you're like, Okay, I finally get
Speaker 3: to do that idea.
Speaker 4: There were songs that just didn't get not not shut down.
Speaker 4: But there's sometimes where you know, like when we did
Speaker 4: get together record, there would be a lot of songs,
Speaker 4: like a lot of a lot of starts. I feel
Speaker 4: like the I feel like seeds and nine types of Light.
Speaker 4: You know, we after a few rounds of eliminating what
Speaker 4: people liked and what we thought was going to make
Speaker 4: it on to the record, Like, there would just be
Speaker 4: points where we everyone would make their choices and we'd
Speaker 4: have thirty songs left and just like we got to
Speaker 4: like get that to ten, you know, and get rid
Speaker 4: of that.
Speaker 5: So there are of that seems like a great problem
Speaker 5: to have, though kind of yeah, like how do you know?
Speaker 4: Well, it's I think it becomes obvious because people just
Speaker 4: start gravitating to the ten or twelve songs that are
Speaker 4: going to make it onto the record, or you know,
Speaker 4: we'll have a meeting and just say I actually want
Speaker 4: to finish this, So can we put more time into
Speaker 4: this than if it's a lost cause? It's a lost cause,
Speaker 4: but like you know what, when you give it, give
Speaker 4: it a second.
Speaker 5: Very nice. Okay, one last question, I'm curious.
Speaker 3: I saw Twisters the other night, And I'm curious how
Speaker 3: your character very much surprised me because I had seen pictures,
Speaker 3: I'd seen still shots of you, and like the I
Speaker 3: thought you were going to be like an archaeologist, but
Speaker 3: you are sort of like the YouTube hill Billy and
Speaker 3: the YouTube Hillbilly Crew.
Speaker 5: Yeah exactly, the slash burning Man, Yeah.
Speaker 1: Exactly, the gigantic weather nerd.
Speaker 5: Yes. Yes, I love that.
Speaker 3: I guess now, like, how have the roles that are
Speaker 3: coming to you chain and how has your ambition with
Speaker 3: acting change now that you've been doing it for so long,
Speaker 3: And I guess as you get older, you must like
Speaker 3: the roles must be different.
Speaker 1: Yeah.
Speaker 4: Absolutely. I mean it's it's weird with me because I've
Speaker 4: done it. It's funny when things come up or you know,
Speaker 4: something will come out and someone will very just like,
Speaker 4: oh is this the first thing you've done. It's like,
Speaker 4: did you do a lot of acting? And I looked
Speaker 4: at it just recently and I was just like, yeah,
Speaker 4: I'm doing it for like, oh twenty years.
Speaker 1: Yeah, but you know, in.
Speaker 4: Kind of fits and starts because of bandwork and you know,
Speaker 4: and things.
Speaker 1: But I love, I love doing it, and I think
Speaker 1: generally I like anybody.
Speaker 4: I like the opportunity to kind of get into the
Speaker 4: head of somebody who's a little bit off kilter for me,
Speaker 4: like when something comes up and I don't know if
Speaker 4: the expression of that comes through in these characters, but
Speaker 4: it's it's always, it's never I feel like I'm thinking
Speaker 4: about it now. It's like, I don't really feel like
Speaker 4: I've been given like a lot of leeway to give
Speaker 4: my input.
Speaker 1: To these characters.
Speaker 5: And that's nice.
Speaker 4: Yeah, it's been really nice. No, I feel really lucky
Speaker 4: to have worked with the people I've worked with. Yeah,
Speaker 4: like with Twisters, like Isaac Chung who you know, who's
Speaker 4: the director? The character was like it was really there's
Speaker 4: no description of this character in the script.
Speaker 1: They're just like this is this person.
Speaker 4: So if we got to Oklahoma and I said town,
Speaker 4: I was just like, so what do you who do
Speaker 4: you think this guy is?
Speaker 1: And like what are you looking for? You know essentially,
Speaker 1: And he said.
Speaker 4: Was there anything that you've really, like ever just wanted
Speaker 4: to do in a you know, like in a role
Speaker 4: or a movie. And I was like, yeah, but also
Speaker 4: what do you want me to do? Yes, because that
Speaker 4: would be a good place to start. But he really
Speaker 4: was just like just you know, like take a second
Speaker 4: with it and like write down here you think this
Speaker 4: guy is. And I was like, he's a weather nerd,
Speaker 4: he's a metal head. He loves Lenny, that's why he cut.
Speaker 4: He has these lamb chops. He's got this weird mutton
Speaker 4: chop thing going on. He draws fantasy barbarian art for commissions.
Speaker 5: Yeah, that's awesome.
Speaker 3: It must be interesting too as an actor to go
Speaker 3: from playing like a love interest to now your cast
Speaker 3: as a father in this skeleton career doesn't know you know,
Speaker 3: it's like the world now sees you different totally.
Speaker 4: That is pretty interesting. There's definitely, uh, it's it's funny.
Speaker 4: I've definitely had a few moments with these, Like last
Speaker 4: couple of projects.
Speaker 1: Yeah, I was in I was in the first.
Speaker 4: Version of a show that got entirely scrapped and and
Speaker 4: remade and put out. I was not in the final version,
Speaker 4: but it was definitely a moment where I looked around
Speaker 4: and I was just like, oh.
Speaker 1: I'm like the second oldest person in the cast. Yeah,
Speaker 1: and it wasn't you know.
Speaker 4: And it was also like in Twisters a little bit,
Speaker 4: but Skeleton Crew.
Speaker 1: Like obviously because it's kids.
Speaker 4: But yeah, my daughter loves the show too's she finally
Speaker 4: respects me.
Speaker 5: Do you get recognized by kids?
Speaker 1: Yeah, they're kids at are schoold or yeah? Who are now?
Speaker 4: Yeah? Who? I seen the show and like this show?
Speaker 4: Which is that show was engineered? I feel Adam by
Speaker 4: Adam for kids their age. Yeah, every kid that age
Speaker 4: I know who's seen is just like which is great,
Speaker 4: which is so great, so fun to do.
Speaker 3: Awesome, Thank you so much, Tuned. I'm sorry for I
Speaker 3: know I took up a lot of your time, but
Speaker 3: it's so great.
Speaker 1: It's awesome talking to you, so.
Speaker 5: Great to connect with you. And yeah, have fun with
Speaker 5: the new album.
Speaker 1: Thanks Litely, is awesome to talk to you.
Speaker 5: Finally, you too.
Speaker 2: Thanks again to Tunday out of MPE for talking about
Speaker 2: his creative life and the making of his new solo project,
Speaker 2: The Black Bolts.
Speaker 1: You can hear a favorite.
Speaker 2: Tunda and TV on the radio songs on your playlist
Speaker 2: at Broken Record podcast dot com, and be sure to
Speaker 2: follow us on Instagram at the Broken Record Pod. You
Speaker 2: can follow us on Twitter at broken Record Broken Record
Speaker 2: is produced and edited by Leah Rose, with marketing help
Speaker 2: from Eric Sandler and Jordan McMillan. Our engineer is Ben Tolliday.
Speaker 2: Broken Record is a production of Pushkin Industries. If you
Speaker 2: love this show and others from Pushkin, consider subscribing to
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Speaker 2: And if you like this show, please remember to share, rate,
Speaker 2: and review us on your podcast app Our themes expect
Speaker 2: any beats.
Speaker 1: Justin Richmond, mm hmm,