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Speaker 1: Pushkin. These days, Saint Vincent is on a whole new level,

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Speaker 1: which is hard to believe, considering if, for being honest,

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Speaker 1: she's always been pretty damn in credible. But let's take

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Speaker 1: an account that not only are the reviews of her

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Speaker 1: current tour the World Tour rave reviews, but she's torn

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Speaker 1: behind the first album of hers that she ever produced,

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Speaker 1: all on her own. That's called All Born Screaming and

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Speaker 1: in a case of overachieving. She also just recently released

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Speaker 1: a Spanish language version of the album Totos nasen Gritando,

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Speaker 1: which in many ways doesn't serve to replace the English

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Speaker 1: language version, but supplements it brilliantly, providing a renewed listening experience.

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Speaker 1: Of all the Saint Vincent projects dating back to her

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Speaker 1: debut album in two thousand and seven, this is the

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Speaker 1: one that feels the most steeped in a singular vision,

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Speaker 1: like an offering from an a tour. But as Saint

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Speaker 1: Vincent tells you in today's episode, the production process behind

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Speaker 1: this album was far from easy and likely isn't one

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Speaker 1: she'd replicate again, or at least not on the next

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Speaker 1: project that she's already busy writing. We talk a bit

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Speaker 1: about what it was like to tour this album, a

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Speaker 1: tour which continues well into the new year, with some

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Speaker 1: dates featuring Olivia Rodrigo others Nick Cave and we talk

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Speaker 1: about how she developed her high level taste my words,

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Speaker 1: not hers, despite growing up in the middle of the

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Speaker 1: country pre internet. This is Broken Record liner notes for

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Speaker 1: the digital age. I'm justin Ritchman. Here's my conversation with

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Speaker 1: Saint Vincent from Amazon Music Studio one twenty six and

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Speaker 1: to see the full video version of this episode, visit

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Speaker 1: YouTube dot com slash Broken Record Podcast or click on

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Speaker 1: the link in the episode notes. I just saw the

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Speaker 1: Bob Dylan movie. Oh how is it? You know? I

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Speaker 1: had two thoughts while I was watching it, and we

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Speaker 1: wanted it was just great to hear the music. Yeah,

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Speaker 1: I thought the performances own biased performance, that that was

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Speaker 1: particularly incredible. But I thought the framing was a little

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Speaker 1: I don't know if in twenty twenty four, I'm so

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Speaker 1: excited by like the folk music acoustic versus electric.

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Speaker 2: Yeah, but it was good.

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Speaker 1: I was. I was happy to see it, and.

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Speaker 2: I think that that mythology about like people were so

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Speaker 2: mad that it was you know that that Dylan went electric.

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Speaker 2: I think that that mythology is similar to like the

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Speaker 2: Stravinsky right of string mythology.

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Speaker 1: I don't know, can you tell me that?

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Speaker 2: Well, so there was the the Stravinsky right of string mythology,

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Speaker 2: right of spring mythologies. His piece at in that he

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Speaker 2: debuted the writer of spring. The debut in Paris was

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Speaker 2: so so the music was so new that people revolted

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Speaker 2: in the case of the case, which was like, actually, no,

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Speaker 2: that was kind of it was kind of a typical

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Speaker 2: reaction because that was just popular music back.

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Speaker 1: Then, so people typically revolted. They didn't. Yeah, I mean

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Speaker 1: they were exciting.

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Speaker 2: People were extra, but they weren't like it wasn't necessarily

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Speaker 2: how the mythology is, they're like ecstatic, yes, but I

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Speaker 2: heard that the reason that people were so mad wasn't

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Speaker 2: that he went electric, was that the sound was so

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Speaker 2: bad and it was like feeding back and it was

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Speaker 2: sounded really bad.

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Speaker 1: They hint at that a bit in the movie. Likes

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Speaker 1: Pete Secrets, like the sound is there? Who it's Ed

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Speaker 1: Norton's Pete Secret. He does a pretty good shot too,

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Speaker 1: but he's like this, the sound is muddled, you know

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Speaker 1: what I'm saying. But the kind of the rest of

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Speaker 1: the film makes it kind of feel like this drawn

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Speaker 1: out tension between acoustic and electric, which is fine. I mean,

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Speaker 1: I guess that's the mythology, but it did feel like

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Speaker 1: I feel a little quaint and yeah, but but yeah,

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Speaker 1: I don't know, but but no. But my point was,

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Speaker 1: there was so much cigarette smoking that movie.

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Speaker 2: I really wanted to smoke, man, like I.

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Speaker 1: Would love to. I don't want to die, you know,

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Speaker 1: I'm scared of death, but I really want to smoke cigarettes.

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Speaker 1: And I don't know what to do about that.

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Speaker 2: I feel you there. I've recently rewatched this. I never smoked,

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Speaker 2: but I've recently rewatched the Sopranos, and you know, they're

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Speaker 2: just like drinking brown liquor at like noon. Yeah, and

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Speaker 2: you're really like, yeah, it seems like a good you know,

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Speaker 2: you really have Why not.

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Speaker 1: If you watch that's like your whole idea for the

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Speaker 1: whole day. You're like, oh my god, I want to

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Speaker 1: be an out.

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Speaker 2: That's what I wonder did. I mean, you have to

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Speaker 2: figure not the Sopranos, but the TCM and like the

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Speaker 2: Madmens of the world, like they were post war. Those

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Speaker 2: people had been through hell and so they're just like

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Speaker 2: fuck it. But you get like when you see, you know,

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Speaker 2: anybody in the fifties, just like drinking and smoking midday,

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Speaker 2: you're like, yeah, I get it.

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Speaker 1: Yeah, you went through hell yeah. But then somehow they're

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Speaker 1: all apparently going to live longer than us.

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Speaker 2: No, they aren't.

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Speaker 1: Wasn't that. This isn't just saying like the life expectancy

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Speaker 1: is dropping or something.

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Speaker 2: Oh, I've you mistake me for a person who's looked

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Speaker 2: for the news since November sixth, Okay, I haven't.

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Speaker 1: Okay, Well I'm gonna avoid the news as well. I

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Speaker 1: think that's my You know what, it's nice up here,

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Speaker 1: it is. It's the best protest that man only wants attention.

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Speaker 1: You know.

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Speaker 2: Yeah, I gave him. I gave him almost a decade

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Speaker 2: of my life. He doesn't get a single another moment.

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Speaker 1: That's great, that's great. Well, I want to talk about

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Speaker 1: both the English language version of All Born Screaming in Spanish,

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Speaker 1: but I get I think maybe we should start with

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Speaker 1: the English language versions, as it came out first. So

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Speaker 1: this is the this is the first album you produced

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Speaker 1: completely yourself. You also, I read called the production of

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Speaker 1: the album in Abbats across to Bear, and I don't know,

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Speaker 1: just want do you care to explain that anymore?

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Speaker 2: I mean, the production of the album was a lot

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Speaker 2: of It was a lot of me sitting in a

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Speaker 2: room right by myself because part of part of the

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Speaker 2: the beginning, the genesis of making of the record was

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Speaker 2: like I'm going to figure out new ways to create,

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Speaker 2: and I'm going to figure out new ways to create

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Speaker 2: using machines that I don't know how to use, so

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Speaker 2: like modular synthse and a lot of like random old

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Speaker 2: drum machines and just crusty stuff, right, And I'm going

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Speaker 2: to figure out how to be a better engineer and

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Speaker 2: producer at the same time, learning my studio, routing, patch base,

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Speaker 2: thinking about music I don't know, like a like a

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Speaker 2: Rubic's cube a little bit more. So I started with

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Speaker 2: that and I started with complexity. And so the process

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Speaker 2: a lot of times was doing these extended like instrumental

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Speaker 2: post industrial and instrum mental jams for hours and hours,

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Speaker 2: which was the totally easy.

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Speaker 1: Fun part kind of like Can style, Kroud Rocky Can.

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Speaker 2: Style, except like with drum machines, so Kroud Rocky uh industrial,

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Speaker 2: like you know, like making blowing up circuits and some

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Speaker 2: distortion and stuff like that, and then coming back through

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Speaker 2: those long ass jams and being like, Okay, this four

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Speaker 2: seconds or this four bar loop is like something I

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Speaker 2: want to build an entire world around. So that was

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Speaker 2: the process for like Sweetest Fruit, that was the process

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Speaker 2: for Broken Man, that was the process for Violent Times.

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Speaker 1: That's interest sweetest Fruit and Violent Times. Sweetest Fruit kind

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Speaker 1: of has a different groove than anything else. I feel

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Speaker 1: like I've heard from your songs.

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Speaker 2: It's a little bit reggaeton, little reggaetz, little like Nigerian pop.

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Speaker 1: Yeah it is. Did you like, did you program the

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Speaker 1: the drums that way or did they did it just

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Speaker 1: turn into that eventually?

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Speaker 2: Uh. The genesis of that song was the loop that

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Speaker 2: was like do do do do Do Do Do Do

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Speaker 2: Do Do Do Do Do Do do doo. That sounds

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Speaker 2: like a you know, a cracked out ferris wheel. So

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Speaker 2: it's like but but ooh, there's something in that that's

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Speaker 2: evocative to me, I'm gonna build a whole song around it.

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Speaker 2: So long story short is that I really did things

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Speaker 2: ass backwards. Usually people write songs and then they deconstruct them.

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Speaker 2: I like started with a bunch of lego pieces and

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Speaker 2: then cold songs from them, and that is cool, but

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Speaker 2: it also is I think more time consuming. There's a

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Speaker 2: reason people don't like write songs that way. There's a

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Speaker 2: reason why people said it a piano and feel their

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Speaker 2: feelings over four chords.

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Speaker 1: What do you think? What do you think that reason is?

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Speaker 2: Because it's way easy You're to like, have a song

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Speaker 2: and then take it apart, then to be like, there's

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Speaker 2: a soul somehow within these pieces, and I need to

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Speaker 2: find the soul and the story with all these disparate

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Speaker 2: pieces at the same time.

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Speaker 1: So that was like a maddening That was a maddening

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Speaker 1: proposition for you.

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Speaker 2: It was silly, Yeah, it was. It was the way

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Speaker 2: I did it, and I'm very glad about it, and

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Speaker 2: I didn't stop till it was complete. But like I said,

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Speaker 2: there's a reason why people go, no no, no, no

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Speaker 2: no no no no no no no no no, my

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Speaker 2: feelings are this and I feel that, and then they

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Speaker 2: can take.

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Speaker 1: It apart, right, all right? Is that And that's typically

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Speaker 1: how you've done it to this point too, Yeah, yeah,

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Speaker 1: more or less, more or less? Yeah, why did you

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Speaker 1: give yourself to charge this time to do it differently

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Speaker 1: than and to constrain yourself. I mean to say, this

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Speaker 1: is how it's all going to.

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Speaker 2: Because I feel like if you do things the same

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Speaker 2: way every time, you're going to get the same results.

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Speaker 2: And I wanted to get a different kind of result.

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Speaker 2: And what I like about machinery like modulars or various

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Speaker 2: kinds of synthesis is that, like, I don't know exactly

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Speaker 2: what's going to happen, and so I'm not relying on

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Speaker 2: muscle memory, I'm not relying on like things that I

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Speaker 2: already know. I'm relying on like instinct in the moment,

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Speaker 2: and that felt like something powerful enough to follow that

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Speaker 2: would eventually lead me to a song that would eventually

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Speaker 2: kind of lead me to a full vision. But it

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Speaker 2: was just a more like labor intensive way to do it.

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Speaker 1: And you don't know what to expect because it's not

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Speaker 1: an instrument that you've played your whole life and feel

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Speaker 1: comfortable with absolutely.

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Speaker 2: And to be fair, like with analog modulars and certain synths,

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Speaker 2: there's no even if you set the parameters exactly the

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Speaker 2: same way, like, it's still going to be a little

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Speaker 2: bit different because it's unique circuitry. So you're you're dealing

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Speaker 2: with real electricity, So everything had to start with with

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Speaker 2: like a liveness.

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Speaker 1: Got it? Yeah, I mean I guess, to speak candidly,

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Speaker 1: I like all of your albums, but this is my favorite.

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Speaker 1: And that was the kind of I was trying to

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Speaker 1: think about why. Just the feel of it. It felt

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Speaker 1: like there was a real spirit in it and a

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Speaker 1: liveness that wasn't necessarily present in everything that you've done.

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Speaker 1: Not that that I mean some some sometimes I don't.

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Speaker 1: I don't like that in these things. I'm not us

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Speaker 1: should call for that, But this one was just it

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Speaker 1: felt very much alive to me, you know, like there,

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Speaker 1: it was like it felt like you were. It felt

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Speaker 1: more like a documentary than like a big, big budget production.

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Speaker 1: And I guess is how I felt about it. I

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Speaker 1: don't know if that rings to to you.

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Speaker 2: Well, it's d I. Why, it's like high level.

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Speaker 1: D I Y always you know, all your all your stuff. Well,

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Speaker 1: I mean.

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Speaker 2: It's it's DIY with a certain level of like expertise

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Speaker 2: be it. First of all, thank you, I'm so glad,

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Speaker 2: But also I mean I think I made choices as

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Speaker 2: a producer to keep that alive, you know, whether it's

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Speaker 2: not recording guitars, direct putting a guitar through an amp,

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Speaker 2: putting it in a room, and recording the sound of

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Speaker 2: air moving through a speaker, there's something intrinsically more alive.

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Speaker 2: You are pushing air, right, whether it's there's no soft

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Speaker 2: sense on this. This is all. If something is played,

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Speaker 2: if an effect is played, it's a manual, it's a

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Speaker 2: manual tape delay, and it's performed. That you're getting a

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Speaker 2: performance of of a drum machine through a piece of

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Speaker 2: tape or a pedal, but it's performed, its tactile. So

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Speaker 2: there's that. And then I think also just the the

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Speaker 2: subject matter and a lot of the songs, it's like,

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Speaker 2: don't be cute, don't be clever. Life is short. We're

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Speaker 2: all gonna fucking die. Like, let's let's talk about it.

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Speaker 2: Let's let's walk through the fire together. Because where all

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Speaker 2: we got?

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Speaker 1: Yeah? Yeah, Lyrically, was there any thing you were pulling

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Speaker 1: from in particular, either reference material external to you or

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Speaker 1: internal to you?

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Speaker 2: I didn't really pull from anything external lyrically, and I

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Speaker 2: usually do you know, usually, well, it'll be chock full

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Speaker 2: of like references to my favorite writers or poets or whatever.

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Speaker 2: This go round, it was pretty it was it was

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Speaker 2: like a process of stripping back, you know, any anytime

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Speaker 2: I had an instinct to like, I don't know, be cute,

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Speaker 2: or like be clever, or or just like no, cut

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Speaker 2: it out, strip it to the bone. What's underneath that,

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Speaker 2: what's underneath that? What's underneath that? And same with the

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Speaker 2: performances as well. I mean I sing, oh, I sang

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Speaker 2: a lot of these songs a lot of times, and

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Speaker 2: I would liken it. I would kind of liken it

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Speaker 2: to like, I don't know. You hear about directors who

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Speaker 2: do a gazillion takes like David Fincher, Right, he does

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Speaker 2: like hundreds of takes until the actors are just like, oh, yeah,

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Speaker 2: take on and thirty exactly exactly right. Isn't a social network,

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Speaker 2: it's like whatever that seems to take one hundred and thirty.

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Speaker 2: And you're like, but I think if I was producing

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Speaker 2: someone else, that's not anything I would make them do.

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Speaker 2: But when it's myself, I go, no, you you were lying?

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Speaker 2: Just there sing it again.

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Speaker 1: That's interesting because I was going to ask, how do

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Speaker 1: you keep yourself accountable in that way? When you do

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Speaker 1: yourself but in a way you know, it's much easier

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Speaker 1: and yeah, it's east because you can ask more of

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Speaker 1: yourself if you're self critical enough or if you're if

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Speaker 1: you're honest enough and.

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Speaker 2: Too I mean, you know, it's a fine balance.

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Speaker 1: Right.

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Speaker 2: There's there's the self criticism that is not helpful to

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Speaker 2: you and it's not helpful to the work. And then

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Speaker 2: there's the sort of you know, we're somewhere in the

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Speaker 2: Dunning Krueger like, you know, we're people who are actually

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Speaker 2: the dumbest think they're the smartest. You know, I'm paraphrasing

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Speaker 2: that and vice versa. So there's you're somewhere in that

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Speaker 2: spectrum always right, too much self criticism stops the art

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Speaker 2: and stops the work, and but not enough and it's

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Speaker 2: not good enough. Yeah, so that's but that's a that's

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Speaker 2: a messy thing to deal with, like self self production.

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Speaker 2: That's the hardest part about self production is that is

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Speaker 2: that wading through that which is like real real, and

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Speaker 2: that which is like, oh no, you're just kind of

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Speaker 2: you're you're you're being you know, needlessly self punishing or

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Speaker 2: that's that's that's the.

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Speaker 1: Rub that was hard to figure out. Yeah, yeah, how

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Speaker 1: did you how did and did that lead to prolonged

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Speaker 1: periods of like punishing, I'm.

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Speaker 2: Being too I'm probably being too dramatic.

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Speaker 1: It's I don't think so. I mean, it's a lot

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Speaker 1: to do it. I don't know, or maybe but you

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Speaker 1: would know better.

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Speaker 2: It's just a you know after you know, because this

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Speaker 2: is my seventh solo record, eighth record, you know, counting

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Speaker 2: the one I did with David Byrne. It's like, you

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Speaker 2: know when it's done, and that's the that's the biggest thing.

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Speaker 2: That's the biggest lesson, is like knowing when something is

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Speaker 2: done and knowing even if you you know, roll down

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Speaker 2: the road on a song of like diminishing returns, being

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Speaker 2: able to go back to an earlier version and gom,

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Speaker 2: this was better. Okay, let's go, let's let's do this

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Speaker 2: and then it's done.

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Speaker 1: Yeah, yeah, so get just given how unique the process was,

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Speaker 1: and and okay, maybe torture's to to too much calling

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Speaker 1: it an albatross. Maybe, okay, maybe it's maybe it's hyperbole.

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Speaker 2: But I mean I like, of course, at the end

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Speaker 2: of the day, like I'm a musician, I get to

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Speaker 2: do what I love. Yeah, it's the luckiest thing in

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Speaker 2: the world.

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Speaker 1: It's true, it's true. But if it's if it was

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Speaker 1: even on the on the spectrum of whatever hyperbole, if

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Speaker 1: it was even airing towards that way when you got

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Speaker 1: done with it, does the album sit with you even

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Speaker 1: it's new. Does it sit with you a little differently

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Speaker 1: than other albums in your catalog so far, just given

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Speaker 1: the process you went through.

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Speaker 2: Well, I'm still really living this record because I'm out

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Speaker 2: on tour doing it, doing the damn thing every night.

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Speaker 2: So there is an aspect of like, these songs are

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Speaker 2: these songs are just like I'm gonna use I'm gonna

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Speaker 2: mix metaphors and also do a bad one great, but

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Speaker 2: like you gotta making a record is like making a

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Speaker 2: pair of shoes that you're gonna have to walk in

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Speaker 2: for the next definitely for the next year and a

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Speaker 2: half of your life and if it's good, like the

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Speaker 2: whole rest of your career, so you remember, Like so

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Speaker 2: putting wearing them on tour is like you're wearing them

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Speaker 2: in You're like, okay, they're kind of they kind of

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Speaker 2: give here, they kind of like, but they can carry me.

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Speaker 2: I've never used this metaphor. I'm just workshopping it here.

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Speaker 2: So really, uh, this is we're getting into dicey territory.

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Speaker 2: But but it's like I'm still living in them, so

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Speaker 2: that and that part is good. It's exciting. They are

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Speaker 2: holding up and they're growing even more than every other

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Speaker 2: record I've ever done. I know every inch of this thing,

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Speaker 2: like I know every I know every track. I know

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Speaker 2: every and when I say track, I mean like pro

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Speaker 2: tools tracked.

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Speaker 1: I know every.

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Speaker 2: I know the Maltese, I know the ideas. I know

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Speaker 2: the palimpsyst of ideas that didn't make it, you know

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Speaker 2: what I mean. I try not to, but yeah, I know, Yeah,

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Speaker 2: I know it. I know it so so intimately. But

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Speaker 2: I think it's good that I do know it and

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Speaker 2: I know it so intimately. But I also am so

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Speaker 2: psyched to play it every night. So that's a good sign,

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Speaker 2: you know.

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Speaker 1: Sounds like it. Would you do it again? Pretty serious something? Yes?

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Speaker 2: I absolutely would, but I would do it differently.

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Speaker 1: How would you do it differently?

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Speaker 2: I'd write a bunch of songs and then I would take.

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Speaker 1: Them apart too much to go through again doing it.

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Speaker 2: I would write a bunch of songs, which is what

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Speaker 2: I'm currently doing.

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Speaker 1: Like while you're on the road or now that you've

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Speaker 1: you've kind of you paused a bit for the holidays.

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Speaker 2: I guess yeah. I mean when I'm whenever I'm in

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Speaker 2: my studio, whenever i'm home, I'm writing.

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Speaker 1: So we'll be right back with more from Saint Vincent

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Speaker 1: after the break. Here's more from Saint Vincent. And you.

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Speaker 1: You wrote this in your studio here in LA but

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Speaker 1: recorded it in at Electric Lady.

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Speaker 2: I did a lot of the vocals at Electric Lady,

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Speaker 2: but I recorded the majority of this record at my

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Speaker 2: studio Compound Fracture. I mean I did. I recorded Dave

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Speaker 2: Grohl on drums there.

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Speaker 1: Did you mike that yourself? No?

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Speaker 2: No, I have an incredible engineer. Shout out to Kean

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Speaker 2: Reardon who mixed this record, engineered the all the heavy lifting.

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Speaker 1: Of this record, you know, to put on yourself to like.

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Speaker 2: I can put a you know, I can make my

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Speaker 2: way through a through through a vocal mic. But no

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Speaker 2: past that. No, he he engineered the drums on the record.

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Speaker 2: I bought a Neve console, like dang, yeah, it was

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Speaker 2: like it was, it was pro. I you know, Josh

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Speaker 2: Freeze played there, uh, Mark Giuliana played there, Sela Mazawa

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Speaker 2: I recorded someplace else.

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Speaker 1: But like, yeah, it was legit, that's cool.

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Speaker 2: Legit.

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Speaker 1: Josh Freese is his drumming on the first track, but

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Speaker 1: thought was really awesome, soul, beautiful. Yeah, that was amazing.

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Speaker 1: I don't know that I've heard him. I don't know

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Speaker 1: his whole catalog, but I don't know if I've heard

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Speaker 1: him play that way. It was like this anything that

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Speaker 1: was it was.

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Speaker 2: It's fun as a producer to invite people to play.

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Speaker 2: Well one, I mean, it's nice to have like a

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Speaker 2: stacked rolodex of like the craziest rippers, but beyond that,

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Speaker 2: it's really it's nice to have people come in and

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Speaker 2: sometimes you're like, I want you to play like your

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Speaker 2: name's on the track, Like I want you to play

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Speaker 2: like it's your you know. And then sometimes you're like,

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Speaker 2: I I want to ask this incredible player to do

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Speaker 2: something that they don't normally do, or do something they're

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Speaker 2: not known for. And in that case, on Hell is Near,

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Speaker 2: Josh just played the most almost like Buddhist like monastic

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Speaker 2: beat and it's so beautiful. It's to be honest, it's

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Speaker 2: one of my favorite drum performances on the whole record.

396
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Speaker 2: And it's restraint.

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Speaker 1: Yeah, yeah, it blew me. I was when I looked

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Speaker 1: at whoah Freeze, whoa. I just just never would have

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Speaker 1: occurred to me that that would be his take on.

400
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Speaker 2: Something I know but that but he but you know,

401
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Speaker 2: we arrived there. We arrived there together. It's not like,

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Speaker 2: you know, Josh is a very sensitive drummer, and he's

403
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Speaker 2: an interesting drummer to watch because he listened down to

404
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Speaker 2: the song, doesn't touch a note, doesn't do anything, you know,

405
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Speaker 2: writes his special notes about how many bars and what

406
00:23:25,916 --> 00:23:30,916
Speaker 2: you know is whatever his you know, secret wing edings is,

407
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Speaker 2: and then he goes in and he plays it perfectly.

408
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Speaker 2: He plays he knows the song. So it's not like

409
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Speaker 2: his first take was he was he was in the

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Speaker 2: zone of this sort of like of the of the

411
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Speaker 2: meditative aspect of it. But we yeah, we got there together.

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Speaker 1: So when when did the idea to redo the album

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Speaker 1: in Spanish? When did that occur to you?

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Speaker 2: You're asking a very important question, which is why why

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Speaker 2: would you do that?

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Speaker 1: I didn't want to ask it that one.

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Speaker 2: No, I totally get it. The short answer is that

418
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Speaker 2: I've played in Mexico a bunch, I've played in South America,

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Speaker 2: I've played in Spain a bunch, and I had this

420
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Speaker 2: moment on stage at bar at Primavera, Barcelona, twenty twenty three.

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Speaker 2: I'm like looking out at the sea of people, thousands

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Speaker 2: of people, and they're singing, They're singing my songs back

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Speaker 2: to me in perfect English. I'm like, Okay, this is

424
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Speaker 2: your maybe your second, maybe your third, maybe your fourth third,

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Speaker 2: Like seriously, and you have you have insane with being

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Speaker 2: in Mexico. So I was in I mean there was

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00:25:00,516 --> 00:25:03,916
Speaker 2: one time in Portuguese, but I was in uh. I

428
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Speaker 2: was in Brazil playing this little club show for like

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Speaker 2: a thousand people, and everybody knew every single word wow,

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Speaker 2: And I honestly got choked up. I got choked up,

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Speaker 2: like they people have come to me in my language,

432
00:25:23,356 --> 00:25:25,956
Speaker 2: why can't I meet them halfway and try to come

433
00:25:25,996 --> 00:25:28,116
Speaker 2: to them and there. So that was the thought behind

434
00:25:28,156 --> 00:25:32,036
Speaker 2: the Spanish record, like a little just a little token

435
00:25:32,356 --> 00:25:36,556
Speaker 2: to like Spanish speaking fans, like hey, thank you, I

436
00:25:36,716 --> 00:25:39,076
Speaker 2: thank you for coming to me all these years. I

437
00:25:40,036 --> 00:25:46,436
Speaker 2: speak Spanish, okay, okay in Texas, yeah it's in there,

438
00:25:46,676 --> 00:25:50,596
Speaker 2: but like but I but I have been really wanting

439
00:25:50,676 --> 00:25:54,476
Speaker 2: to become actually fluent in Spanish because it's just useful

440
00:25:54,596 --> 00:25:58,756
Speaker 2: and beautiful and all the things. So this was sort

441
00:25:58,796 --> 00:26:01,756
Speaker 2: of a way to get me jump started into getting

442
00:26:02,476 --> 00:26:08,036
Speaker 2: back into getting pretty good at Spanish. And so I

443
00:26:08,196 --> 00:26:13,276
Speaker 2: asked my best friend who's from Monterey, Mexico and grew

444
00:26:13,316 --> 00:26:15,596
Speaker 2: up in dalt We grew up in Dallas together, so

445
00:26:15,716 --> 00:26:18,676
Speaker 2: he's fully bilingual. It's like, Alan, can you help me

446
00:26:18,756 --> 00:26:22,676
Speaker 2: translate these songs? So that process was really beautiful and

447
00:26:22,756 --> 00:26:26,956
Speaker 2: fun too, trying to figure out, Okay, this is not

448
00:26:27,076 --> 00:26:33,396
Speaker 2: an expression in Spanish, so this doesn't make any goddamn sick.

449
00:26:33,476 --> 00:26:34,796
Speaker 2: What are you trying to say? And it got me

450
00:26:34,916 --> 00:26:39,876
Speaker 2: kind of thinking about the meaning of songs in a

451
00:26:39,956 --> 00:26:42,876
Speaker 2: totally different way. Yeah, so that's why I did it.

452
00:26:43,036 --> 00:26:46,156
Speaker 2: I don't know, But I also it was a heavy lift.

453
00:26:47,076 --> 00:26:51,716
Speaker 2: It was a heavy lift, and not just obviously the translation,

454
00:26:51,916 --> 00:26:58,276
Speaker 2: which is immensely thought provoking and time consuming, but also

455
00:26:58,356 --> 00:27:01,996
Speaker 2: then trying to make sure that I was pronouncing things well,

456
00:27:03,196 --> 00:27:06,956
Speaker 2: which again my goalpost just like ninety nine left balloons,

457
00:27:07,236 --> 00:27:08,556
Speaker 2: you know what I mean, Like, if I can I'm

458
00:27:08,556 --> 00:27:10,196
Speaker 2: not gonna sound like a native speaker, because I'm not,

459
00:27:10,636 --> 00:27:13,116
Speaker 2: But if I can get as good as like ninety

460
00:27:13,196 --> 00:27:13,716
Speaker 2: nine left.

461
00:27:13,596 --> 00:27:17,356
Speaker 1: Balloons, then like, okay, that's pretty funny.

462
00:27:17,396 --> 00:27:20,996
Speaker 2: That's pretty good. And then also I read it all

463
00:27:21,036 --> 00:27:23,396
Speaker 2: the vocal production on the record because I'm the only singer.

464
00:27:23,916 --> 00:27:27,556
Speaker 1: Yeah, that's crazy. I was like, you said, you already

465
00:27:27,556 --> 00:27:29,356
Speaker 1: put yourself to one hundred and you know, I don't

466
00:27:29,356 --> 00:27:31,196
Speaker 1: know that, but a lot of takes on stuff.

467
00:27:31,396 --> 00:27:36,396
Speaker 2: Yeah, this is full, full glutton, just just glut punishment.

468
00:27:36,796 --> 00:27:37,636
Speaker 2: Just give me some more.

469
00:27:37,916 --> 00:27:38,116
Speaker 1: Yeah.

470
00:27:39,076 --> 00:27:45,316
Speaker 2: Did you see that movie seven? Yeah, it's not as

471
00:27:45,596 --> 00:27:46,436
Speaker 2: strict as it looks.

472
00:27:47,356 --> 00:27:49,756
Speaker 1: Did I see what maybe my movie seven? Yeah?

473
00:27:50,116 --> 00:27:51,476
Speaker 2: That scarred me as a child.

474
00:27:52,076 --> 00:27:53,876
Speaker 1: Yeah, a lot of those that one did.

475
00:27:54,196 --> 00:27:56,436
Speaker 2: Yeah, speaking a David Fincher.

476
00:27:56,316 --> 00:27:58,636
Speaker 1: Speaking of Fincher, Yeah, that one really scarred me. And

477
00:27:58,756 --> 00:28:02,196
Speaker 1: then Zodiac terrified me too a bit later.

478
00:28:02,756 --> 00:28:05,636
Speaker 2: That yeah, I mean, and that's that was a real guy,

479
00:28:06,076 --> 00:28:08,036
Speaker 2: the real guy. Didn't they just find it?

480
00:28:09,476 --> 00:28:11,396
Speaker 1: I mean, this is not conclusive. They said that there

481
00:28:11,476 --> 00:28:12,636
Speaker 1: was Like I watched the thing.

482
00:28:12,516 --> 00:28:14,556
Speaker 2: Because I wait, wait, is the Zodi at the Golden

483
00:28:14,596 --> 00:28:15,116
Speaker 2: State Killer.

484
00:28:15,276 --> 00:28:18,036
Speaker 1: That's different. They got the Golden State Killer. It's from

485
00:28:18,156 --> 00:28:20,796
Speaker 1: like twenty three meters or something. Yeah, yeah, which is

486
00:28:21,116 --> 00:28:21,956
Speaker 1: So did.

487
00:28:21,916 --> 00:28:23,116
Speaker 2: You sell your stuff to twenty three?

488
00:28:23,516 --> 00:28:27,516
Speaker 1: I say so, I do, mean so I did to

489
00:28:27,796 --> 00:28:31,516
Speaker 1: ancestry Street. I'm debating that where I want them to

490
00:28:32,116 --> 00:28:34,116
Speaker 1: put it to know that I could have got everything else,

491
00:28:34,156 --> 00:28:37,116
Speaker 1: but I did the Ancestry. Yeah, so I figure. You know,

492
00:28:37,156 --> 00:28:39,036
Speaker 1: it's funny. When I was a kid, my mom is

493
00:28:39,116 --> 00:28:43,996
Speaker 1: so fucked up. That's what My mom was a crazy paranoid.

494
00:28:44,276 --> 00:28:45,516
Speaker 1: So like when I was a kid, she took me

495
00:28:45,596 --> 00:28:47,836
Speaker 1: down to the police station to get fingerprinted in case

496
00:28:47,836 --> 00:28:51,516
Speaker 1: I went like missing. But the flip side of that

497
00:28:51,636 --> 00:28:53,636
Speaker 1: was I was always very cognizant that I get anything

498
00:28:53,676 --> 00:28:54,476
Speaker 1: wrong growing.

499
00:28:54,316 --> 00:28:56,636
Speaker 2: Up, like they already got okay.

500
00:28:56,876 --> 00:28:59,596
Speaker 1: God, So I'm kind of like Novelly. I put myself

501
00:28:59,636 --> 00:29:01,356
Speaker 1: on the record with Ancestry. I'm like, if I if

502
00:29:01,396 --> 00:29:04,116
Speaker 1: I do any serial killing, which I won't, but if

503
00:29:04,156 --> 00:29:06,116
Speaker 1: I were to, I'm out. I'm on the record now.

504
00:29:06,156 --> 00:29:07,956
Speaker 3: They can just get me so easy, Like you would

505
00:29:08,036 --> 00:29:10,276
Speaker 3: you would know if you were like you would, you

506
00:29:10,316 --> 00:29:12,556
Speaker 3: would there would be like a long line of like

507
00:29:12,996 --> 00:29:15,516
Speaker 3: cat and trails, like you know what I mean, Like

508
00:29:15,676 --> 00:29:17,716
Speaker 3: you'd know that from early I.

509
00:29:17,836 --> 00:29:19,476
Speaker 1: Like to think. So I'd like to think I don't

510
00:29:19,516 --> 00:29:20,916
Speaker 1: think you just although I.

511
00:29:20,956 --> 00:29:23,436
Speaker 2: Guess if you had like a crazy traumatic brain injury,

512
00:29:24,236 --> 00:29:25,236
Speaker 2: well there's stories is like.

513
00:29:25,636 --> 00:29:27,316
Speaker 1: Look at the guy. They just cooke, you know, the

514
00:29:27,436 --> 00:29:32,116
Speaker 1: CEO guy, and I'm not hot, that's what he's like.

515
00:29:32,676 --> 00:29:33,956
Speaker 1: He's a good looking dude. I was looking at it.

516
00:29:34,036 --> 00:29:36,356
Speaker 1: I was like, I kind of wanted his workout. I

517
00:29:36,436 --> 00:29:39,276
Speaker 1: know he's jacked jack And everyone's like, wait, who knew?

518
00:29:39,356 --> 00:29:41,596
Speaker 1: He didn't know? And maybe but then I think, well,

519
00:29:41,636 --> 00:29:43,596
Speaker 1: if they didn't know, maybe he didn't know. So that's

520
00:29:43,636 --> 00:29:45,916
Speaker 1: always my fears. I guess, always like maybe I don't know.

521
00:29:46,276 --> 00:29:48,876
Speaker 2: Wait you maybe you don't know if you're a serial.

522
00:29:48,676 --> 00:29:50,196
Speaker 1: Killer, well you know what people will say like, oh

523
00:29:50,356 --> 00:29:52,956
Speaker 1: he was a great, like we never would have expected this, right,

524
00:29:53,356 --> 00:29:55,396
Speaker 1: And then so so then I take it one step

525
00:29:55,436 --> 00:29:57,716
Speaker 1: further and I think, maybe I don't think that I

526
00:29:57,836 --> 00:30:00,756
Speaker 1: could do that, but maybe I could. Maybe something happens

527
00:30:00,796 --> 00:30:03,436
Speaker 1: to you at some point in life that I think.

528
00:30:03,316 --> 00:30:06,396
Speaker 2: It's a combo platter, Okay, right, because.

529
00:30:06,276 --> 00:30:09,476
Speaker 1: I think you're right, I hope yeah. I think yeah, yeah,

530
00:30:09,676 --> 00:30:10,396
Speaker 1: because based.

531
00:30:10,196 --> 00:30:14,076
Speaker 2: On my armchair expertise of serial killers, like that's a

532
00:30:14,156 --> 00:30:22,156
Speaker 2: combination of like in in genetics, sociopathy mixed with like

533
00:30:22,676 --> 00:30:25,756
Speaker 2: usually like horrifying, horrifying childhood.

534
00:30:26,236 --> 00:30:29,516
Speaker 1: Right, I didn't have that, So that's good. That's genetics

535
00:30:29,596 --> 00:30:40,556
Speaker 1: might be working against me, sad man. Uh so this,

536
00:30:40,756 --> 00:30:42,876
Speaker 1: I mean, it's really cool that you did the Spanish

537
00:30:42,996 --> 00:30:47,076
Speaker 1: language album to your fans. No, no, it's cool And

538
00:30:47,516 --> 00:30:51,356
Speaker 1: for me personally, I some of my favorite songs are,

539
00:30:51,356 --> 00:30:53,916
Speaker 1: of course in English, but I spend the vast majority

540
00:30:53,956 --> 00:30:56,076
Speaker 1: of my time listening to things that either don't have

541
00:30:56,236 --> 00:31:00,036
Speaker 1: lyrics or are in languages foreign or in foreign languages

542
00:31:00,476 --> 00:31:01,276
Speaker 1: majority of my time.

543
00:31:01,956 --> 00:31:04,556
Speaker 2: Same, why do you think you do that?

544
00:31:05,676 --> 00:31:09,116
Speaker 1: I guess the easy answer is that words are distress

545
00:31:09,196 --> 00:31:12,076
Speaker 1: acting and it overlays a meaning that I maybe want

546
00:31:12,156 --> 00:31:15,276
Speaker 1: to create my own. And it's probably that, but there's

547
00:31:15,316 --> 00:31:17,396
Speaker 1: also just yeah, it's just like it can really be

548
00:31:17,636 --> 00:31:20,316
Speaker 1: the voice is an instrument, but it really becomes another

549
00:31:20,396 --> 00:31:23,356
Speaker 1: instrument if it can just kind of blend into the other.

550
00:31:24,276 --> 00:31:30,756
Speaker 1: You know, you're not attaching meaning to the words implicitly

551
00:31:30,876 --> 00:31:33,276
Speaker 1: explicitly yeah, or like.

552
00:31:34,996 --> 00:31:39,716
Speaker 2: I've been on a big cocktail twins kick and like

553
00:31:40,996 --> 00:31:47,916
Speaker 2: those aren't most of the time. Those are specifically unintelligible.

554
00:31:48,476 --> 00:31:51,356
Speaker 2: So it's a rack. You're like, oh, I'm putting it's

555
00:31:51,356 --> 00:31:56,516
Speaker 2: still so evocative, but I'm putting what I think she's saying.

556
00:31:56,556 --> 00:31:59,076
Speaker 2: I'm singing what I think she's saying yeah, which is

557
00:31:59,196 --> 00:32:00,916
Speaker 2: really what I want to hear.

558
00:32:01,356 --> 00:32:02,356
Speaker 1: So absolutely I.

559
00:32:02,396 --> 00:32:03,436
Speaker 2: Want to hear yeah.

560
00:32:03,516 --> 00:32:05,636
Speaker 1: But I feel because it makes a background music, because

561
00:32:05,636 --> 00:32:08,076
Speaker 1: that's that's I feel like it's makes it a pejorative thing.

562
00:32:08,156 --> 00:32:10,276
Speaker 1: It's not that, it's just it's like just allows you

563
00:32:10,356 --> 00:32:13,436
Speaker 1: to be more free in how you are interpreting what

564
00:32:13,516 --> 00:32:16,756
Speaker 1: you're hearing. And sometimes it just the way. And I

565
00:32:16,836 --> 00:32:19,116
Speaker 1: wanted to ask you this is like, you know the

566
00:32:19,196 --> 00:32:21,556
Speaker 1: way certain words are shaped and vowel. You know, it's

567
00:32:21,556 --> 00:32:23,516
Speaker 1: just like you approach you have to. It sounds like

568
00:32:23,716 --> 00:32:26,036
Speaker 1: you know, you have to approach the vocal take differently.

569
00:32:26,836 --> 00:32:30,116
Speaker 2: Oh for sure, Yes, yes, for sure, And you have

570
00:32:30,196 --> 00:32:33,396
Speaker 2: to make sure that things by the time you sing them,

571
00:32:33,596 --> 00:32:36,556
Speaker 2: You're like you've made sure that they sing well. Yeah,

572
00:32:36,596 --> 00:32:42,356
Speaker 2: because you know certain words don't sing well.

573
00:32:42,676 --> 00:32:46,516
Speaker 1: Were there particular words on this album that you didn't

574
00:32:46,636 --> 00:32:47,076
Speaker 1: There's like.

575
00:32:47,836 --> 00:32:53,196
Speaker 2: Tim, tim Maria no Tim, the word for reckless mmm.

576
00:32:54,396 --> 00:32:54,596
Speaker 1: Tim.

577
00:32:55,716 --> 00:32:58,276
Speaker 2: I'll give you a better example. I kept mispronouncing the

578
00:32:58,316 --> 00:33:01,916
Speaker 2: word for marigold, which is can you hear my stomach no?

579
00:33:02,756 --> 00:33:03,276
Speaker 1: Going crazy?

580
00:33:03,676 --> 00:33:05,356
Speaker 2: Really? Did you eat food today?

581
00:33:05,636 --> 00:33:08,276
Speaker 1: I didn't, which is why someone itself right now.

582
00:33:08,476 --> 00:33:12,836
Speaker 2: But what point, How long can you go because I

583
00:33:12,916 --> 00:33:13,716
Speaker 2: forgot to do it as.

584
00:33:13,676 --> 00:33:17,676
Speaker 1: Long as I need. Really, I can't eat before I talk.

585
00:33:17,716 --> 00:33:20,596
Speaker 1: I don't know before I do anything work really because

586
00:33:20,636 --> 00:33:22,836
Speaker 1: your brain doesn't work, because then my brain doesn't work.

587
00:33:22,956 --> 00:33:24,836
Speaker 1: And then I just feel like if I eat, I'm

588
00:33:24,876 --> 00:33:27,476
Speaker 1: like a baby. I just want to go to sleep. Yeah, instantly.

589
00:33:27,996 --> 00:33:31,276
Speaker 2: But are you like carbo loading a breakfast or are

590
00:33:31,316 --> 00:33:34,756
Speaker 2: you like just coffee, just like any any food.

591
00:33:34,716 --> 00:33:37,796
Speaker 1: No water aside from this, yeah, yeah, just any food. Yeah,

592
00:33:37,796 --> 00:33:39,116
Speaker 1: it could be a help. It could a salad and

593
00:33:39,196 --> 00:33:40,276
Speaker 1: I want to go to sleep.

594
00:33:40,716 --> 00:33:44,076
Speaker 2: It's not I was with a friend to a friend

595
00:33:44,076 --> 00:33:46,396
Speaker 2: who was just like, you know, you go to a

596
00:33:46,476 --> 00:33:48,756
Speaker 2: restaurant and you're like, well, I should probably order a salad.

597
00:33:50,476 --> 00:33:54,116
Speaker 2: First of all, you're at a restaurant, you know what

598
00:33:54,196 --> 00:33:56,636
Speaker 2: I mean, Like you should make You should order something

599
00:33:56,716 --> 00:34:00,236
Speaker 2: that you have no idea how to make that you

600
00:34:00,276 --> 00:34:02,396
Speaker 2: could not make at home. Otherwise you should just eat

601
00:34:02,436 --> 00:34:04,876
Speaker 2: at home. Yeah right, I mean I can't. Also, this

602
00:34:05,036 --> 00:34:08,636
Speaker 2: is but just but like on our deathbed, my friend

603
00:34:08,716 --> 00:34:11,196
Speaker 2: was like, on my deathbed, no one's going to be

604
00:34:11,276 --> 00:34:13,396
Speaker 2: like he ate so many salads.

605
00:34:16,156 --> 00:34:19,836
Speaker 1: You know, it's true. But if you're on your death

606
00:34:19,876 --> 00:34:26,076
Speaker 1: bed at like sixty three, like some more it's one

607
00:34:26,156 --> 00:34:29,876
Speaker 1: more solid enough salad. I'm sure, what the.

608
00:34:31,836 --> 00:34:32,516
Speaker 2: Do you want to live?

609
00:34:34,196 --> 00:34:36,996
Speaker 1: Oh? Man? So okay, that's interesting because there's that guy

610
00:34:37,036 --> 00:34:39,276
Speaker 1: that's like trying to like live forever, the.

611
00:34:39,356 --> 00:34:41,516
Speaker 2: Tech dude who's like taking his son's blood.

612
00:34:41,716 --> 00:34:44,796
Speaker 1: Yes, and that seems ridiculous on multiple levels. One, he

613
00:34:44,916 --> 00:34:47,556
Speaker 1: looks like he's fucking a bazillion years old and already.

614
00:34:47,756 --> 00:34:50,436
Speaker 2: It also like, okay, you can fucking afford to live forever.

615
00:34:50,956 --> 00:34:53,636
Speaker 1: And then there's live forever. And then there's also like

616
00:34:53,956 --> 00:34:57,236
Speaker 1: it feels it feels very it feels really self centered

617
00:34:57,356 --> 00:35:01,276
Speaker 1: on the level too, like do like so I'm at

618
00:35:01,316 --> 00:35:03,276
Speaker 1: war with myself on this. On one hand, yeah, I

619
00:35:03,316 --> 00:35:05,556
Speaker 1: don't want to die, and so I want to live forever.

620
00:35:06,076 --> 00:35:10,636
Speaker 1: On another hand, forever seems like a really long and

621
00:35:10,716 --> 00:35:12,236
Speaker 1: then on the other hand, it's like I'm not that,

622
00:35:12,436 --> 00:35:14,756
Speaker 1: I'm not I'm not so important. So then I'm like, hmm,

623
00:35:15,236 --> 00:35:17,276
Speaker 1: Like you know, a hundred fee is like a good benchmark.

624
00:35:17,716 --> 00:35:20,556
Speaker 2: One hundred is a long life. That's a long, healthy life.

625
00:35:20,556 --> 00:35:22,236
Speaker 1: If I can make it back to the nineties.

626
00:35:22,916 --> 00:35:25,276
Speaker 2: Ah, the are we about the same age.

627
00:35:25,716 --> 00:35:30,076
Speaker 1: I was born in eighty nine, so yeah, me too. Cool. Great,

628
00:35:30,196 --> 00:35:33,676
Speaker 1: both both in the eighties. Great. So we make it

629
00:35:33,756 --> 00:35:35,716
Speaker 1: back to you know, make it back to you know,

630
00:35:35,716 --> 00:35:37,916
Speaker 1: if I can see like the one hundredth anniversary of

631
00:35:38,076 --> 00:35:40,276
Speaker 1: like friends, Like, oh my god, that's cool.

632
00:35:40,676 --> 00:35:41,996
Speaker 2: You know what I would like to live. I would

633
00:35:42,036 --> 00:35:45,676
Speaker 2: like to live. I would like to everybody to remember,

634
00:35:45,796 --> 00:35:47,796
Speaker 2: for like one day, what it was like to live

635
00:35:47,956 --> 00:35:48,756
Speaker 2: without the internet.

636
00:35:49,116 --> 00:35:52,036
Speaker 1: Oh man, Yeah it was that.

637
00:35:52,356 --> 00:35:53,036
Speaker 2: It was kind of lit.

638
00:35:53,236 --> 00:35:53,876
Speaker 1: It was awesome.

639
00:35:53,996 --> 00:35:54,636
Speaker 2: I was here for it.

640
00:35:54,796 --> 00:35:57,236
Speaker 1: It was awesome. Yeah, okay, that was something I had

641
00:35:57,316 --> 00:36:00,756
Speaker 1: for you. What. Okay, eighties and nineties. You're in the

642
00:36:00,876 --> 00:36:06,636
Speaker 1: South Oklahoma, Texas, that was your I grew up here, Yeah,

643
00:36:06,756 --> 00:36:09,396
Speaker 1: relatively connected to culture, you would thin because I'm here

644
00:36:09,476 --> 00:36:15,636
Speaker 1: in Los Angeles area. But your your MGV, your taste,

645
00:36:16,076 --> 00:36:19,356
Speaker 1: your taste, oh seems heightened like like and I was going,

646
00:36:19,596 --> 00:36:21,516
Speaker 1: you know, I don't know, we're out the time, but

647
00:36:21,716 --> 00:36:24,396
Speaker 1: especially around like visual arts, which is something I'm like

648
00:36:24,476 --> 00:36:29,756
Speaker 1: a complete know nothing about. I'm just you. It's almost

649
00:36:29,756 --> 00:36:31,716
Speaker 1: as if you grew up in Manhattan.

650
00:36:33,356 --> 00:36:38,236
Speaker 2: To me, thank you, well I did in my formative years.

651
00:36:38,436 --> 00:36:41,916
Speaker 2: My like, I'm I'm a young adult, like trying to

652
00:36:41,996 --> 00:36:45,436
Speaker 2: figure out what life is that was spent in Manhattan.

653
00:36:45,716 --> 00:36:47,756
Speaker 1: Oh okay, right, so once you got out of call

654
00:36:47,756 --> 00:36:51,356
Speaker 1: it right? Yeah? But but was it there before? Uh?

655
00:36:52,236 --> 00:36:54,916
Speaker 2: Well no, I okay, I think I think a couple

656
00:36:54,956 --> 00:36:58,116
Speaker 2: of things. I had an early intervention from my aunt

657
00:36:58,156 --> 00:37:00,796
Speaker 2: and uncle, who are jazz musicians. So they were like,

658
00:37:01,156 --> 00:37:03,396
Speaker 2: they saw that I loved music. They took me out

659
00:37:03,436 --> 00:37:07,636
Speaker 2: on the road. And they also when I was thirteen, fourteen, fifteen,

660
00:37:07,796 --> 00:37:10,316
Speaker 2: something like that, they gave me a box of records.

661
00:37:10,356 --> 00:37:14,476
Speaker 2: They were like, here's Oliver Nelson, Here's here's John Coltrane,

662
00:37:14,796 --> 00:37:19,036
Speaker 2: Here's Sarah Vaughn. Here's Ela Fitzgerald, Here's Bill Evans, here's

663
00:37:19,156 --> 00:37:22,476
Speaker 2: you know, they here's Jonny Mitchell. You know, they were

664
00:37:22,556 --> 00:37:27,956
Speaker 2: like the you need to understand the like the depth

665
00:37:28,036 --> 00:37:33,716
Speaker 2: and the breadth of music. So I got an early

666
00:37:33,796 --> 00:37:37,436
Speaker 2: schooling in jazz and deep too.

667
00:37:37,676 --> 00:37:39,636
Speaker 1: Oliver Nelson's not like a surface level.

668
00:37:39,836 --> 00:37:42,316
Speaker 2: You know, it was blusing the abstract truth. So you know,

669
00:37:42,356 --> 00:37:48,276
Speaker 2: you're talking modal jazz, but but you need here's mingus.

670
00:37:48,396 --> 00:37:50,876
Speaker 2: You need to know, you need to know what's up.

671
00:37:51,556 --> 00:37:55,756
Speaker 2: Here's Monk. Yeah, and so like that's heavy, that shit's heavy,

672
00:37:56,596 --> 00:38:00,356
Speaker 2: and there's no like, it's not a casual. It's not

673
00:38:00,956 --> 00:38:04,956
Speaker 2: yea casually. You're like no, and you're reading you know, CDs,

674
00:38:05,116 --> 00:38:07,036
Speaker 2: you're reading all the liner notes. You know who played

675
00:38:07,116 --> 00:38:09,636
Speaker 2: on Oh, Freddy Hubber played on this, you know whatever,

676
00:38:09,836 --> 00:38:14,396
Speaker 2: that stuff. And then also I think I had a

677
00:38:15,156 --> 00:38:18,556
Speaker 2: there was like an indie movie theater in town. So

678
00:38:19,076 --> 00:38:21,676
Speaker 2: me and my best friend Alan we saw every We

679
00:38:21,756 --> 00:38:23,796
Speaker 2: saw every movie that came to town at the indie

680
00:38:23,836 --> 00:38:27,516
Speaker 2: movie theater. And so there was this like sense this

681
00:38:28,036 --> 00:38:30,996
Speaker 2: like very rich culture. That was what I think we

682
00:38:31,076 --> 00:38:34,716
Speaker 2: saw Gregoraki film. Maybe no, maybe that was later. I've

683
00:38:34,756 --> 00:38:37,916
Speaker 2: seen so many movies with Alan, it's hard to keep count,

684
00:38:38,356 --> 00:38:43,796
Speaker 2: but like that was there was this idea one. I mean,

685
00:38:44,516 --> 00:38:46,596
Speaker 2: as much as I love Texas and I'm very proud

686
00:38:46,636 --> 00:38:49,476
Speaker 2: to be from Texas and my family's there, I knew

687
00:38:49,476 --> 00:38:52,316
Speaker 2: that I had to like get out of there. I

688
00:38:52,436 --> 00:38:56,276
Speaker 2: also had a like a theater teacher who was it

689
00:38:56,316 --> 00:38:57,996
Speaker 2: will shock you to learn that I was president of

690
00:38:58,036 --> 00:38:58,756
Speaker 2: the theater club.

691
00:38:59,516 --> 00:38:59,636
Speaker 1: Uh.

692
00:39:00,076 --> 00:39:04,036
Speaker 2: And I had a very important like theater teacher who

693
00:39:04,116 --> 00:39:07,516
Speaker 2: was like read the New York Times every read the

694
00:39:07,556 --> 00:39:10,076
Speaker 2: Sunday Times. Look at the section not the rest of

695
00:39:10,116 --> 00:39:14,436
Speaker 2: that ship. Read, read the arts section, learn about plays,

696
00:39:14,676 --> 00:39:18,316
Speaker 2: go see, yeah, exactly like go see I go see

697
00:39:18,396 --> 00:39:22,836
Speaker 2: plays like I was like obsessed with Okay, there's this

698
00:39:23,036 --> 00:39:26,796
Speaker 2: is Ibsen and this is whatever Tennessee Williams, here's new

699
00:39:26,836 --> 00:39:29,636
Speaker 2: plays like I So I had I had that that

700
00:39:29,796 --> 00:39:34,316
Speaker 2: hunger and that interest, and then once I got out

701
00:39:35,036 --> 00:39:38,556
Speaker 2: of Texas, I was able to like immerse myself in

702
00:39:38,836 --> 00:39:41,676
Speaker 2: you know, the culture, and you were ready.

703
00:39:41,716 --> 00:39:45,196
Speaker 1: You had a solid Yeah, yeah, for sure, for sure. Yeah.

704
00:39:45,196 --> 00:39:47,916
Speaker 1: If you're reading the then it makes sense pre Internet

705
00:39:48,436 --> 00:39:50,396
Speaker 1: how you were building that base. If you're reading the

706
00:39:50,436 --> 00:39:51,516
Speaker 1: Sunday Times.

707
00:39:51,276 --> 00:39:54,156
Speaker 2: You know the arts that kind of like think about

708
00:39:54,236 --> 00:39:59,156
Speaker 2: like a sixteen kind of a pudgy sixteen year old

709
00:39:59,236 --> 00:40:03,156
Speaker 2: with glasses being like, sorry, I can't I'm reading the time.

710
00:40:03,836 --> 00:40:05,156
Speaker 1: Your parents must have been pretty psyched.

711
00:40:05,276 --> 00:40:08,156
Speaker 2: Hilton says that the no he's Hilton writes to The

712
00:40:08,556 --> 00:40:09,236
Speaker 2: New Yorker.

713
00:40:10,596 --> 00:40:12,436
Speaker 1: After one last break, we're back with the rest of

714
00:40:12,476 --> 00:40:19,796
Speaker 1: my conversation with Saint Vincent. Here's the rest of my

715
00:40:19,876 --> 00:40:25,396
Speaker 1: conversation with Saint Vincent. I think I remember seen or

716
00:40:25,916 --> 00:40:28,276
Speaker 1: seen and maybe in your masterclass or reading.

717
00:40:28,236 --> 00:40:31,996
Speaker 2: Some did you take notes in my master class.

718
00:40:32,796 --> 00:40:40,316
Speaker 1: I didn't say that, okay, but Beatle Beatle Juice film

719
00:40:40,756 --> 00:40:45,156
Speaker 1: was maybe initially in terms of visually like important.

720
00:40:44,716 --> 00:40:46,996
Speaker 2: To you, like your sentence I say that I think,

721
00:40:47,556 --> 00:40:49,836
Speaker 2: I mean I believe that making things up well, No,

722
00:40:49,916 --> 00:40:52,316
Speaker 2: I mean Beatlejuice like, I mean.

723
00:40:53,996 --> 00:40:54,516
Speaker 1: Not far off.

724
00:40:54,676 --> 00:40:56,556
Speaker 2: I'm not far off. But yeah, I mean that's like

725
00:40:57,756 --> 00:41:03,236
Speaker 2: that's a kids first introduction to like brutalism, Like that's set.

726
00:41:03,276 --> 00:41:08,916
Speaker 2: Those sets are incredible, Those sets are incredible. I met

727
00:41:09,196 --> 00:41:16,316
Speaker 2: a set designer. He is married to Catherine O'Hara, and

728
00:41:16,396 --> 00:41:17,396
Speaker 2: they met on that film.

729
00:41:17,716 --> 00:41:21,396
Speaker 1: No way, that's incredible. Did you ask him a bunch

730
00:41:21,436 --> 00:41:22,316
Speaker 1: of questions?

731
00:41:22,516 --> 00:41:25,236
Speaker 2: Yes? I did, but it was loud and I forgot.

732
00:41:26,596 --> 00:41:28,436
Speaker 2: It was loud and I was drunk and I forgot

733
00:41:28,516 --> 00:41:28,956
Speaker 2: what he said.

734
00:41:29,396 --> 00:41:31,156
Speaker 1: I won't ask you to repeat that. We won't. We

735
00:41:31,196 --> 00:41:32,316
Speaker 1: won't rehash the conversation.

736
00:41:32,996 --> 00:41:33,956
Speaker 2: But it was cool.

737
00:41:35,956 --> 00:41:38,196
Speaker 1: And so but that gets you to this kind of

738
00:41:38,396 --> 00:41:41,076
Speaker 1: at least in your feelings. It gets you to a

739
00:41:41,156 --> 00:41:44,676
Speaker 1: place where that's what you identify with, that that that

740
00:41:44,796 --> 00:41:47,836
Speaker 1: kind of brutalism may be superior. Like when you when

741
00:41:47,836 --> 00:41:49,596
Speaker 1: you when you, I'm just trying to because you know,

742
00:41:49,756 --> 00:41:55,396
Speaker 1: like you're the art that goes along with your music, right,

743
00:41:55,516 --> 00:41:58,636
Speaker 1: it feels very pointed. There's like it's like there's a

744
00:41:58,716 --> 00:42:00,756
Speaker 1: person like it feels very much like there is a

745
00:42:00,916 --> 00:42:04,156
Speaker 1: strong idea behind that and maybe it's no.

746
00:42:04,236 --> 00:42:07,156
Speaker 2: No, no, it's very intentional. It's very intentional, like with

747
00:42:07,236 --> 00:42:10,236
Speaker 2: All Born Screaming. I I worked with my friend Alex

748
00:42:10,236 --> 00:42:16,996
Speaker 2: de Corte, who is like really heavy duty, like major

749
00:42:18,476 --> 00:42:23,756
Speaker 2: American modern artist, and we've been friends because he directed

750
00:42:23,796 --> 00:42:26,676
Speaker 2: a video for one of my songs called New York,

751
00:42:27,036 --> 00:42:31,636
Speaker 2: which was like amaze, Like it was amazing what he did,

752
00:42:32,476 --> 00:42:35,956
Speaker 2: and he's brilliant. He's still brilliant.

753
00:42:36,636 --> 00:42:36,956
Speaker 1: And so.

754
00:42:38,516 --> 00:42:40,836
Speaker 2: This was right around the same time of prima Vera

755
00:42:40,916 --> 00:42:44,676
Speaker 2: Barcelona twenty twenty summer of twenty twenty three. We were

756
00:42:44,796 --> 00:42:48,756
Speaker 2: both traveling in Spain and he came to visit and

757
00:42:49,676 --> 00:42:51,356
Speaker 2: we were just catching up and I played him the

758
00:42:51,396 --> 00:42:56,916
Speaker 2: new album and he was like, I would love to

759
00:42:56,996 --> 00:42:59,796
Speaker 2: help you with like the visuals on this. I would

760
00:42:59,836 --> 00:43:02,876
Speaker 2: love to creative direct this if you want me to.

761
00:43:02,956 --> 00:43:05,956
Speaker 2: I was like, you kidding, Like yeah, So we started.

762
00:43:06,316 --> 00:43:10,396
Speaker 2: We went to the Prato, we went to we saw

763
00:43:10,516 --> 00:43:14,756
Speaker 2: the Bosh's Garden of Earthly Delights, we saw all the

764
00:43:14,876 --> 00:43:19,236
Speaker 2: Goya the pintures Negress, so like the Goya black paintings,

765
00:43:19,236 --> 00:43:24,356
Speaker 2: which were these deeply I mean, which is black mass

766
00:43:24,556 --> 00:43:32,676
Speaker 2: Saturn devouring his Sun's like heavy, heavy shit, heavy fucking shit. Yeah,

767
00:43:33,716 --> 00:43:36,436
Speaker 2: and we kind of like we walked into this room,

768
00:43:36,956 --> 00:43:39,716
Speaker 2: we got to like the air changes and we're looking.

769
00:43:39,756 --> 00:43:45,316
Speaker 2: We're staring, staring in the maddening eyes of Saturn devouring

770
00:43:45,396 --> 00:43:48,356
Speaker 2: his son. And Alex and I look at each other,

771
00:43:48,396 --> 00:43:52,396
Speaker 2: we're like, yeah, this, this is the energy, Like, this

772
00:43:52,516 --> 00:43:55,436
Speaker 2: is the energy, black and white, all the colors in

773
00:43:55,516 --> 00:44:01,436
Speaker 2: a fire. So yeah, so he then it was then

774
00:44:01,476 --> 00:44:05,396
Speaker 2: it was it's so many conversations. It's it's scouring through

775
00:44:05,516 --> 00:44:09,836
Speaker 2: art books going oh what what about this font? Oh Goldstein,

776
00:44:10,036 --> 00:44:15,036
Speaker 2: Oh well this was inspired by uh you know, it's

777
00:44:15,156 --> 00:44:20,076
Speaker 2: like it's it's the point of the references isn't to

778
00:44:20,196 --> 00:44:23,236
Speaker 2: rip something off. It's not to be like here's just

779
00:44:23,316 --> 00:44:27,716
Speaker 2: a Pinterest board. Yeah, it's it's when you're referencing someone's work.

780
00:44:28,116 --> 00:44:31,676
Speaker 2: Sophie Rickett, you know, for the inner sleeve of the

781
00:44:31,956 --> 00:44:37,756
Speaker 2: Allboard Screaming album is like me pissing on a sidewalk,

782
00:44:38,516 --> 00:44:42,236
Speaker 2: and that's like full on homage to this artist. Sophie Rickett,

783
00:44:42,356 --> 00:44:45,596
Speaker 2: who did a book called Pissing Women. It's women like

784
00:44:46,236 --> 00:44:48,516
Speaker 2: pissing on the street, you know, and it's but they're

785
00:44:48,556 --> 00:44:51,516
Speaker 2: all like they're in like Chanelle suits, like pulling, you know,

786
00:44:51,676 --> 00:44:53,956
Speaker 2: pissing on the street and like and Alex and I

787
00:44:54,076 --> 00:44:55,956
Speaker 2: did it, but we did it a little bit more

788
00:44:56,716 --> 00:44:59,316
Speaker 2: tuned town like who framed Roger Rabbit is also never

789
00:44:59,396 --> 00:45:03,036
Speaker 2: far from my interesting mind. You know, it kind of

790
00:45:03,396 --> 00:45:06,636
Speaker 2: gives more like Calvin pissing on the back of like

791
00:45:06,716 --> 00:45:13,716
Speaker 2: a Ford Ranger because like, anatomically it's wrong. Anatomically is wrong,

792
00:45:13,876 --> 00:45:16,476
Speaker 2: Like there's no way that that the female body can

793
00:45:16,596 --> 00:45:20,916
Speaker 2: do like this, but it uh but yeah, you know,

794
00:45:21,956 --> 00:45:25,676
Speaker 2: so all that stuff is like it's so it's so

795
00:45:25,876 --> 00:45:29,196
Speaker 2: thoughtful and not just to be like high on your

796
00:45:29,236 --> 00:45:32,316
Speaker 2: own supply, because it's so important. It's so important to

797
00:45:32,836 --> 00:45:35,316
Speaker 2: continue to tell the story with the visual side of

798
00:45:35,396 --> 00:45:39,796
Speaker 2: things and not just the now that the music's done, great,

799
00:45:40,036 --> 00:45:44,156
Speaker 2: that's that's just now you have a template.

800
00:45:43,876 --> 00:45:48,276
Speaker 1: To to go. Really, do you ever get to the

801
00:45:48,356 --> 00:45:50,756
Speaker 1: point where you've worked the music, so you've worked so

802
00:45:50,836 --> 00:45:52,516
Speaker 1: hard on the music that you just kind of like,

803
00:45:53,036 --> 00:45:57,196
Speaker 1: you know, becomes not but it becomes no an no,

804
00:45:58,036 --> 00:46:00,276
Speaker 1: mm hmm no.

805
00:46:00,516 --> 00:46:03,596
Speaker 2: Now then it's like, oh, think the music's done. Thank god,

806
00:46:03,636 --> 00:46:07,796
Speaker 2: I get to think about something else. I've built the infrastructure.

807
00:46:08,676 --> 00:46:10,756
Speaker 2: The music will tell us what to do. We just

808
00:46:11,036 --> 00:46:13,796
Speaker 2: but we need to like find we need to find

809
00:46:14,116 --> 00:46:15,036
Speaker 2: it visually.

810
00:46:16,716 --> 00:46:18,396
Speaker 1: Yeah, I want it one one day, Maybe you can

811
00:46:18,436 --> 00:46:20,716
Speaker 1: do a second master classes visual art. It would be

812
00:46:20,796 --> 00:46:22,396
Speaker 1: I would, I would, I would, I would take it,

813
00:46:22,476 --> 00:46:23,196
Speaker 1: I would take.

814
00:46:24,796 --> 00:46:25,356
Speaker 2: I dabble.

815
00:46:26,116 --> 00:46:27,716
Speaker 1: I'm sure no you do. I mean because really, I mean,

816
00:46:27,836 --> 00:46:30,276
Speaker 1: I know a lot of people their art work is intentional.

817
00:46:30,556 --> 00:46:34,316
Speaker 1: But when you kind of pair the intention with with

818
00:46:34,556 --> 00:46:37,356
Speaker 1: with the a high level of taste, you know, it's

819
00:46:37,396 --> 00:46:40,836
Speaker 1: like it makes for something really cool, you know, I think,

820
00:46:41,036 --> 00:46:42,956
Speaker 1: is what what happens here? You know?

821
00:46:43,156 --> 00:46:47,876
Speaker 2: Well, again, it's not about it makes the Internet makes

822
00:46:47,916 --> 00:46:50,316
Speaker 2: it very easy for us to reference things, right, Like

823
00:46:50,396 --> 00:46:53,116
Speaker 2: we can just like I pull this and I pull this,

824
00:46:53,196 --> 00:46:54,636
Speaker 2: and I pull this and I pull this, and that's

825
00:46:54,676 --> 00:46:56,636
Speaker 2: really cool. That's a very that's a cool that's a

826
00:46:56,636 --> 00:47:01,116
Speaker 2: good thing about about being as as postmodern as we are.

827
00:47:02,556 --> 00:47:10,156
Speaker 2: But and this is where I go. AI is not

828
00:47:10,436 --> 00:47:16,316
Speaker 2: here yet in music Visually it's pretty farl But but

829
00:47:16,476 --> 00:47:19,316
Speaker 2: to put all of those things together, to put a

830
00:47:19,396 --> 00:47:23,636
Speaker 2: whole thing together and then make it something that feels

831
00:47:23,716 --> 00:47:29,796
Speaker 2: actually like an artist's and I do feel that there's.

832
00:47:31,236 --> 00:47:32,636
Speaker 1: Well do you think it will never get there? No?

833
00:47:32,756 --> 00:47:34,436
Speaker 2: No, I don't. I don't think it'll never get there.

834
00:47:34,836 --> 00:47:38,076
Speaker 2: And this is like cut to me, you know, in

835
00:47:38,276 --> 00:47:42,556
Speaker 2: one year, like with an aib No, I just like

836
00:47:43,036 --> 00:47:46,316
Speaker 2: I'm now I'm picturing like some version of seven, but

837
00:47:46,396 --> 00:47:53,156
Speaker 2: I'm like being cruelly dominated by AI. Whatever we could,

838
00:47:53,316 --> 00:47:55,156
Speaker 2: we could make that image happen really quickly.

839
00:47:55,516 --> 00:47:57,676
Speaker 1: Yeah, one last thing I do want to talk. I

840
00:47:57,876 --> 00:48:03,236
Speaker 1: want to ask. I also read the the bit about

841
00:48:04,276 --> 00:48:08,276
Speaker 1: Mike McCreadie from Pearl Jam his strat cast yeah, which

842
00:48:08,396 --> 00:48:11,196
Speaker 1: was fascinating. I didn't like, you'd never played a stratocaster.

843
00:48:12,116 --> 00:48:16,836
Speaker 2: Well, I had played a PV Raptor, which was a

844
00:48:16,916 --> 00:48:21,476
Speaker 2: PV raptor. It's a pv raptor. It was a TV

845
00:48:22,156 --> 00:48:28,676
Speaker 2: strat shape. Okay, but you know, uh, for for beginners. Okay.

846
00:48:28,796 --> 00:48:33,276
Speaker 2: So Mike McCready, who's a friend and a lovely human being,

847
00:48:34,556 --> 00:48:39,396
Speaker 2: gave me one of his signature strats and it like,

848
00:48:39,476 --> 00:48:42,756
Speaker 2: I've never played a strap before, not because I don't

849
00:48:42,836 --> 00:48:46,276
Speaker 2: like strats strats are cool. Yeah, I've never played a

850
00:48:46,316 --> 00:48:48,916
Speaker 2: strap because every time I pick up a strat I

851
00:48:48,996 --> 00:48:55,076
Speaker 2: played Jimmy Hendrix poorly. Like a strat gives it has

852
00:48:55,356 --> 00:49:01,596
Speaker 2: so much history. Yeah, that like, I don't know how

853
00:49:01,676 --> 00:49:06,116
Speaker 2: to approach a strat, but Mike gave me one and

854
00:49:06,236 --> 00:49:09,356
Speaker 2: it was great, and I was like, now I see,

855
00:49:09,676 --> 00:49:12,556
Speaker 2: like I get why people love strats, and so I

856
00:49:12,956 --> 00:49:16,476
Speaker 2: did end up playing playing it on on Auburn Screaming.

857
00:49:16,716 --> 00:49:22,836
Speaker 2: I think I played it on the end of Broken Man.

858
00:49:23,116 --> 00:49:26,876
Speaker 2: That's a strat, and I'm almost like, the strat's so

859
00:49:27,116 --> 00:49:30,956
Speaker 2: like pluck, you know, it's got that attack, plucky kind

860
00:49:30,956 --> 00:49:33,796
Speaker 2: of attack that I was almost like picking from underneath

861
00:49:33,916 --> 00:49:37,996
Speaker 2: the string to get even more Like Scott, that's stratt

862
00:49:38,036 --> 00:49:39,476
Speaker 2: has a spank. I'll just say it. I'll use the

863
00:49:39,516 --> 00:49:40,836
Speaker 2: word A strat has a spank too.

864
00:49:42,756 --> 00:49:47,076
Speaker 1: It has spank to it. So I was like, I

865
00:49:47,076 --> 00:49:49,236
Speaker 1: don't know, it doesn't I don't hear spank on that album.

866
00:49:49,276 --> 00:49:51,196
Speaker 1: But it's that that was a head. That's a heavy riff.

867
00:49:52,156 --> 00:49:56,596
Speaker 1: It's a heavy riff. Strat got you there.

868
00:49:56,916 --> 00:49:59,436
Speaker 2: I'm grateful, but I'm so here for it. It's a

869
00:49:59,476 --> 00:50:04,396
Speaker 2: loaded gun, you know. But but no, I I it

870
00:50:04,516 --> 00:50:10,796
Speaker 2: was useful and a beautiful thing to I'm discover for

871
00:50:10,876 --> 00:50:11,556
Speaker 2: myself finally.

872
00:50:11,676 --> 00:50:17,556
Speaker 1: Okay, that's great. I'm so happy. What that thing though?

873
00:50:17,756 --> 00:50:22,476
Speaker 1: Is true about like sometimes like a guitar, not like

874
00:50:22,836 --> 00:50:28,196
Speaker 1: some some guitars, the shape, just knowing that they're a

875
00:50:28,236 --> 00:50:31,156
Speaker 1: particular kind of guitar, all about it. Whatever make you

876
00:50:31,236 --> 00:50:34,676
Speaker 1: want to make You sometimes want to play a particular way,

877
00:50:34,716 --> 00:50:36,876
Speaker 1: and I don't know what that is, Like pick.

878
00:50:36,796 --> 00:50:39,316
Speaker 2: Up an SG what's the first thing you play.

879
00:50:39,396 --> 00:50:45,516
Speaker 1: Back and black exactly? But it's like you don't have to,

880
00:50:45,996 --> 00:50:46,916
Speaker 1: but you put it.

881
00:50:48,596 --> 00:50:49,756
Speaker 2: You must, but you must.

882
00:50:50,476 --> 00:50:51,796
Speaker 1: It's disappointing in a way.

883
00:50:51,956 --> 00:50:56,356
Speaker 2: It's that That is why I was like, when I

884
00:50:56,436 --> 00:50:58,876
Speaker 2: make a signature series guitar, it's going to have a

885
00:50:58,916 --> 00:51:02,356
Speaker 2: completely different shape. Like I take an existing shape and

886
00:51:02,476 --> 00:51:05,036
Speaker 2: modit in an interesting way, but I like make a

887
00:51:05,076 --> 00:51:07,996
Speaker 2: new shape. Then maybe it will people create a new

888
00:51:08,076 --> 00:51:10,516
Speaker 2: language on it, and it won't have the baggage. Yeah

889
00:51:10,676 --> 00:51:14,436
Speaker 2: of the not baggage, you know, no, but it won't

890
00:51:14,476 --> 00:51:16,916
Speaker 2: have this the same history that we kind of all

891
00:51:16,996 --> 00:51:23,676
Speaker 2: go go feel we must you know, pay homage.

892
00:51:23,316 --> 00:51:26,796
Speaker 1: To just so intentional with your words. Okay, sits Yeah,

893
00:51:26,836 --> 00:51:27,116
Speaker 1: I live.

894
00:51:27,476 --> 00:51:29,276
Speaker 2: I live on the internet. You have to be a

895
00:51:29,436 --> 00:51:31,796
Speaker 2: fucking intentional cunts.

896
00:51:33,956 --> 00:51:35,916
Speaker 1: Thank you for talking to me. Thank you. This is

897
00:51:35,956 --> 00:51:37,156
Speaker 1: really fun, really fun talking to you.

898
00:51:37,236 --> 00:51:37,716
Speaker 2: Yeah you too.

899
00:51:41,196 --> 00:51:43,956
Speaker 1: Thanks to Saint Vincent for stopping by Amazon Music Studio

900
00:51:43,996 --> 00:51:46,356
Speaker 1: one twenty six to talk about her latest album, All

901
00:51:46,436 --> 00:51:50,356
Speaker 1: Born Screaming and its Spanish language companion Totos Naci found.

902
00:51:51,316 --> 00:51:53,476
Speaker 1: You can hear some of our favorite Saint Vincent songs,

903
00:51:53,516 --> 00:51:56,116
Speaker 1: including cuts from her new albums, on a playlist in

904
00:51:56,196 --> 00:51:59,156
Speaker 1: our episode description, and be sure to follow us on

905
00:51:59,236 --> 00:52:02,516
Speaker 1: Instagram at the Broken Record Pile. You can follow us

906
00:52:02,556 --> 00:52:05,996
Speaker 1: on Twitter at Broken Record. Broken Record is produced by

907
00:52:06,116 --> 00:52:09,476
Speaker 1: Lea Rose with marketing help from Eric Sandler and Jordan Millin.

908
00:52:09,836 --> 00:52:13,476
Speaker 1: Our engineer is Ben Tolliney. Broken Record is a production

909
00:52:13,676 --> 00:52:17,036
Speaker 1: of Pushkin Industries. If you love this show and others

910
00:52:17,076 --> 00:52:21,476
Speaker 1: from Pushkin, consider subscribing to Pushkin Plus. Pushkin Plus is

911
00:52:21,516 --> 00:52:24,476
Speaker 1: a podcast subscription that offers bonus content and ad pre

912
00:52:24,636 --> 00:52:28,116
Speaker 1: listening for four ninety nine a month. Look for Pushkin

913
00:52:28,156 --> 00:52:32,036
Speaker 1: Plus on Apple podcast subscriptions, and if you like this show,

914
00:52:32,236 --> 00:52:34,716
Speaker 1: please remember to share, rate, and review us on your

915
00:52:34,756 --> 00:52:38,516
Speaker 1: podcast app. Our theme music's by Anny Beats I'm justin Richmond,