1 00:00:15,436 --> 00:00:23,316 Speaker 1: Pushkin. Hey, y'all, it's justin Richmond. Today we have Beach 2 00:00:23,356 --> 00:00:26,236 Speaker 1: House on the show. The Baltimore indie band known for 3 00:00:26,276 --> 00:00:30,436 Speaker 1: their cinematic, psychedelic songs. They're one of those bands that 4 00:00:30,476 --> 00:00:33,756 Speaker 1: manages to envelope you in a sonic landscape when they play, 5 00:00:34,116 --> 00:00:36,476 Speaker 1: You'll hear exactly what I'm talking about. In the title 6 00:00:36,476 --> 00:00:53,036 Speaker 1: track for their new album, Once Twice Melody, Victoria La 7 00:00:53,076 --> 00:00:56,916 Speaker 1: Grand and Alex Scally have a very special musical chemistry. 8 00:00:57,316 --> 00:00:59,876 Speaker 1: Their two thousand and six self titled debut was a 9 00:00:59,956 --> 00:01:04,276 Speaker 1: moving collection of lo fi songs built around Victoria's dreamy 10 00:01:04,356 --> 00:01:08,796 Speaker 1: vocals and synth based loops, topped with Alex's lush guitar riffs. 11 00:01:09,316 --> 00:01:11,756 Speaker 1: The songs have since been sampled by artists like Kendrick 12 00:01:11,836 --> 00:01:15,316 Speaker 1: Lamar and The Weekend, and Kanye West even recently posted 13 00:01:15,316 --> 00:01:18,996 Speaker 1: a picture of himself collaborating with them on Instagram. The 14 00:01:18,996 --> 00:01:22,076 Speaker 1: band's new album debuted at number one, and it's their 15 00:01:22,076 --> 00:01:25,636 Speaker 1: first entirely self produced album and also the most dynamic 16 00:01:25,796 --> 00:01:28,676 Speaker 1: in scope. They tell Broken Record producer Lea Rose on 17 00:01:28,716 --> 00:01:32,836 Speaker 1: today's episode about the inner workings of their unique creative partnership. 18 00:01:33,116 --> 00:01:35,356 Speaker 1: They also talk about how the warmth of Bob Marley's 19 00:01:35,436 --> 00:01:39,196 Speaker 1: music has directly inspired the band, and they explain why 20 00:01:39,236 --> 00:01:41,916 Speaker 1: sometimes you have to just get over yourself for the 21 00:01:42,036 --> 00:01:48,836 Speaker 1: sake of show business. This is broken record liner notes 22 00:01:48,836 --> 00:01:52,876 Speaker 1: for the Digital Age. I'm justin Richmond. Here's Lea Rose 23 00:01:52,956 --> 00:01:56,076 Speaker 1: with Victoria La Grand and Alex Galley of Beach House. 24 00:01:56,916 --> 00:01:58,636 Speaker 1: So thank you guys so much for doing this. I 25 00:01:58,676 --> 00:02:00,676 Speaker 1: guess by the time this comes out, you guys are 26 00:02:00,716 --> 00:02:03,436 Speaker 1: going to be back on the road, which must be 27 00:02:03,476 --> 00:02:08,316 Speaker 1: super exciting hopefully and not terrifying. What's it been like 28 00:02:08,556 --> 00:02:10,436 Speaker 1: being off the road during the pandemics. You guys have 29 00:02:10,476 --> 00:02:15,196 Speaker 1: been on tour for like fifteen years straight, pretty much, right, Yes, 30 00:02:15,396 --> 00:02:18,436 Speaker 1: it's been totally strange to not be out in the world, 31 00:02:18,436 --> 00:02:20,836 Speaker 1: but I think everybody can relate to that. But touring 32 00:02:20,836 --> 00:02:24,676 Speaker 1: has been a huge part of our career and you know, 33 00:02:24,716 --> 00:02:28,316 Speaker 1: inspiration and all that stuff. So we're very excited. Yeah, 34 00:02:28,356 --> 00:02:34,556 Speaker 1: Like humans are really inspiring, strangers are really inspiring, and 35 00:02:34,596 --> 00:02:37,436 Speaker 1: like the situation of shows, both as playing and as 36 00:02:37,476 --> 00:02:40,636 Speaker 1: in spectator is just so beautiful, you know. So it's 37 00:02:40,636 --> 00:02:42,716 Speaker 1: been it's been I think everyone feels the way, it's 38 00:02:42,716 --> 00:02:44,876 Speaker 1: been insane not having that as a regular part of 39 00:02:44,916 --> 00:02:47,756 Speaker 1: life for two and a half years or three years, 40 00:02:47,836 --> 00:02:51,236 Speaker 1: however long it's been that we've been in this fugue state. 41 00:02:52,356 --> 00:02:54,556 Speaker 1: How are you thinking about the live show now that 42 00:02:54,596 --> 00:02:56,716 Speaker 1: you're about to go back out with the new album out. 43 00:02:56,996 --> 00:03:00,276 Speaker 1: Have you made any big changes to the show? We're 44 00:03:00,676 --> 00:03:03,036 Speaker 1: kind of picking up where we left off from the 45 00:03:03,036 --> 00:03:07,156 Speaker 1: seven tour because it was just such a what we 46 00:03:07,236 --> 00:03:09,996 Speaker 1: really liked where the show, how it developed over the tour, 47 00:03:10,116 --> 00:03:11,916 Speaker 1: So we're picking up there, and we just spent a 48 00:03:11,956 --> 00:03:15,556 Speaker 1: lot of weeks actually in pre production with our whole crew. 49 00:03:15,596 --> 00:03:18,396 Speaker 1: It was really really fun, and so yeah, it's basically 50 00:03:18,676 --> 00:03:20,996 Speaker 1: an advanced level of the last show, but we've spent 51 00:03:21,116 --> 00:03:22,836 Speaker 1: a lot of time because we didn't want it to 52 00:03:22,876 --> 00:03:24,436 Speaker 1: have to develop on the road. We wanted it to 53 00:03:24,476 --> 00:03:27,636 Speaker 1: be like the fully realized version of itself at show one. 54 00:03:27,996 --> 00:03:29,916 Speaker 1: How do you guys get in the mood to play 55 00:03:29,916 --> 00:03:31,836 Speaker 1: a show once you're out on tour and you're in 56 00:03:31,876 --> 00:03:33,876 Speaker 1: the thick of it. If you wake up and you're 57 00:03:33,876 --> 00:03:37,636 Speaker 1: just kind of feeling off, like physically off or mentally off, 58 00:03:37,676 --> 00:03:39,996 Speaker 1: how do you get yourself in a place where you're 59 00:03:39,996 --> 00:03:42,396 Speaker 1: ready to stand in front of a crowd and do 60 00:03:42,436 --> 00:03:44,116 Speaker 1: what you have to do for an hour and forty 61 00:03:44,116 --> 00:03:49,556 Speaker 1: five minutes. It's called you have to it's called grow up, 62 00:03:49,836 --> 00:03:54,236 Speaker 1: it's called it's show business. It's called Look, it's not 63 00:03:54,316 --> 00:03:56,796 Speaker 1: anyone else's fault. You stayed up till five in the morning. 64 00:03:57,516 --> 00:04:01,836 Speaker 1: Get yourself together and do it. It's like you have 65 00:04:01,996 --> 00:04:04,836 Speaker 1: a job, but it's not like a nine to five job. 66 00:04:04,876 --> 00:04:09,356 Speaker 1: But it's a responsibility and you have, you know, worked 67 00:04:09,356 --> 00:04:12,316 Speaker 1: your butt off to put this thing together. And we're 68 00:04:12,396 --> 00:04:16,276 Speaker 1: lucky people who get to have people come, you know, 69 00:04:16,996 --> 00:04:20,116 Speaker 1: see them, listen to them. Yeah, but just from like 70 00:04:20,116 --> 00:04:22,876 Speaker 1: like the specifics point of view, you know, like one 71 00:04:22,876 --> 00:04:25,636 Speaker 1: thing you have to remind yourself on the road, and 72 00:04:25,716 --> 00:04:27,916 Speaker 1: we do remind ourselves of this is like, yes, this 73 00:04:27,996 --> 00:04:30,316 Speaker 1: is your third show in a row, but this is 74 00:04:30,356 --> 00:04:34,196 Speaker 1: the first time you've played in Cincinnati in five years. 75 00:04:34,316 --> 00:04:37,316 Speaker 1: And clear and be in the moment and realize that 76 00:04:37,356 --> 00:04:39,876 Speaker 1: this could be a special night for some of your 77 00:04:39,876 --> 00:04:41,596 Speaker 1: fans who have never seen you before. You know, it's 78 00:04:41,636 --> 00:04:44,636 Speaker 1: just like get out. It's like, go beyond yourself. It's 79 00:04:44,676 --> 00:04:46,636 Speaker 1: not about you, you know. It's like that's what I 80 00:04:46,676 --> 00:04:48,276 Speaker 1: was trying to say, is that it's it's a show 81 00:04:48,316 --> 00:04:50,676 Speaker 1: and it's other people, you know, and it's not about you. 82 00:04:50,756 --> 00:04:53,956 Speaker 1: And there is something like militaristic in the sense of 83 00:04:53,996 --> 00:04:57,076 Speaker 1: like touring is. You know, you do like wear your 84 00:04:57,116 --> 00:04:59,836 Speaker 1: body down and you do lose sleep, and you do 85 00:05:00,076 --> 00:05:03,236 Speaker 1: like feel crazily destroyed at the end of it. But 86 00:05:03,356 --> 00:05:06,596 Speaker 1: it should be because you gave all of yourself to people, 87 00:05:06,676 --> 00:05:09,316 Speaker 1: and that's that's what it should be. Like. Yeah, and 88 00:05:09,156 --> 00:05:11,796 Speaker 1: and also you know, like we we listen to music, 89 00:05:11,836 --> 00:05:14,316 Speaker 1: We have various things we do before the show to 90 00:05:14,476 --> 00:05:16,996 Speaker 1: get into that, to get into the moment. You know, 91 00:05:18,476 --> 00:05:20,196 Speaker 1: do you guys play the same show every night? Is 92 00:05:20,196 --> 00:05:23,876 Speaker 1: it the same set list? No, we vary it for Sanity, 93 00:05:24,236 --> 00:05:26,356 Speaker 1: Like it's just always been that way for us. And 94 00:05:26,636 --> 00:05:28,996 Speaker 1: so you know, our set is usually about an hour 95 00:05:29,276 --> 00:05:33,036 Speaker 1: forty five minutes, and that for us is usually between 96 00:05:33,076 --> 00:05:36,836 Speaker 1: eighteen and twenty songs. And as the tour goes on, 97 00:05:36,956 --> 00:05:41,276 Speaker 1: usually because we're still learning, the first week will be 98 00:05:41,396 --> 00:05:44,316 Speaker 1: kind of similar sets, but then we start to really 99 00:05:44,396 --> 00:05:46,756 Speaker 1: start peppering in deeper cuts. And we have a thing 100 00:05:46,796 --> 00:05:50,196 Speaker 1: on our website called the set list Creator where you 101 00:05:50,476 --> 00:05:52,156 Speaker 1: choose the date of the show you're going to and 102 00:05:52,196 --> 00:05:54,356 Speaker 1: then you can enter your top three choices. Oh that's 103 00:05:54,356 --> 00:05:56,796 Speaker 1: so cool. Yeah, And it was just something we've always 104 00:05:56,796 --> 00:05:59,116 Speaker 1: wanted to do. And it's really fun because we consulted daily, 105 00:05:59,316 --> 00:06:01,956 Speaker 1: and you know, obviously their songs will play most nights, 106 00:06:02,316 --> 00:06:06,116 Speaker 1: but for like maybe like the deeper in our catalog song, 107 00:06:06,196 --> 00:06:08,236 Speaker 1: we'll use that to find which song it should be 108 00:06:08,276 --> 00:06:10,356 Speaker 1: for a given show. So I want to talk about 109 00:06:10,396 --> 00:06:13,396 Speaker 1: the band's formative years. And you guys have been making 110 00:06:13,476 --> 00:06:16,996 Speaker 1: music together now for close to twenty years. Well, we 111 00:06:17,076 --> 00:06:18,876 Speaker 1: met in two thousand and four, and our first song 112 00:06:18,916 --> 00:06:20,476 Speaker 1: was written in two thousand and five, so I guess 113 00:06:20,556 --> 00:06:23,716 Speaker 1: about seventeen years. Seventeen years, I guess when you guys 114 00:06:23,756 --> 00:06:26,996 Speaker 1: came together and formed the band. What was the original 115 00:06:27,036 --> 00:06:30,356 Speaker 1: thought for the aesthetic of the band. I don't think 116 00:06:30,356 --> 00:06:33,836 Speaker 1: we were going for an aesthetic. I think that our 117 00:06:33,956 --> 00:06:37,396 Speaker 1: becoming a band was like really about two people who 118 00:06:37,596 --> 00:06:41,516 Speaker 1: met each other and immediately started making music out of 119 00:06:41,556 --> 00:06:44,796 Speaker 1: like necessity. I was introduced to Alex through a friend 120 00:06:44,836 --> 00:06:47,076 Speaker 1: that I had met in college who was a musician 121 00:06:47,116 --> 00:06:50,196 Speaker 1: who lived in Baltimore, and then I meet Alex and 122 00:06:50,236 --> 00:06:54,076 Speaker 1: then pretty much from that moment start playing music with him, 123 00:06:54,116 --> 00:06:56,716 Speaker 1: and then a couple months later, he and I are 124 00:06:56,756 --> 00:07:00,716 Speaker 1: hanging out and we are like making Saltwater from the 125 00:07:00,756 --> 00:07:02,956 Speaker 1: first which would be, you know, the first song we 126 00:07:02,996 --> 00:07:06,236 Speaker 1: ever wrote together and also on the first record, So 127 00:07:06,876 --> 00:07:09,796 Speaker 1: the aesthetic of what we're doing is not the first 128 00:07:09,956 --> 00:07:13,236 Speaker 1: thing that happened. So this, this journey started because of 129 00:07:14,116 --> 00:07:17,036 Speaker 1: you know, music first, and then as we made sounds 130 00:07:17,076 --> 00:07:20,116 Speaker 1: and made songs, we started to discover the you know, 131 00:07:20,596 --> 00:07:23,116 Speaker 1: the look of the first record. But but just just 132 00:07:23,156 --> 00:07:25,756 Speaker 1: to like give you an idea of our creative process. 133 00:07:25,916 --> 00:07:29,316 Speaker 1: So the sound of Beach House when we started was 134 00:07:29,916 --> 00:07:32,916 Speaker 1: Victoria had two keyboards and she liked the way they sounded. 135 00:07:32,916 --> 00:07:34,876 Speaker 1: Why did she find those keyboards? We don't. It's like 136 00:07:34,956 --> 00:07:39,036 Speaker 1: it's like you're naturally drawn to things. They were nothing special. 137 00:07:39,716 --> 00:07:43,116 Speaker 1: I had, you know, a guitar I was borrowing from someone, 138 00:07:43,276 --> 00:07:47,316 Speaker 1: and these organs that I was collecting, and we used 139 00:07:47,356 --> 00:07:49,516 Speaker 1: a four track tape machine, which I had been using 140 00:07:49,556 --> 00:07:52,076 Speaker 1: since I was twelve years old. I like love four 141 00:07:52,116 --> 00:07:54,156 Speaker 1: track tape machines. So we just had these things. They 142 00:07:54,156 --> 00:07:56,676 Speaker 1: were our inherent interests and there was no like, I 143 00:07:56,716 --> 00:07:59,156 Speaker 1: think we should sound like this, like there was no option. 144 00:07:59,396 --> 00:08:01,556 Speaker 1: There was zero option of what we would sound like 145 00:08:02,476 --> 00:08:04,436 Speaker 1: it was just like so natural and there was no 146 00:08:04,556 --> 00:08:06,196 Speaker 1: like we're going to be a band, Like there was 147 00:08:06,276 --> 00:08:13,196 Speaker 1: no forethought, no pretend, no vision. It was just just 148 00:08:13,396 --> 00:08:15,796 Speaker 1: one foot going in front of the other and it 149 00:08:15,836 --> 00:08:18,156 Speaker 1: felt very very natural. Yeah, it seems like that's the 150 00:08:18,196 --> 00:08:20,116 Speaker 1: way that you make music as well. It's like you 151 00:08:20,156 --> 00:08:22,316 Speaker 1: don't think about a project before you start it. A 152 00:08:22,316 --> 00:08:24,836 Speaker 1: project just starts and then you just sort of keep 153 00:08:24,876 --> 00:08:27,836 Speaker 1: up with a momentum and it evolves into what it 154 00:08:28,076 --> 00:08:31,996 Speaker 1: evolves into. Yes, that's a good way of looking at it. 155 00:08:32,036 --> 00:08:35,236 Speaker 1: And you know, I think that it was natural how 156 00:08:35,276 --> 00:08:37,676 Speaker 1: we started working together. But then I think a lot 157 00:08:37,676 --> 00:08:40,876 Speaker 1: of the things we made were out of necessity too, 158 00:08:40,996 --> 00:08:43,396 Speaker 1: because like we of what we had around us and 159 00:08:44,076 --> 00:08:46,196 Speaker 1: it was all just kind of sitting right there. It's 160 00:08:46,236 --> 00:08:49,156 Speaker 1: so telling like how you approach art, because if it 161 00:08:49,196 --> 00:08:51,996 Speaker 1: were me, I feel like I would be so conscious 162 00:08:51,996 --> 00:08:55,316 Speaker 1: of every single little thing and I would be like, 163 00:08:55,596 --> 00:08:58,676 Speaker 1: you know, really thinking about the cover art, the name, 164 00:08:59,156 --> 00:09:01,516 Speaker 1: the way the name looks in the font, Like everything 165 00:09:01,556 --> 00:09:05,036 Speaker 1: would be so overly thought out. So it's so cool 166 00:09:05,076 --> 00:09:06,516 Speaker 1: for me to hear that. It's like, oh, you just 167 00:09:06,996 --> 00:09:10,476 Speaker 1: you have your instruments that you have access to two keyboards. 168 00:09:10,516 --> 00:09:12,236 Speaker 1: That's all it is, and you sit there and it 169 00:09:12,276 --> 00:09:18,476 Speaker 1: just happens. Yeah, it's that, but but we do pay 170 00:09:18,516 --> 00:09:22,036 Speaker 1: a lot of attention to the details, like the fonts 171 00:09:22,196 --> 00:09:26,756 Speaker 1: and the album art. So it's we're kind of two sides, 172 00:09:26,996 --> 00:09:30,276 Speaker 1: you know. It's generated from within. Yeah, the whole universe 173 00:09:30,316 --> 00:09:33,916 Speaker 1: of our esthetic, which is an interesting word, comes from 174 00:09:33,956 --> 00:09:37,116 Speaker 1: the inside. It comes from the hearth, right, so like 175 00:09:38,236 --> 00:09:40,836 Speaker 1: the heat that is inside of the thing that creates 176 00:09:40,916 --> 00:09:44,076 Speaker 1: the music. And it started from the first record. It 177 00:09:44,116 --> 00:09:46,876 Speaker 1: was like, okay, this music, how does this make us feel? 178 00:09:46,956 --> 00:09:49,556 Speaker 1: That's how we got our band name. The word beach 179 00:09:49,556 --> 00:09:52,716 Speaker 1: house came out and there were other words attached to 180 00:09:52,756 --> 00:09:54,836 Speaker 1: it and other types of words, and we were floating 181 00:09:54,836 --> 00:09:56,636 Speaker 1: them around, but it came from what is this feeling 182 00:09:56,636 --> 00:09:59,636 Speaker 1: that we're creating. That's where we got beach House. And 183 00:09:59,676 --> 00:10:02,316 Speaker 1: then it was you know, what are the colors are 184 00:10:02,316 --> 00:10:04,396 Speaker 1: the what are the textures of this record? And the 185 00:10:04,436 --> 00:10:06,596 Speaker 1: first record had all the jewels on the cover and 186 00:10:06,636 --> 00:10:09,436 Speaker 1: like the tones and what was and then the font 187 00:10:09,476 --> 00:10:13,156 Speaker 1: of the band name on that cover is my handwriting. 188 00:10:13,916 --> 00:10:15,716 Speaker 1: I made that thing, and you know, and then every 189 00:10:15,716 --> 00:10:18,156 Speaker 1: album since then has been the same type of process, 190 00:10:18,196 --> 00:10:21,796 Speaker 1: Like we get our visual language from the music, and 191 00:10:22,516 --> 00:10:26,396 Speaker 1: that isn't itself intentional because it's we're careful about it 192 00:10:26,436 --> 00:10:31,276 Speaker 1: and extremely thoughtful sot the esthetic world and all the 193 00:10:31,356 --> 00:10:33,916 Speaker 1: details and all the care comes from the music. I 194 00:10:33,956 --> 00:10:36,796 Speaker 1: love hearing people try to describe your music, Like The 195 00:10:36,876 --> 00:10:39,636 Speaker 1: New Yorker recently said that your music they describe it 196 00:10:39,636 --> 00:10:43,916 Speaker 1: as twilight mysticism. Cool, and I'm just curious, like does 197 00:10:43,956 --> 00:10:48,276 Speaker 1: that feel accurate? That feels like somebody was using language 198 00:10:48,276 --> 00:10:51,436 Speaker 1: in a very creative and imaginative way, which is super 199 00:10:51,476 --> 00:10:57,196 Speaker 1: exciting because twilight and light and that thing that the 200 00:10:57,236 --> 00:11:00,236 Speaker 1: world gives to you as a human, Like we live 201 00:11:00,276 --> 00:11:02,156 Speaker 1: in the world and all we have to do is 202 00:11:02,196 --> 00:11:05,116 Speaker 1: look at it to get an infinite amount of inspiration. 203 00:11:05,276 --> 00:11:08,316 Speaker 1: And yeah, I love that. I mean, that person is 204 00:11:08,916 --> 00:11:12,316 Speaker 1: accessing that part of living where they see something and 205 00:11:12,356 --> 00:11:16,396 Speaker 1: it makes them think about something larger. I mean, I 206 00:11:16,396 --> 00:11:20,316 Speaker 1: don't know if anyone who's not moved by twilight is 207 00:11:20,716 --> 00:11:24,956 Speaker 1: essentially insane, because it's it's just it's like, so it's like, 208 00:11:24,996 --> 00:11:26,876 Speaker 1: you know, the world that we see all day long 209 00:11:26,996 --> 00:11:30,156 Speaker 1: just becomes this incredibly beautiful place for a short amount 210 00:11:30,196 --> 00:11:34,516 Speaker 1: of time, and it's just really really wonderful. What were 211 00:11:34,596 --> 00:11:37,436 Speaker 1: some of like the foundational albums for you both, Like 212 00:11:37,476 --> 00:11:39,356 Speaker 1: what were you listening to in high school? Like the 213 00:11:39,436 --> 00:11:41,916 Speaker 1: first album where it's not something that's like playing in 214 00:11:41,956 --> 00:11:45,556 Speaker 1: your parents' car or like an older sibling is listening to, 215 00:11:45,636 --> 00:11:49,196 Speaker 1: it's like your album. Me and my like high school 216 00:11:49,196 --> 00:11:53,796 Speaker 1: crew got really political, which was awesome, and like you know, 217 00:11:53,796 --> 00:11:56,076 Speaker 1: it's like part of our the way we were like 218 00:11:56,236 --> 00:12:00,676 Speaker 1: becoming adults informing our identity. But we got really into 219 00:12:00,836 --> 00:12:04,676 Speaker 1: Bob Marley and just reggae in general, and I learned 220 00:12:04,996 --> 00:12:08,996 Speaker 1: I learned every every baseline. I was a bassist first. 221 00:12:08,996 --> 00:12:11,836 Speaker 1: I learned every baseline to every Bob Marley record at 222 00:12:11,996 --> 00:12:14,516 Speaker 1: age fifteen or sixteen, and it was so huge to 223 00:12:14,596 --> 00:12:16,516 Speaker 1: us and the political side of it, and it was 224 00:12:16,516 --> 00:12:17,956 Speaker 1: so funny when I got to college, and it was 225 00:12:17,996 --> 00:12:19,996 Speaker 1: shocking to me when I found out how a lot 226 00:12:20,036 --> 00:12:25,356 Speaker 1: of people perceived Bob Marley as kind of playful, non 227 00:12:25,436 --> 00:12:27,596 Speaker 1: serious music, because I had had such a like kind 228 00:12:27,596 --> 00:12:30,676 Speaker 1: of like formative political relationship with it and found it 229 00:12:30,716 --> 00:12:35,196 Speaker 1: so crucial to like my identity and various things, and 230 00:12:36,076 --> 00:12:41,316 Speaker 1: found his calls to be so beautiful and worthy and yeah, 231 00:12:41,316 --> 00:12:44,676 Speaker 1: and then just the sonic aspects of reggae and all 232 00:12:44,676 --> 00:12:47,116 Speaker 1: of those Bob Marley records had a massive effect on 233 00:12:47,636 --> 00:12:49,956 Speaker 1: the way I saw music and the way I heard 234 00:12:49,956 --> 00:12:53,556 Speaker 1: it put together, and the warm tones mixed with the 235 00:12:53,716 --> 00:12:57,596 Speaker 1: super serious message felt so powerful to me. Where did 236 00:12:57,676 --> 00:13:01,556 Speaker 1: you go after reggae? Well, yeah, I mean that's just 237 00:13:01,676 --> 00:13:05,916 Speaker 1: one step of things. But I also explored very heavily. 238 00:13:05,916 --> 00:13:08,076 Speaker 1: I'm thinking of ones that where I like learned every 239 00:13:08,116 --> 00:13:11,716 Speaker 1: aspect of the music. I got really really into all 240 00:13:11,716 --> 00:13:15,636 Speaker 1: the Stevie Wanda records from the seventies, the ones that 241 00:13:15,676 --> 00:13:19,396 Speaker 1: he self produced. It's just such a great array of 242 00:13:19,556 --> 00:13:24,476 Speaker 1: musicianship but great songwriting, and it's eclectic, and I mean 243 00:13:24,556 --> 00:13:27,596 Speaker 1: those records are just incredible intervisions talking book songs in 244 00:13:27,636 --> 00:13:31,116 Speaker 1: the key of life fulfilling. This is first finale that 245 00:13:31,156 --> 00:13:33,556 Speaker 1: kind of stuff. And then Victoria, what about you? What 246 00:13:33,596 --> 00:13:36,876 Speaker 1: were some foundational or just early albums that you really 247 00:13:36,876 --> 00:13:40,036 Speaker 1: gravitated towards. You know, it's funny there. I think that 248 00:13:40,076 --> 00:13:42,676 Speaker 1: this might be like one of the things that maybe 249 00:13:42,716 --> 00:13:45,116 Speaker 1: when Alex and I like started making music, we didn't 250 00:13:45,156 --> 00:13:48,956 Speaker 1: realize that we probably just we shared some total overlaps 251 00:13:48,956 --> 00:13:50,556 Speaker 1: of what we were attracted to, because I was going 252 00:13:50,636 --> 00:13:54,316 Speaker 1: to say that, you know, there's your childhood music, but 253 00:13:54,356 --> 00:13:56,876 Speaker 1: then I think for the albums that you fall in 254 00:13:56,876 --> 00:13:58,916 Speaker 1: love with when you're a teenager, really I think are 255 00:13:59,316 --> 00:14:02,716 Speaker 1: some of the ones that profoundly affect you, you know, 256 00:14:02,756 --> 00:14:05,396 Speaker 1: as the beginning of you becoming an adult. So like 257 00:14:05,516 --> 00:14:10,316 Speaker 1: I was obviously into like Nirvana and Whole. I loved Whole. 258 00:14:10,436 --> 00:14:14,316 Speaker 1: I still do too. I like Smashing Pumpkins, Um Siamese 259 00:14:14,356 --> 00:14:17,916 Speaker 1: Siamese Dream is an amazing record. I also fell in love, 260 00:14:18,236 --> 00:14:20,356 Speaker 1: you know, with somebody, your first like fall in love, 261 00:14:20,556 --> 00:14:23,116 Speaker 1: and it was there was like rasta man vibration and 262 00:14:23,276 --> 00:14:26,356 Speaker 1: you know, like just uh, that whole reggae world was 263 00:14:26,476 --> 00:14:30,396 Speaker 1: part of my life too, and you know Rabbi Shankar 264 00:14:30,676 --> 00:14:32,916 Speaker 1: and you know, like that song I Miss You. I 265 00:14:32,916 --> 00:14:35,236 Speaker 1: mean there's so many albums, so yeah, I think that 266 00:14:35,356 --> 00:14:42,196 Speaker 1: there's some there's some sharing of the glowing, warm, romantic, melodic, 267 00:14:42,596 --> 00:14:45,116 Speaker 1: you know, the feelings all in this like kind of 268 00:14:45,116 --> 00:14:49,556 Speaker 1: beautiful alchemy. What did you especially like about Whole About 269 00:14:49,596 --> 00:14:54,636 Speaker 1: Courtney Love, I'm just curious. Um, just it's it's a power. 270 00:14:54,716 --> 00:14:57,836 Speaker 1: It's just a powerful it's a powerful thing like if 271 00:14:57,876 --> 00:15:01,636 Speaker 1: you're a young girl and you're listening to that, you're 272 00:15:01,676 --> 00:15:04,236 Speaker 1: just like this, this woman, you know, this this like 273 00:15:04,436 --> 00:15:07,436 Speaker 1: force of nature. Yeah, it's it's just like once you 274 00:15:07,516 --> 00:15:09,236 Speaker 1: hear it, you're kind you're just not the same, you know, 275 00:15:09,236 --> 00:15:11,076 Speaker 1: And that's there's a lot of artists that are like that. 276 00:15:11,716 --> 00:15:14,436 Speaker 1: You know, Nirvana's like that, and you know, there are 277 00:15:14,436 --> 00:15:16,396 Speaker 1: a lot of people that once you hear hear them, 278 00:15:16,916 --> 00:15:20,956 Speaker 1: you're not the same. Bob Marley yay, you know, um, 279 00:15:21,116 --> 00:15:24,036 Speaker 1: there are a lot of people that are you know, 280 00:15:24,076 --> 00:15:27,596 Speaker 1: they just change you quickly. But yeah, her screaming, her voice, 281 00:15:27,636 --> 00:15:29,916 Speaker 1: it's like there's just a unique quality to it. And 282 00:15:29,996 --> 00:15:32,436 Speaker 1: also the music, the song is really great. Yeah, the 283 00:15:32,516 --> 00:15:34,956 Speaker 1: songwriting is incredible. You know, live Through This is an 284 00:15:34,956 --> 00:15:38,316 Speaker 1: incredible record. People are going to copy that for the 285 00:15:38,316 --> 00:15:41,436 Speaker 1: rest of time, you know, and everything talk about aesthetics, 286 00:15:41,476 --> 00:15:44,236 Speaker 1: I mean that whole thing is just like, yeah, that 287 00:15:44,436 --> 00:15:49,076 Speaker 1: is an incredible force of inspiration. The baby doll, the makeup, 288 00:15:49,196 --> 00:15:51,156 Speaker 1: the you know, and it's coming from punk and post 289 00:15:51,156 --> 00:15:54,076 Speaker 1: punk and all that stuff, which also was a huge 290 00:15:54,076 --> 00:15:56,556 Speaker 1: part of my upbringing. So there was a mixture of 291 00:15:56,596 --> 00:16:01,436 Speaker 1: like the warm, gooey, the velvety layers, the velvet underground, 292 00:16:01,436 --> 00:16:04,276 Speaker 1: and then there's also the reggae and then yeah, it's 293 00:16:04,316 --> 00:16:06,156 Speaker 1: just a whole combo of things. That's that's how my 294 00:16:06,196 --> 00:16:09,916 Speaker 1: brain works, the kind of all combines into one. It's 295 00:16:09,916 --> 00:16:13,596 Speaker 1: all one album. Just kidding. We'll be right back with 296 00:16:13,636 --> 00:16:16,436 Speaker 1: more from Leah Rose and Beach House. After a quick break, 297 00:16:20,636 --> 00:16:23,156 Speaker 1: we're back with more from Beach House and Leah Rose. 298 00:16:23,756 --> 00:16:26,756 Speaker 1: Let's talk a little bit about Victoria, about how you 299 00:16:27,276 --> 00:16:30,196 Speaker 1: have evolved as a singer over the years. How would 300 00:16:30,196 --> 00:16:33,676 Speaker 1: you say that your voice has changed as your career 301 00:16:33,716 --> 00:16:39,036 Speaker 1: has progressed. There's a whole scientific way of talking about voice. 302 00:16:39,076 --> 00:16:42,676 Speaker 1: That's one way of looking at it, and it's very factual, 303 00:16:42,836 --> 00:16:45,796 Speaker 1: you know, like people's voices continue to change until they're 304 00:16:45,796 --> 00:16:48,916 Speaker 1: like mid forties and then obviously past then. But in 305 00:16:48,996 --> 00:16:52,876 Speaker 1: terms of like people who use their voices in specific ways, 306 00:16:53,356 --> 00:16:57,396 Speaker 1: I have always when I start singing or I'm writing 307 00:16:57,516 --> 00:17:00,356 Speaker 1: or all of that, I'm always just going from a 308 00:17:00,396 --> 00:17:04,436 Speaker 1: place of what is comfortable to me. So it's not 309 00:17:04,676 --> 00:17:09,116 Speaker 1: very like super self conscious. But there are definitely things 310 00:17:09,196 --> 00:17:12,276 Speaker 1: that I like to do with my voice and the 311 00:17:12,316 --> 00:17:14,796 Speaker 1: way that it sounds, and I work from just that 312 00:17:15,116 --> 00:17:17,996 Speaker 1: in out world, you know, when I listen to my 313 00:17:18,076 --> 00:17:21,436 Speaker 1: voice over in you know, the past and various Beach 314 00:17:21,476 --> 00:17:24,596 Speaker 1: House albums like there are definitely like a range of 315 00:17:25,276 --> 00:17:28,196 Speaker 1: vocal worlds all over the records, and I just feel 316 00:17:28,236 --> 00:17:31,676 Speaker 1: like I continue to just kind of build on that, 317 00:17:31,996 --> 00:17:33,796 Speaker 1: you know, and go with the float. But I do 318 00:17:33,996 --> 00:17:37,956 Speaker 1: technically have classical training, and I you know, I don't 319 00:17:37,996 --> 00:17:40,916 Speaker 1: lose my voice very often at all. For whatever reason, 320 00:17:40,996 --> 00:17:43,956 Speaker 1: I don't have problems with that, probably just jinx to myself. 321 00:17:44,716 --> 00:17:48,356 Speaker 1: Some singers do a lot of warm ups and you know, 322 00:17:48,436 --> 00:17:51,076 Speaker 1: two hours, and I don't know how I can't do that. 323 00:17:51,196 --> 00:17:54,156 Speaker 1: I'm very much like a shot of tequila, you know, 324 00:17:54,236 --> 00:17:56,756 Speaker 1: and that's that's my warm up. Not to sound like 325 00:17:57,196 --> 00:18:00,436 Speaker 1: I'm such a rocker, but that is a kind of 326 00:18:00,476 --> 00:18:02,716 Speaker 1: my attitude with it too. Who were some of the 327 00:18:02,796 --> 00:18:06,196 Speaker 1: first voices that you were really attracted to or really 328 00:18:06,236 --> 00:18:10,516 Speaker 1: moved by early on in my life. I was attracted 329 00:18:10,596 --> 00:18:15,236 Speaker 1: to Michael Jackson. I was attracted to musicals. I was 330 00:18:15,236 --> 00:18:19,076 Speaker 1: attracted to the official fan of the opera musical, Sarah Brightman. 331 00:18:20,076 --> 00:18:22,516 Speaker 1: You know, obviously everybody has loved Stevie Nicks. At some 332 00:18:22,596 --> 00:18:26,796 Speaker 1: point I loved Chris Bell's voice, you know, in my twenties, 333 00:18:26,956 --> 00:18:31,276 Speaker 1: I've loved Tom Petty's voice. I've loved a lot of 334 00:18:31,316 --> 00:18:34,276 Speaker 1: male voices actually, and I'm you know, of course forgetting 335 00:18:34,276 --> 00:18:36,396 Speaker 1: them now because it's the it's the video store effect 336 00:18:36,436 --> 00:18:37,996 Speaker 1: where you go in and you're like, wait a minute, 337 00:18:38,116 --> 00:18:41,516 Speaker 1: what's my favorite movie? I don't know, was there a 338 00:18:41,516 --> 00:18:43,756 Speaker 1: period of time when you started out where you were 339 00:18:44,276 --> 00:18:49,076 Speaker 1: emulating other people's voice. I think that, like just very subconsciously. 340 00:18:49,076 --> 00:18:52,716 Speaker 1: I think I was probably all the men I've ever 341 00:18:52,756 --> 00:18:55,836 Speaker 1: listened to, like in my life, of any you know, artist, 342 00:18:56,076 --> 00:19:00,436 Speaker 1: was probably like in my own abstract way, like embodying 343 00:19:00,476 --> 00:19:03,516 Speaker 1: all of the male voices that I was either subjected 344 00:19:03,556 --> 00:19:08,516 Speaker 1: to or like bombarded with or really loved. When you 345 00:19:08,556 --> 00:19:11,916 Speaker 1: start doing something, you're kind of just processing all of 346 00:19:11,956 --> 00:19:15,756 Speaker 1: your inspirations all in one kind of like if you okay, 347 00:19:15,756 --> 00:19:18,036 Speaker 1: that's gonna this is a really crazy thing that just 348 00:19:18,076 --> 00:19:20,716 Speaker 1: came into my head. But people who like make pasta, 349 00:19:20,836 --> 00:19:23,436 Speaker 1: you know how like when pasta comes out in all 350 00:19:23,476 --> 00:19:26,196 Speaker 1: of the holes and it's like all of the noodles, 351 00:19:26,716 --> 00:19:30,756 Speaker 1: the desire to like make sound come out of your mouth, 352 00:19:31,756 --> 00:19:35,236 Speaker 1: You're you're making something right, But then the all of 353 00:19:35,276 --> 00:19:37,956 Speaker 1: the things you ever heard come out in all of 354 00:19:37,956 --> 00:19:41,356 Speaker 1: those like strands, and that is your voice. Like your 355 00:19:41,396 --> 00:19:44,476 Speaker 1: voice is like made up out of all of the 356 00:19:44,556 --> 00:19:48,276 Speaker 1: things you've ever loved or been attracted to, like how 357 00:19:48,276 --> 00:19:50,316 Speaker 1: hard you want to be or how soft you want 358 00:19:50,316 --> 00:19:52,276 Speaker 1: to be, or like you want to be like a 359 00:19:52,316 --> 00:19:54,356 Speaker 1: man and a woman. You know, you hear a lot 360 00:19:54,396 --> 00:19:56,716 Speaker 1: of people, you know, even male artists today like that 361 00:19:56,876 --> 00:19:58,796 Speaker 1: kind of like sing and then you kind of can't 362 00:19:58,836 --> 00:20:00,676 Speaker 1: tell if it's a girl or not, you know, and 363 00:20:00,716 --> 00:20:04,316 Speaker 1: that you know that's probably always existed. There are male 364 00:20:04,396 --> 00:20:06,236 Speaker 1: singers who want to sound more like a woman, and 365 00:20:06,356 --> 00:20:08,876 Speaker 1: there are female singers that don't want to sound like 366 00:20:08,916 --> 00:20:11,316 Speaker 1: a and they want to sound more like a man. 367 00:20:11,436 --> 00:20:15,596 Speaker 1: So it's just my descript my description of the pasta 368 00:20:15,756 --> 00:20:19,396 Speaker 1: is is just more like about the shapes of things 369 00:20:19,436 --> 00:20:22,676 Speaker 1: that are invisible. It's a pleasing image. Yeah, it's it's 370 00:20:22,676 --> 00:20:25,836 Speaker 1: the processing of like all that comes before and then 371 00:20:25,876 --> 00:20:30,996 Speaker 1: the transference through something and becoming like multiple things. Was 372 00:20:31,036 --> 00:20:34,396 Speaker 1: there a moment when you knew that you found your voice? 373 00:20:34,436 --> 00:20:37,036 Speaker 1: It seems like a really really hard place to get to, 374 00:20:37,676 --> 00:20:40,596 Speaker 1: But do you remember when you sort of realize like, Okay, 375 00:20:40,636 --> 00:20:43,596 Speaker 1: this is me. I mean I honestly think that, like 376 00:20:43,636 --> 00:20:47,636 Speaker 1: when Alex and I made Saltwater, like the very first song, Like, 377 00:20:47,676 --> 00:20:51,436 Speaker 1: I do feel like the beginning of me and like 378 00:20:51,836 --> 00:20:55,316 Speaker 1: my identity as a singer definitely is in the first album. 379 00:20:55,716 --> 00:20:58,276 Speaker 1: But everybody's albums that come before them, they're younger. It's 380 00:20:58,276 --> 00:21:01,116 Speaker 1: that Mitch Hedberg joke, like what is this is a 381 00:21:01,116 --> 00:21:03,036 Speaker 1: picture of me when I was younger? It's like, yes, 382 00:21:03,156 --> 00:21:06,556 Speaker 1: every picture of you is you when you were younger, 383 00:21:07,436 --> 00:21:09,596 Speaker 1: and so every album is you when you were younger. 384 00:21:09,916 --> 00:21:12,596 Speaker 1: But yeah, I think that it started right at the beginning. 385 00:21:12,716 --> 00:21:15,716 Speaker 1: I feel like there just was the desire and the 386 00:21:15,956 --> 00:21:18,196 Speaker 1: you know, the four track and the you know, the 387 00:21:18,236 --> 00:21:21,356 Speaker 1: crappiness and just the kind of like innocence. Do you 388 00:21:21,396 --> 00:21:24,076 Speaker 1: revisit the old albums ever? I mean, I know you're 389 00:21:24,076 --> 00:21:26,276 Speaker 1: you're playing songs when you're on tour, but do you 390 00:21:26,276 --> 00:21:28,556 Speaker 1: ever sit down with the old albums, listen to them 391 00:21:28,556 --> 00:21:31,356 Speaker 1: and sort of like think about them and how they 392 00:21:31,396 --> 00:21:34,236 Speaker 1: sort of like fit into your evolution as a band. 393 00:21:35,156 --> 00:21:38,836 Speaker 1: That To be very honest, no, we don't sit and 394 00:21:38,876 --> 00:21:41,556 Speaker 1: listen to our albums because we kind of know what 395 00:21:41,596 --> 00:21:44,676 Speaker 1: we did, and so it's like it's it's in there somewhere, 396 00:21:44,716 --> 00:21:46,676 Speaker 1: and you know, they're the things we like and they're 397 00:21:46,676 --> 00:21:48,436 Speaker 1: things we don't like, and we just kind of move on. 398 00:21:49,436 --> 00:21:53,116 Speaker 1: But every once in a while we'll hear our songs somewhere, like, 399 00:21:53,636 --> 00:21:56,156 Speaker 1: you know, years ago we heard a song from the 400 00:21:56,236 --> 00:21:58,796 Speaker 1: very first record and I didn't even you know, people 401 00:21:58,796 --> 00:22:01,516 Speaker 1: are talking and it was a dark, crowded bar. Didn't 402 00:22:01,556 --> 00:22:05,396 Speaker 1: recognize ourselves. And sometimes that's a really cool moment where 403 00:22:05,476 --> 00:22:07,996 Speaker 1: you hear something that you did and for a brief 404 00:22:08,036 --> 00:22:10,436 Speaker 1: few moments, you just don't. You go out of your 405 00:22:10,436 --> 00:22:12,676 Speaker 1: body and you're not you anymore and you're just you're 406 00:22:12,716 --> 00:22:14,516 Speaker 1: hearing your thing for the thing that you made it 407 00:22:14,556 --> 00:22:17,676 Speaker 1: the way other people hear it. Did you like it? Yeah, 408 00:22:17,276 --> 00:22:20,796 Speaker 1: I mean I did and at first, and it made 409 00:22:20,796 --> 00:22:23,116 Speaker 1: me revisit a song that I hadn't looked at on 410 00:22:23,156 --> 00:22:25,276 Speaker 1: a record. It was I think it was Home again 411 00:22:25,396 --> 00:22:29,116 Speaker 1: from the first album, second album. See this is this 412 00:22:29,156 --> 00:22:32,796 Speaker 1: is a proof of memory not working from the first record. 413 00:22:33,076 --> 00:22:36,276 Speaker 1: Um it's from devotion. So yeah, it made us. It 414 00:22:36,356 --> 00:22:39,116 Speaker 1: made me made me revisit it, not the whole thing, 415 00:22:39,156 --> 00:22:41,876 Speaker 1: but that song, So that that does happen. But sometimes 416 00:22:41,916 --> 00:22:45,076 Speaker 1: it's just a song and like or you'll see something 417 00:22:45,116 --> 00:22:46,636 Speaker 1: like on the internet or something and I'll be like, 418 00:22:47,036 --> 00:22:49,996 Speaker 1: oh that song. Oh and then you remember that or 419 00:22:49,996 --> 00:22:51,996 Speaker 1: you listen to it. But as far as listening to 420 00:22:52,036 --> 00:22:54,796 Speaker 1: a whole album, I think we'd have to get pretty 421 00:22:54,836 --> 00:22:57,916 Speaker 1: drunk for that, well, like just just to like, you know, 422 00:22:58,036 --> 00:23:00,076 Speaker 1: lighten the fact that it just brings a lot of 423 00:23:00,236 --> 00:23:02,996 Speaker 1: I think it. You know, nostalgia is a really crazy thing. 424 00:23:03,436 --> 00:23:06,956 Speaker 1: All humans experience it, and it feels like almost sickening. 425 00:23:07,396 --> 00:23:09,436 Speaker 1: You know, when you're with like a friend and you 426 00:23:09,476 --> 00:23:14,676 Speaker 1: can't stop thinking about the beautiful moments that passed. It 427 00:23:14,876 --> 00:23:16,796 Speaker 1: feels it's like it's like trapp like you want to 428 00:23:16,876 --> 00:23:21,236 Speaker 1: keep going there, but then it's dark because it's not 429 00:23:21,396 --> 00:23:25,476 Speaker 1: life anymore. Brings to mind the Great Gadsby, you know, 430 00:23:25,556 --> 00:23:27,596 Speaker 1: like what do you mean you can't repeat the past? 431 00:23:27,596 --> 00:23:29,236 Speaker 1: Of course you can that urge that we all have 432 00:23:29,436 --> 00:23:32,076 Speaker 1: to go back, but it's never coming back, you know. 433 00:23:32,156 --> 00:23:35,036 Speaker 1: So it's there's this thing that like there's it's a 434 00:23:35,076 --> 00:23:37,796 Speaker 1: scary place to go revisit your past self because you 435 00:23:37,836 --> 00:23:40,556 Speaker 1: can get lost in dark things. Was I better than 436 00:23:40,716 --> 00:23:43,876 Speaker 1: was I? Was I more purer was I, or or 437 00:23:43,876 --> 00:23:46,236 Speaker 1: even the opposite thing, I was terrible, Like I can't 438 00:23:46,236 --> 00:23:47,796 Speaker 1: believe we put this out, you know, like things like 439 00:23:47,836 --> 00:23:50,356 Speaker 1: there's just so many scary feelings that can come back. 440 00:23:50,716 --> 00:23:53,876 Speaker 1: I think having too much self awareness. There's the there's 441 00:23:53,916 --> 00:23:56,316 Speaker 1: the good kind of self awareness, like you know, am 442 00:23:56,316 --> 00:23:58,836 Speaker 1: I being kind? Am I? Kind? Am I? You know? 443 00:23:58,876 --> 00:24:01,596 Speaker 1: But then there's the bad self awareness that could be crippling. 444 00:24:01,716 --> 00:24:04,276 Speaker 1: And if you're too self conscious, then you won't be 445 00:24:04,316 --> 00:24:08,116 Speaker 1: able to move forward, you won't be able to plunge 446 00:24:08,276 --> 00:24:11,956 Speaker 1: into something new. You'll just be so mentally conscious of 447 00:24:12,236 --> 00:24:13,676 Speaker 1: I did this, and then this, and this is what 448 00:24:13,756 --> 00:24:15,876 Speaker 1: I look like and and then you're just like trapped 449 00:24:15,876 --> 00:24:18,316 Speaker 1: in your own hell. And I think the whole idea 450 00:24:18,356 --> 00:24:21,116 Speaker 1: is that it's about risk taking. Yeah, and it doesn't. 451 00:24:21,196 --> 00:24:23,316 Speaker 1: And it's not about like I made this huge risk 452 00:24:23,356 --> 00:24:25,876 Speaker 1: and I it's it's like risks can be really small moments, 453 00:24:26,516 --> 00:24:29,996 Speaker 1: you know, It's like a small little pivot and there 454 00:24:30,036 --> 00:24:32,276 Speaker 1: you went, you know, and you just let go. And 455 00:24:32,316 --> 00:24:34,756 Speaker 1: I think it's just like you did the past, You 456 00:24:34,836 --> 00:24:37,556 Speaker 1: did the things, but you let them go. And putting 457 00:24:37,596 --> 00:24:39,836 Speaker 1: out a record is that it's like at the end 458 00:24:39,876 --> 00:24:41,876 Speaker 1: of the day, like we decided that it is finished 459 00:24:42,556 --> 00:24:44,996 Speaker 1: and it is gone, and you know, the release date 460 00:24:45,036 --> 00:24:47,596 Speaker 1: comes and it's like the bird flies out of the cage, 461 00:24:47,676 --> 00:24:51,276 Speaker 1: is freed and hopefully you know, it was a beautiful bird. 462 00:24:51,316 --> 00:24:54,596 Speaker 1: It was an intense bird. You know, it required a 463 00:24:54,636 --> 00:25:00,236 Speaker 1: lot of like special seeds and flowers and things. But 464 00:25:00,476 --> 00:25:05,156 Speaker 1: it's got to go. And that is a small movement, 465 00:25:05,316 --> 00:25:08,196 Speaker 1: but it is a large liberating one. And I think 466 00:25:08,236 --> 00:25:10,756 Speaker 1: that's kind of a way we've been rolling. Is that 467 00:25:10,836 --> 00:25:13,476 Speaker 1: process at the very end a tough one. Does It 468 00:25:13,556 --> 00:25:16,396 Speaker 1: take a lot of time and thought and energy and 469 00:25:16,916 --> 00:25:18,796 Speaker 1: sort of like an executive call to be like, all right, 470 00:25:18,796 --> 00:25:20,676 Speaker 1: we're calling it. This is the end of the album. 471 00:25:20,716 --> 00:25:24,396 Speaker 1: It's done. The end stage of an album is like 472 00:25:24,596 --> 00:25:28,476 Speaker 1: the most difficult one because it is like the the 473 00:25:28,556 --> 00:25:32,156 Speaker 1: labor that lasts an under You know, you don't know 474 00:25:32,156 --> 00:25:33,916 Speaker 1: how long it's gonna last, but you know that you 475 00:25:33,956 --> 00:25:36,156 Speaker 1: want it to get out, and it's it can be 476 00:25:36,236 --> 00:25:40,436 Speaker 1: quite painful, quite challenging. You can become sick of yourself 477 00:25:40,516 --> 00:25:42,916 Speaker 1: and sick of and board or whatever the thing. So 478 00:25:42,956 --> 00:25:45,676 Speaker 1: it's it's the hardest one, but you really it's it 479 00:25:45,796 --> 00:25:49,276 Speaker 1: takes endurance and commitment, and you just and belief and 480 00:25:49,596 --> 00:25:52,396 Speaker 1: just face a lot of faith because there's a lot 481 00:25:52,436 --> 00:25:56,476 Speaker 1: of like moments where you've been working eight hours and 482 00:25:56,556 --> 00:25:59,036 Speaker 1: you go, I hate it, I hate this. This is terrible, 483 00:25:59,436 --> 00:26:01,596 Speaker 1: and you have to know that it's just your brain 484 00:26:02,076 --> 00:26:05,716 Speaker 1: just like malfunctioning, and you have to you know, get 485 00:26:05,756 --> 00:26:09,036 Speaker 1: through to the next day, wake up with a fresh mind, 486 00:26:09,156 --> 00:26:11,476 Speaker 1: and start again. You know, it's like kind of you know, 487 00:26:11,476 --> 00:26:14,676 Speaker 1: it's just so intense, but but really beautiful. Yeah, you 488 00:26:14,876 --> 00:26:16,436 Speaker 1: try to make the best out of what you can 489 00:26:16,476 --> 00:26:18,996 Speaker 1: do and work on something a little bit every day, 490 00:26:18,996 --> 00:26:21,436 Speaker 1: and then with time, maybe it'll grow into a you know, 491 00:26:21,556 --> 00:26:24,116 Speaker 1: maybe it'll grow into a beautiful flower. You never know. 492 00:26:24,156 --> 00:26:26,796 Speaker 1: It might take it might take three days, it might 493 00:26:26,796 --> 00:26:29,116 Speaker 1: take six months, it might take fifteen years, and it 494 00:26:29,196 --> 00:26:31,316 Speaker 1: might take your entire life to make the thing that 495 00:26:31,356 --> 00:26:33,996 Speaker 1: you maybe are the most proud of. Cool and The 496 00:26:34,076 --> 00:26:37,116 Speaker 1: New Yorker called the new album your most ambitious and dynamic. 497 00:26:37,716 --> 00:26:40,156 Speaker 1: Is that something that you agree with? Thank you New 498 00:26:40,236 --> 00:26:42,996 Speaker 1: Yorker for saying that it's nice. It's nice to hear. 499 00:26:44,236 --> 00:26:47,956 Speaker 1: Do you feel like that's a fair assessment. Yes, yeah, 500 00:26:47,956 --> 00:26:50,636 Speaker 1: I mean it's just you know, we we try to 501 00:26:51,876 --> 00:26:56,556 Speaker 1: have it be this really big, open world that you 502 00:26:56,596 --> 00:26:59,436 Speaker 1: could really enter and get lost in. So I think 503 00:26:59,476 --> 00:27:04,436 Speaker 1: in that desire there is some more ambition than perhaps 504 00:27:04,956 --> 00:27:06,636 Speaker 1: or is that what is that what they said? Ambitious, 505 00:27:06,916 --> 00:27:09,476 Speaker 1: dynamic and ambitious. Yeah, so I think the dynamic refers 506 00:27:09,476 --> 00:27:14,836 Speaker 1: to there's a lot of different song types like there are, Yeah, 507 00:27:14,876 --> 00:27:18,756 Speaker 1: we've got really into production. It's just I think this 508 00:27:18,876 --> 00:27:22,956 Speaker 1: is a representation of the skills we've developed over many 509 00:27:23,036 --> 00:27:26,276 Speaker 1: years and perhaps like a beginning of like pushing more 510 00:27:26,316 --> 00:27:29,676 Speaker 1: in various ways. So you know, to hear the words dynamic, 511 00:27:29,716 --> 00:27:31,796 Speaker 1: to hear the words ambitious, those are true. You know, 512 00:27:31,876 --> 00:27:34,676 Speaker 1: we were like very ambitious about the quantity of songs 513 00:27:34,716 --> 00:27:37,956 Speaker 1: we started with, and you know, once we started it, 514 00:27:38,556 --> 00:27:40,876 Speaker 1: there were times maybe we were like in over our heads, 515 00:27:40,876 --> 00:27:44,156 Speaker 1: but we kept we kept going, And I think that, 516 00:27:44,236 --> 00:27:47,676 Speaker 1: you know, ambition is tricky because it starts you off, 517 00:27:47,716 --> 00:27:51,036 Speaker 1: but then you there's a sense of like completing what 518 00:27:51,116 --> 00:27:53,836 Speaker 1: you've started and you don't know where you're going to 519 00:27:53,996 --> 00:27:56,316 Speaker 1: end up. So I think that we are They're not 520 00:27:56,356 --> 00:27:59,516 Speaker 1: wrong about describing it that way. We're going to take 521 00:27:59,556 --> 00:28:01,636 Speaker 1: a quick break, but we'll be back with more from 522 00:28:01,636 --> 00:28:07,916 Speaker 1: Beach House we're back with the rest of Leah Rose's 523 00:28:07,996 --> 00:28:11,556 Speaker 1: conversation with Beach House. How do you guys feel about 524 00:28:11,596 --> 00:28:14,156 Speaker 1: interviews generally? Do you kind of like dread it or like, 525 00:28:14,236 --> 00:28:17,396 Speaker 1: what's the overall feeling? Just curious? The overall feeling is 526 00:28:17,436 --> 00:28:20,516 Speaker 1: a it's not something we take for granted. It's it's 527 00:28:20,636 --> 00:28:23,836 Speaker 1: very like, you know, the best interviews are a conversation. 528 00:28:24,236 --> 00:28:26,076 Speaker 1: You are a little awkward at the beginning, and then 529 00:28:26,116 --> 00:28:29,276 Speaker 1: you kind of warm up and then you're you're flowing together. 530 00:28:30,076 --> 00:28:32,756 Speaker 1: I think the hardest part about interviews is the and 531 00:28:32,876 --> 00:28:35,836 Speaker 1: not all of them, but sometimes when you're you've made 532 00:28:35,836 --> 00:28:38,756 Speaker 1: something like a record over three years, and then suddenly 533 00:28:38,876 --> 00:28:41,996 Speaker 1: suddenly you the artist, are like, Okay, well, how will 534 00:28:42,036 --> 00:28:45,636 Speaker 1: I explain in like a couple of sentences years of 535 00:28:45,676 --> 00:28:48,076 Speaker 1: my life? That's the hardest part. I think it's like 536 00:28:48,076 --> 00:28:52,076 Speaker 1: how to articulate hours, days, months, years of like like 537 00:28:52,116 --> 00:28:53,956 Speaker 1: the worst day of your life or the you know, 538 00:28:54,036 --> 00:28:56,556 Speaker 1: the best day, And I don't know how to I 539 00:28:56,596 --> 00:29:00,596 Speaker 1: don't say package it, but how to how to relay that, 540 00:29:00,716 --> 00:29:03,236 Speaker 1: how to convey that and not feel like you're leaving 541 00:29:03,236 --> 00:29:06,276 Speaker 1: out something that is crucial you know that somebody would 542 00:29:06,316 --> 00:29:08,916 Speaker 1: find interesting but we're very lucky to be doing interviews 543 00:29:08,916 --> 00:29:12,076 Speaker 1: and very grateful. Yeah, I mean, I think that we 544 00:29:12,236 --> 00:29:15,756 Speaker 1: cherish it because you know, we just we don't take 545 00:29:15,796 --> 00:29:19,476 Speaker 1: it for granted and we're grateful that people care at all. 546 00:29:19,636 --> 00:29:21,636 Speaker 1: And but but I think we also take it take 547 00:29:21,676 --> 00:29:25,596 Speaker 1: it as an opportunity to hopefully clarify some of our 548 00:29:26,316 --> 00:29:29,276 Speaker 1: thoughts and visions for some people who might care. You know, 549 00:29:29,316 --> 00:29:31,876 Speaker 1: I don't think we necessarily see it as like like 550 00:29:31,876 --> 00:29:35,476 Speaker 1: an exposure thing, just because we're not that commercially driven. 551 00:29:36,316 --> 00:29:39,076 Speaker 1: But we see it as a chance for more creativity 552 00:29:39,276 --> 00:29:42,436 Speaker 1: and cool things to happen, you know, And there are 553 00:29:42,476 --> 00:29:45,036 Speaker 1: there are artists who and like you know, every artist 554 00:29:45,116 --> 00:29:47,196 Speaker 1: has the right to decide like how they're going to 555 00:29:47,956 --> 00:29:51,196 Speaker 1: relay or describe their career or their art that they make. 556 00:29:51,316 --> 00:29:54,316 Speaker 1: Some people don't like to do them at all. And 557 00:29:54,876 --> 00:29:57,436 Speaker 1: for us, we're not really comfortable with not doing interviews 558 00:29:57,436 --> 00:30:00,076 Speaker 1: at all because we think that for what our for 559 00:30:00,356 --> 00:30:03,556 Speaker 1: how we are as people, we don't want to be cold, 560 00:30:03,716 --> 00:30:05,956 Speaker 1: and we're not cold, and we don't want to block 561 00:30:05,996 --> 00:30:08,276 Speaker 1: people out. We want to have a conversation. And it is, 562 00:30:08,436 --> 00:30:12,876 Speaker 1: like Alex said, an interview is an opportunity to explain, 563 00:30:13,276 --> 00:30:15,316 Speaker 1: you know, and it is it is an opportunity and 564 00:30:15,356 --> 00:30:19,276 Speaker 1: it's best form to like clarify things and to like 565 00:30:19,356 --> 00:30:21,396 Speaker 1: if there was something, you know, let's pretend that there 566 00:30:21,476 --> 00:30:24,236 Speaker 1: was something like a rumor, right or somebody was like this, 567 00:30:24,236 --> 00:30:27,436 Speaker 1: this person did this thing. If you didn't do interviews 568 00:30:27,436 --> 00:30:30,036 Speaker 1: and you just were like living on social media, you're 569 00:30:30,076 --> 00:30:32,516 Speaker 1: not able to like defend yourself or something. You know, 570 00:30:32,596 --> 00:30:34,916 Speaker 1: you can't. You're just kind of like out there and 571 00:30:34,956 --> 00:30:37,356 Speaker 1: then other people are writing about you or you know, 572 00:30:37,476 --> 00:30:41,516 Speaker 1: or you're like publicly feuding through words that people are seeing. 573 00:30:41,516 --> 00:30:44,156 Speaker 1: But an interview is a conversation and you can get 574 00:30:44,196 --> 00:30:46,996 Speaker 1: through any kind of like disagreement or confusion, but in 575 00:30:47,036 --> 00:30:49,676 Speaker 1: a peaceful way. And I mean it's I think that 576 00:30:50,156 --> 00:30:53,556 Speaker 1: every single person in the world, individual artist, it doesn't 577 00:30:53,556 --> 00:30:58,596 Speaker 1: really matter, I think, once to control the narrative of 578 00:30:58,836 --> 00:31:02,116 Speaker 1: who they are, you know, so just in like a 579 00:31:02,236 --> 00:31:04,956 Speaker 1: very natural way, Like if you see yourself represented in 580 00:31:04,956 --> 00:31:07,276 Speaker 1: a certain way, you want to say, well, that's not 581 00:31:07,316 --> 00:31:09,516 Speaker 1: who I am. I know who I am, you know, 582 00:31:09,636 --> 00:31:12,396 Speaker 1: So I think that but that's just a part of life. 583 00:31:12,476 --> 00:31:15,436 Speaker 1: It can't be avoided. But I think being able to 584 00:31:15,476 --> 00:31:20,236 Speaker 1: control our narrative through our honesty is also something that 585 00:31:20,276 --> 00:31:23,876 Speaker 1: we enjoy. It seems difficult, though, especially when you're talking 586 00:31:23,916 --> 00:31:26,996 Speaker 1: about your creative process, because it seemed like we were 587 00:31:26,996 --> 00:31:30,116 Speaker 1: sort of talking about earlier, like if you're not really 588 00:31:30,156 --> 00:31:34,996 Speaker 1: intellectualizing creativity, then it's like what is there really to 589 00:31:35,116 --> 00:31:38,636 Speaker 1: talk about? In some way, it's true and in a 590 00:31:38,636 --> 00:31:41,756 Speaker 1: certain regard, and there are people who are like really good. 591 00:31:41,916 --> 00:31:44,396 Speaker 1: I've heard other people's interviews and they're so good at 592 00:31:44,476 --> 00:31:48,676 Speaker 1: like intellectualizing what they do and it's really interesting. And 593 00:31:48,716 --> 00:31:52,116 Speaker 1: they have like, you know, a million books and they 594 00:31:52,196 --> 00:31:55,356 Speaker 1: remember all the lines of poems they read that like 595 00:31:55,476 --> 00:31:58,436 Speaker 1: had a huge impact on them. And their voices are great, 596 00:31:58,476 --> 00:32:01,116 Speaker 1: and they're you know, like they're speaking, voices are great, 597 00:32:01,156 --> 00:32:04,036 Speaker 1: and it's like you're just in their brain and their world. 598 00:32:04,076 --> 00:32:09,756 Speaker 1: But I think we're more like children who have, you know, 599 00:32:09,836 --> 00:32:12,516 Speaker 1: a lot of intense feelings were adults. But we also 600 00:32:12,596 --> 00:32:15,276 Speaker 1: have huge, huge kids inside of us, you know, and 601 00:32:15,956 --> 00:32:18,076 Speaker 1: we think about what we do, but we also are 602 00:32:18,156 --> 00:32:23,796 Speaker 1: kind of just super instinctual, a little impatient and forgetful, 603 00:32:23,836 --> 00:32:27,396 Speaker 1: like we do like not remember every single moment that 604 00:32:27,436 --> 00:32:30,196 Speaker 1: had a profound impact on us. It's almost impossible. It's 605 00:32:30,236 --> 00:32:32,756 Speaker 1: like in order to live, you kind of just have 606 00:32:32,796 --> 00:32:35,236 Speaker 1: to live and like break through the walls, and like 607 00:32:35,516 --> 00:32:37,996 Speaker 1: I can't write everything down, and I wish I had 608 00:32:37,996 --> 00:32:40,476 Speaker 1: a better memory. I really do. And just like another 609 00:32:40,516 --> 00:32:42,236 Speaker 1: way of thinking of interviews, I just thought of this, 610 00:32:42,316 --> 00:32:45,036 Speaker 1: you know, like your first question, what were you guys 611 00:32:45,596 --> 00:32:48,076 Speaker 1: going for when you made your first record, and our 612 00:32:48,116 --> 00:32:50,356 Speaker 1: answer of we weren't going for anything. We were just 613 00:32:50,796 --> 00:32:54,236 Speaker 1: being ourselves and letting whatever was there come out. If 614 00:32:54,316 --> 00:32:58,116 Speaker 1: one person listens to this and that changes their artistic approach, 615 00:32:58,276 --> 00:33:01,916 Speaker 1: then the interview was completely worth it. Yeah. And then 616 00:33:01,996 --> 00:33:05,556 Speaker 1: with the new album Once Twice Melody, you released it 617 00:33:05,596 --> 00:33:10,716 Speaker 1: in four chapters. How did that all sort of take shape? Generally, 618 00:33:10,716 --> 00:33:13,996 Speaker 1: when we, you know, are finished a previous record and 619 00:33:14,036 --> 00:33:17,996 Speaker 1: we're starting into a new world of things were inspired 620 00:33:17,996 --> 00:33:20,316 Speaker 1: by we have a lot of little things laying around, 621 00:33:20,316 --> 00:33:24,396 Speaker 1: their little blips recorded here or there. So this time 622 00:33:24,436 --> 00:33:27,116 Speaker 1: we had a ton of these little things, maybe thirty, 623 00:33:27,636 --> 00:33:31,356 Speaker 1: and we just naturally started working on them and having 624 00:33:31,356 --> 00:33:35,476 Speaker 1: them evolve into the into various songs. So it was 625 00:33:35,556 --> 00:33:38,276 Speaker 1: so much material, more than we're used to having. And 626 00:33:38,796 --> 00:33:43,556 Speaker 1: somewhere along the way it became the twenty two best songs, 627 00:33:43,916 --> 00:33:46,516 Speaker 1: that kind of thing, and we were working on them 628 00:33:46,516 --> 00:33:50,076 Speaker 1: steadily over a couple of years, and as we started 629 00:33:50,076 --> 00:33:52,636 Speaker 1: getting closer to the vision of the whole record. At 630 00:33:52,636 --> 00:33:54,876 Speaker 1: one point we went to narrow it down to like 631 00:33:54,916 --> 00:33:58,436 Speaker 1: a normal record length, maybe you know, forty five minutes 632 00:33:58,516 --> 00:34:01,956 Speaker 1: or something like that, by choosing just the best I'm 633 00:34:01,996 --> 00:34:05,196 Speaker 1: doing air quotes, the best songs. But when we did 634 00:34:05,436 --> 00:34:09,796 Speaker 1: when we did that, it didn't feel like the record anymore. 635 00:34:09,836 --> 00:34:13,316 Speaker 1: It didn't have the facets that delivered the vision, and 636 00:34:13,716 --> 00:34:18,476 Speaker 1: it didn't feel like a true measure of the kind 637 00:34:18,476 --> 00:34:21,276 Speaker 1: of artistic space we were in. So that's when we 638 00:34:21,276 --> 00:34:24,516 Speaker 1: started to think, oh, this is a double LP, which 639 00:34:24,516 --> 00:34:27,916 Speaker 1: we've never done before, and that was really exciting to us. 640 00:34:27,956 --> 00:34:31,276 Speaker 1: So as we started to refine that and start and 641 00:34:31,316 --> 00:34:33,996 Speaker 1: try to make sequencing is something that's very very important 642 00:34:34,036 --> 00:34:35,716 Speaker 1: to us, and we spend a long time on sequencing. 643 00:34:35,876 --> 00:34:38,556 Speaker 1: As we started to make the sequence, we started really 644 00:34:38,556 --> 00:34:42,836 Speaker 1: thinking of it in record sides, because we're big Vinyl fans, 645 00:34:43,196 --> 00:34:45,956 Speaker 1: so we started thinking, Okay, side A, side B, side C, 646 00:34:46,436 --> 00:34:50,596 Speaker 1: side D and thinking of it as that, and when 647 00:34:50,636 --> 00:34:52,356 Speaker 1: you do that, you want each one to be between 648 00:34:52,356 --> 00:34:56,636 Speaker 1: eighteen and twenty two minutes long for sound quality, so 649 00:34:57,076 --> 00:35:01,716 Speaker 1: that these became the kind of navigating limitations, and we 650 00:35:01,756 --> 00:35:05,076 Speaker 1: started to think of each side as having a start 651 00:35:05,076 --> 00:35:07,756 Speaker 1: and an end, and then once you had to start 652 00:35:07,756 --> 00:35:09,476 Speaker 1: in the end, you sort of filled in the middle, 653 00:35:09,516 --> 00:35:14,116 Speaker 1: and these kind of certain these kind of individual little 654 00:35:14,676 --> 00:35:18,236 Speaker 1: stories came out of it. And then that one day 655 00:35:18,556 --> 00:35:21,636 Speaker 1: became the chapter idea. Oh, let's call them chapters because 656 00:35:21,636 --> 00:35:24,316 Speaker 1: it's it's very interesting and that it was all evolving 657 00:35:24,356 --> 00:35:26,876 Speaker 1: at the same time, so okay, So that came first, 658 00:35:26,996 --> 00:35:30,676 Speaker 1: so that we eventually had our songs selected and these 659 00:35:30,756 --> 00:35:34,036 Speaker 1: chapters selected, and then later on we had the idea, 660 00:35:34,236 --> 00:35:36,836 Speaker 1: because of streaming being the dominant way that people listen 661 00:35:36,836 --> 00:35:39,796 Speaker 1: to music, now, oh just let's release them one at 662 00:35:39,836 --> 00:35:43,596 Speaker 1: a time, so it almost feels like a periodical in 663 00:35:43,676 --> 00:35:46,236 Speaker 1: the roll up to the final physical release. And it 664 00:35:46,276 --> 00:35:48,476 Speaker 1: just felt really exciting to us, and it felt like 665 00:35:48,516 --> 00:35:51,676 Speaker 1: it was also true to the development of the record 666 00:35:51,716 --> 00:35:54,956 Speaker 1: in a way. Yeah, I've seen some other groups have 667 00:35:55,076 --> 00:35:59,156 Speaker 1: been doing that too, like Brockhampton did that Denzel Curry, 668 00:35:59,556 --> 00:36:02,596 Speaker 1: where people are putting out projects and sort of like 669 00:36:02,716 --> 00:36:06,516 Speaker 1: chunks instead of one full project is after it like 670 00:36:06,556 --> 00:36:09,516 Speaker 1: people's attention spans, Like what's the thinking Like as far 671 00:36:09,556 --> 00:36:12,956 Speaker 1: as streaming platforms, the streaming allows you to put the 672 00:36:13,036 --> 00:36:16,156 Speaker 1: music out quickly, quickly, and it allows you more liberty 673 00:36:16,196 --> 00:36:17,996 Speaker 1: so you don't have to wait as long. The other 674 00:36:18,036 --> 00:36:21,556 Speaker 1: thing is that we don't see them as chunks like EPs, 675 00:36:21,636 --> 00:36:25,036 Speaker 1: even though like Spotify says EP, we don't think of 676 00:36:25,036 --> 00:36:27,876 Speaker 1: it as EP. But there's no like chapter word for 677 00:36:27,996 --> 00:36:32,956 Speaker 1: that platform or side. You know, every platform, Apple, Spotify, 678 00:36:32,996 --> 00:36:35,676 Speaker 1: they all have different little things they can provide for you, 679 00:36:35,796 --> 00:36:37,716 Speaker 1: and they're not you know, they're not doing it the 680 00:36:37,756 --> 00:36:42,476 Speaker 1: same way. So this was just really about being more 681 00:36:42,516 --> 00:36:46,716 Speaker 1: creative and more filmic and more cinematic and more literary 682 00:36:46,756 --> 00:36:49,436 Speaker 1: and all that. So it's just been yeah, you know, 683 00:36:49,476 --> 00:36:52,036 Speaker 1: Alex's explanation is great, but there's also the side to 684 00:36:52,116 --> 00:36:54,396 Speaker 1: it where it's just kind of something we've always wanted 685 00:36:54,436 --> 00:36:57,436 Speaker 1: to just be able to put something out and this 686 00:36:57,516 --> 00:36:59,436 Speaker 1: was one way of being able to do that. Was 687 00:36:59,476 --> 00:37:02,796 Speaker 1: this the first album that you guys produced, Yeah, that's 688 00:37:03,196 --> 00:37:05,356 Speaker 1: it's not the first one we've produced, because we've been 689 00:37:05,756 --> 00:37:08,876 Speaker 1: essentially producing Beach House from the beginning. Not to sound totally, 690 00:37:09,396 --> 00:37:12,756 Speaker 1: but that is the truth and We have worked with producers, 691 00:37:12,796 --> 00:37:15,836 Speaker 1: but our relationship with them has always felt like like 692 00:37:15,916 --> 00:37:19,076 Speaker 1: Chris Cody or Sonic Boom. It's it's the feeling is 693 00:37:19,116 --> 00:37:23,676 Speaker 1: co production because there they have their own skill sets 694 00:37:23,716 --> 00:37:27,836 Speaker 1: and their wisdom and there and we get things from them. 695 00:37:27,876 --> 00:37:30,796 Speaker 1: But ultimately I do feel like we've always been at 696 00:37:30,796 --> 00:37:33,076 Speaker 1: the helm. Well yeah, I mean like just from like 697 00:37:33,116 --> 00:37:36,116 Speaker 1: a like a logistics standpoint, we've no one has ever 698 00:37:36,156 --> 00:37:39,756 Speaker 1: had influence on our arrangements, the instruments we use, the 699 00:37:39,836 --> 00:37:43,396 Speaker 1: arrangements of the songs, the lyrics, the sounds, it's all 700 00:37:43,436 --> 00:37:47,916 Speaker 1: completely ours and we never wanted anyone to have any 701 00:37:47,956 --> 00:37:50,796 Speaker 1: say on that kind of stuff, you know. So production 702 00:37:50,836 --> 00:37:53,116 Speaker 1: has always been something that comes in right at the 703 00:37:53,276 --> 00:37:55,356 Speaker 1: end and just really helps us get across the finish 704 00:37:55,396 --> 00:37:58,396 Speaker 1: line because it's just having another voice, another person there 705 00:37:59,076 --> 00:38:01,596 Speaker 1: is really helpful and really lovely, and so us producing 706 00:38:01,836 --> 00:38:05,156 Speaker 1: by ourselves this time wasn't so much a like definitive choice. 707 00:38:05,196 --> 00:38:07,236 Speaker 1: It maybe would have happened without the pandemic, but it 708 00:38:07,276 --> 00:38:09,476 Speaker 1: was also like the pandemic was like, look, no one 709 00:38:09,476 --> 00:38:11,916 Speaker 1: can travel, no one can get in a plane. Just 710 00:38:11,916 --> 00:38:14,636 Speaker 1: just do it ourselves. The best part about working with 711 00:38:14,676 --> 00:38:17,556 Speaker 1: other people is like the contributions that they bring to 712 00:38:17,636 --> 00:38:20,396 Speaker 1: you that are their own, things that you would never 713 00:38:20,436 --> 00:38:22,836 Speaker 1: think of, right. So, like it's little, it's like we 714 00:38:22,996 --> 00:38:25,356 Speaker 1: don't want to be told things by somebody about things 715 00:38:25,436 --> 00:38:27,396 Speaker 1: we deeply know and we're not going to mess with, 716 00:38:27,516 --> 00:38:29,796 Speaker 1: you know, like for example, like the arrangement of something, 717 00:38:29,956 --> 00:38:33,276 Speaker 1: or the lyrics or like like Alex said, there's things 718 00:38:33,316 --> 00:38:35,796 Speaker 1: that are not quite up for question, right. But the 719 00:38:36,356 --> 00:38:39,076 Speaker 1: times we've worked with other people, you know, great things 720 00:38:39,116 --> 00:38:41,436 Speaker 1: came out of those little moments because they brought something 721 00:38:41,436 --> 00:38:43,756 Speaker 1: that we did not and could not do ourselves. And 722 00:38:43,796 --> 00:38:48,076 Speaker 1: that's the best moment in like working with a producer 723 00:38:48,196 --> 00:38:49,916 Speaker 1: or co produce, you know, whatever you want to call 724 00:38:50,356 --> 00:38:53,036 Speaker 1: and however you want to use the word produce whatever 725 00:38:53,076 --> 00:38:55,516 Speaker 1: that means. It means something different to every artist because 726 00:38:55,556 --> 00:38:57,396 Speaker 1: some people don't know at all what they're doing and 727 00:38:57,436 --> 00:39:00,476 Speaker 1: they need help, and so it's just everybody's different. But 728 00:39:01,116 --> 00:39:03,996 Speaker 1: our best times with other people have been where we 729 00:39:04,036 --> 00:39:07,076 Speaker 1: didn't think of it ourselves. And thank you for that help, 730 00:39:07,116 --> 00:39:10,156 Speaker 1: you know, thank you for teaching us about this new 731 00:39:11,356 --> 00:39:13,876 Speaker 1: new microphone or new like gear. You know, like Sonic 732 00:39:13,916 --> 00:39:17,196 Speaker 1: Boom has an incredible life experience and knowledge and made 733 00:39:17,276 --> 00:39:21,436 Speaker 1: beautiful records and was such a wonderful person to work 734 00:39:21,476 --> 00:39:23,516 Speaker 1: with on seven, you know. And Chris Cody the years 735 00:39:23,516 --> 00:39:26,916 Speaker 1: we spent with him, you know, he's amazing at recording. 736 00:39:26,956 --> 00:39:29,196 Speaker 1: It's just you get knowledge from people, and that's the 737 00:39:29,236 --> 00:39:32,876 Speaker 1: most beautiful part of working with somebody else. It's less 738 00:39:32,876 --> 00:39:35,556 Speaker 1: about like the producing that they do. It's more about 739 00:39:35,596 --> 00:39:38,836 Speaker 1: like the the energy and the information and the knowledge 740 00:39:38,876 --> 00:39:41,316 Speaker 1: that they bestow. So it would be sort of like 741 00:39:41,796 --> 00:39:47,796 Speaker 1: choices about gear and possibly choices about performance. Is that 742 00:39:47,876 --> 00:39:50,396 Speaker 1: how it would work, Like when you're working with another producer, 743 00:39:51,356 --> 00:39:56,196 Speaker 1: it's like it's like smaller and like more like instantaneous 744 00:39:56,276 --> 00:39:59,676 Speaker 1: things that occur, like oh we should use like I 745 00:39:59,756 --> 00:40:01,556 Speaker 1: don't know, I think honestly, it's hard to sum it 746 00:40:01,596 --> 00:40:04,076 Speaker 1: all up. Every record is really really different, you know, 747 00:40:04,316 --> 00:40:06,436 Speaker 1: so we'd have to go record by record. I mean, 748 00:40:06,436 --> 00:40:08,556 Speaker 1: we didn't have a producer on our first two records. 749 00:40:08,556 --> 00:40:12,236 Speaker 1: So actually, that thing in our bio is wrong. It's 750 00:40:12,276 --> 00:40:13,876 Speaker 1: just one of those sentences. It's just one of those 751 00:40:13,876 --> 00:40:16,476 Speaker 1: sentences we wrote and like we probably should have just 752 00:40:16,556 --> 00:40:19,716 Speaker 1: like not written duh or something, you know. Yeah, And 753 00:40:19,756 --> 00:40:23,036 Speaker 1: also but also the word producer is another one of 754 00:40:23,076 --> 00:40:27,196 Speaker 1: these words. Produced or a producer is one of these 755 00:40:27,396 --> 00:40:31,196 Speaker 1: giant words that means something different for everyone and for 756 00:40:31,236 --> 00:40:33,716 Speaker 1: every situation. So it's kind of an annoying. It's an 757 00:40:33,756 --> 00:40:37,756 Speaker 1: annoying word not because producers are annoying, but because it's 758 00:40:37,876 --> 00:40:41,116 Speaker 1: very confusing what you're talking about exactly. Yeah, I'm just 759 00:40:41,156 --> 00:40:44,236 Speaker 1: always interested what goes on in what a producer actually does, 760 00:40:44,236 --> 00:40:46,556 Speaker 1: And I know there's a whole range, Like in hip hop, 761 00:40:46,556 --> 00:40:48,836 Speaker 1: a producer is just is the person making the beat. 762 00:40:49,356 --> 00:40:52,876 Speaker 1: Oh yeah, it's it's different in every genre, or I 763 00:40:52,916 --> 00:40:54,796 Speaker 1: think it's the world by the genre. I think it's 764 00:40:54,796 --> 00:40:57,916 Speaker 1: just it's just down to the person and to the situation. 765 00:40:58,076 --> 00:41:02,716 Speaker 1: It's different. You know, there should be other ones like um, 766 00:41:03,036 --> 00:41:08,876 Speaker 1: you know cha chair sitter, food bringer. Sometimes like the 767 00:41:08,876 --> 00:41:11,556 Speaker 1: best thing a producer can do is nothing, you know, 768 00:41:11,956 --> 00:41:14,836 Speaker 1: like recognizing that they don't have anything to offer and 769 00:41:14,996 --> 00:41:17,556 Speaker 1: something's already perfect, you know, rather than having like an 770 00:41:17,556 --> 00:41:19,236 Speaker 1: ego and thinking they have to add something. You know. 771 00:41:19,236 --> 00:41:22,116 Speaker 1: So it's like the role that is played is even 772 00:41:22,356 --> 00:41:24,716 Speaker 1: different down to the minute. And I think that is 773 00:41:24,756 --> 00:41:29,276 Speaker 1: probably like our best combo with a person with the 774 00:41:29,356 --> 00:41:32,716 Speaker 1: P word would be like they're either going to be 775 00:41:32,756 --> 00:41:36,556 Speaker 1: confirming something we already know or like enabling us to 776 00:41:36,836 --> 00:41:39,716 Speaker 1: have Yes, you guys are right, you should probably do that. 777 00:41:39,756 --> 00:41:41,316 Speaker 1: Like so you know, it's just that little bit of 778 00:41:41,356 --> 00:41:44,196 Speaker 1: a bouncing board, and I think that's the best. I 779 00:41:44,196 --> 00:41:45,956 Speaker 1: think we could probably just leave it at that, Like, 780 00:41:45,996 --> 00:41:49,236 Speaker 1: I think that's the best way it works for us. 781 00:41:49,556 --> 00:41:53,036 Speaker 1: The P word, the P word. Well, thank you guys 782 00:41:53,036 --> 00:41:54,956 Speaker 1: so much for taking the time for talking. It was 783 00:41:54,996 --> 00:41:57,796 Speaker 1: so much fun. Thank you so much. Yeah, thank you 784 00:41:57,876 --> 00:42:03,476 Speaker 1: so much. Thanks the beach Outs for breaking down their 785 00:42:03,476 --> 00:42:07,196 Speaker 1: creative partnership and the inspiration behind their new double album, 786 00:42:07,476 --> 00:42:10,356 Speaker 1: Once Twice Melody. You can hear the new album and 787 00:42:10,476 --> 00:42:12,956 Speaker 1: all of our favorite Beach House songs on my playlist 788 00:42:12,996 --> 00:42:16,276 Speaker 1: at broken record podcast dot com. He should a subscribe 789 00:42:16,276 --> 00:42:19,156 Speaker 1: to our YouTube channel at YouTube dot com slash broken 790 00:42:19,196 --> 00:42:22,396 Speaker 1: record Podcast, where we can find all of our new episodes. 791 00:42:22,876 --> 00:42:25,796 Speaker 1: You can follow us on Twitter at broken Record. Broken 792 00:42:25,796 --> 00:42:29,316 Speaker 1: Record is produced a helpful Lea Rose, Jason Gambrel, Bent, Holiday, 793 00:42:29,596 --> 00:42:33,316 Speaker 1: Eric Sandler, and Jennifer Sanchez, with engineering help from Nick Chaffey. 794 00:42:33,876 --> 00:42:37,716 Speaker 1: Our executive producer is Minia Lobell. Broken Record is a 795 00:42:37,716 --> 00:42:40,636 Speaker 1: production of Pushkin Industries. If you like this show and 796 00:42:40,716 --> 00:42:44,876 Speaker 1: others from pushkin, consider subscribing to Pushkin Plus. Pushkin Plus 797 00:42:44,956 --> 00:42:48,596 Speaker 1: is a podcast subscription that offers bonus content an uninterrupted 798 00:42:48,636 --> 00:42:51,876 Speaker 1: ad free listening for four ninety nine a month. Look 799 00:42:51,876 --> 00:42:55,436 Speaker 1: for Pushkin Plus on Apple Podcasts subscriptions, and if you 800 00:42:55,516 --> 00:42:57,996 Speaker 1: like the show, please remember to share, wait and review 801 00:42:58,076 --> 00:43:00,996 Speaker 1: us on your podcast app Our theme musics by Kenny Beats. 802 00:43:01,276 --> 00:43:02,236 Speaker 1: I'm justin Richmond.