WEBVTT - Edie Brickell 0:00:15.476 --> 0:00:23.076 Pushkin. True to her Texas roots, Edie Burkel can seemingly 0:00:23.116 --> 0:00:27.116 find a song anywhere, including out of thin Air. Here 0:00:27.156 --> 0:00:28.996 it comes as the new album from Edie and her 0:00:28.996 --> 0:00:34.796 collaborators CJ, Camereri and Trevor Hagen, known as Heavy Makeup. Together, 0:00:34.956 --> 0:00:38.116 huddled with Edie and her Texas studio, they improvised over 0:00:38.276 --> 0:00:41.836 one hundred songs before selecting the eleven that make up 0:00:41.876 --> 0:00:45.316 their new album. Heavy Makeup is, of course, only the 0:00:45.436 --> 0:00:48.996 latest musical iteration for Edie, who's found herself ever evolving 0:00:49.076 --> 0:00:51.716 over her career. From her first hit with the New 0:00:51.756 --> 0:00:54.836 Bohemians co writing their massive nineteen eighty eight single What 0:00:54.876 --> 0:00:58.276 I Am, She's never stopped looking for songs. She even 0:00:58.276 --> 0:01:00.796 spent the better part of last decade writing and performing 0:01:00.796 --> 0:01:04.356 with Steve Martin, including their verial musical Bright Star, that 0:01:04.436 --> 0:01:08.956 ran on Broadway in twenty sixteen. On today's episode, Edie, CJ, 0:01:09.316 --> 0:01:13.036 and Trevor discussed the origins of Heavy Makeup, the making 0:01:13.076 --> 0:01:16.196 of the new album, and finish with a short performance 0:01:16.236 --> 0:01:22.876 demonstrating the unique improvisational nature of their work. This is 0:01:22.956 --> 0:01:25.556 broken record liner notes for the digital age. 0:01:25.796 --> 0:01:26.716 I'm justin Mitchman. 0:01:27.636 --> 0:01:31.916 Here's Bruce Hedlam's conversation with Edie Brikel, CJ. Camereri and 0:01:32.076 --> 0:01:35.076 Trevor Hagen, who has heavy makeup, released the new album 0:01:35.476 --> 0:01:36.316 Here It Comes. 0:01:37.636 --> 0:01:40.996 It's a wonderful album. Tell me the idea behind this album. 0:01:41.276 --> 0:01:42.836 Tell me your idea is going into it. 0:01:43.596 --> 0:01:45.316 You guys go ahead, please please. 0:01:46.076 --> 0:01:49.076 Well, this record, much like the first record, kind of 0:01:49.116 --> 0:01:53.356 happened before without us knowing we were doing it. We 0:01:53.476 --> 0:01:58.516 came to Texas to visit Edie like maybe like exactly 0:01:58.596 --> 0:02:02.316 a year ago, right, yes, and the idea was that 0:02:02.316 --> 0:02:04.156 we were going to work on this musical. So we 0:02:04.236 --> 0:02:08.596 set up all our equipment and we just started jamming 0:02:08.676 --> 0:02:11.836 and revising together and it was so much fun that 0:02:11.876 --> 0:02:14.236 we did it again the next day and we realized 0:02:14.236 --> 0:02:16.676 by the thirteenth day we hadn't actually worked on the 0:02:16.756 --> 0:02:20.316 musical at all, So we started working on the musical vigorously. 0:02:20.956 --> 0:02:24.556 And yeah, I think we left Trevor can answer this, 0:02:24.596 --> 0:02:28.276 but we left with like, well over one hundred songs and. 0:02:29.116 --> 0:02:31.516 Right, yeah, it was about one hundred. 0:02:31.636 --> 0:02:35.036 Yeah, different song ideas or different improvisations that we kind 0:02:35.076 --> 0:02:37.836 of started, and yeah, different ideas that we're kind of 0:02:37.836 --> 0:02:38.276 trying out. 0:02:38.716 --> 0:02:41.276 So tell me what it's like when the three of 0:02:41.276 --> 0:02:44.756 you are improvising. What instruments are you playing, What are 0:02:44.796 --> 0:02:49.316 you working from? Do you just lay out a few 0:02:49.396 --> 0:02:52.476 chords or is it much more free form than that? 0:02:53.076 --> 0:02:54.796 What I kind of think is interesting is that it's 0:02:54.916 --> 0:02:59.796 not really that free form, Like we're improvising in song form. 0:03:00.196 --> 0:03:02.236 And so I think that that as a starting point 0:03:02.396 --> 0:03:04.356 is like an interesting building block, right, because a lot 0:03:04.356 --> 0:03:07.156 of when you think about improvisation, you immediately go to jazz, 0:03:07.796 --> 0:03:10.476 and jazz is in song for him, but you know 0:03:10.516 --> 0:03:12.196 it isn't in pop song for. 0:03:12.236 --> 0:03:13.036 Him, let's say. 0:03:13.876 --> 0:03:17.796 And so we create an A section and Edie goes 0:03:17.876 --> 0:03:19.436 and then she gives us a look, and then we 0:03:19.476 --> 0:03:21.996 know we're going to a chorus or a bridge, and 0:03:22.036 --> 0:03:23.516 we go to a chorus, and we go back to 0:03:23.556 --> 0:03:26.636 the A section. Or're creating loops and where I'm usually 0:03:26.676 --> 0:03:29.436 doing a bunch of synthesizers, and then I also play trumpet, 0:03:29.436 --> 0:03:32.636 french horn. Trevor's got a whole big bag of tricks 0:03:32.836 --> 0:03:34.556 over on his side of the desk. 0:03:34.836 --> 0:03:35.756 He can tell you about. 0:03:36.396 --> 0:03:40.796 We're immediately trying to inspire Edie to start telling the 0:03:40.836 --> 0:03:42.036 story and start singing. 0:03:41.796 --> 0:03:45.796 A song and they do that and it feels effortless. 0:03:45.836 --> 0:03:48.276 I feel like they just roll out the red carpet 0:03:48.636 --> 0:03:55.076 just for any melody. It's so open and so much fun. 0:03:55.156 --> 0:03:58.676 It's just it's it's playful, which is what I love, 0:03:59.996 --> 0:04:05.276 and it's welcoming and it's just wide open to just 0:04:06.236 --> 0:04:13.516 listened to the magic thread. Whatever sort of falls down 0:04:13.796 --> 0:04:17.236 in your thoughts, you just grab a hold and trust 0:04:17.276 --> 0:04:20.636 and start climbing up until it weaves into something that 0:04:20.716 --> 0:04:21.636 makes sense somehow. 0:04:22.196 --> 0:04:24.796 I'm a little shocked because the idea that you're improvising 0:04:24.876 --> 0:04:29.316 lyrics as you go, I think that would terrify most people. 0:04:30.156 --> 0:04:33.916 What is it in your background or makeup that makes 0:04:33.916 --> 0:04:34.596 that possible? 0:04:38.356 --> 0:04:42.716 Just walking through nature singing as a little kid, just 0:04:42.756 --> 0:04:49.796 singing all the time. And then, you know, really breaking 0:04:49.876 --> 0:04:53.396 through that one fear of joining a band when I 0:04:53.476 --> 0:04:55.236 was in college and I looked at all the majors 0:04:55.276 --> 0:04:56.956 and I thought I wouldn't be good at any of 0:04:56.996 --> 0:04:59.916 this stuff, and it's not what's in my heart. So 0:05:00.076 --> 0:05:06.436 breaking through and joining a band was, you know, taking 0:05:06.436 --> 0:05:09.036 the biggest risk of my life to try to live 0:05:09.196 --> 0:05:12.676 that dream. And then everything worked out for us. But 0:05:13.196 --> 0:05:15.676 when I first joined the band. We would be booked 0:05:16.236 --> 0:05:19.836 at little clubs, and we were brand new bands, so 0:05:19.956 --> 0:05:22.436 we didn't have enough songs, so we would improvise there 0:05:23.076 --> 0:05:25.436 and I tried to make it sound like a song. 0:05:27.116 --> 0:05:27.196 And. 0:05:28.836 --> 0:05:32.236 People ended up feeling it and liking that, and they 0:05:32.276 --> 0:05:36.436 would come and see us again in our crowd snowballed 0:05:37.476 --> 0:05:40.076 and so it became a part of our shows, and 0:05:40.156 --> 0:05:43.116 it was always ended up being my favorite part. 0:05:43.516 --> 0:05:46.476 So we didn't really know this when we got together 0:05:46.516 --> 0:05:47.956 with Di. She did. 0:05:48.076 --> 0:05:51.836 Trevor and I were touring with a project called karm 0:05:52.636 --> 0:05:55.516 and we had collaborated with Edie on a song and 0:05:55.956 --> 0:05:57.396 we were making a music video for it, and she 0:05:57.436 --> 0:05:59.196 was like, guys, you should come over and we could 0:05:59.276 --> 0:06:01.596 jam one weekend. We were like, sure, let's do it. 0:06:02.156 --> 0:06:04.316 So Trevor and I got together. We didn't really know 0:06:04.356 --> 0:06:06.276 what we were doing. We were like, you know, we 0:06:06.316 --> 0:06:08.996 didn't have a set purpose for being there. We were 0:06:09.316 --> 0:06:11.076 trying to start a new band or trying to make 0:06:11.116 --> 0:06:14.036 a record or whatever. So we just kind of set 0:06:14.076 --> 0:06:17.276 up our gear that we were using on on stage, 0:06:18.076 --> 0:06:20.956 and Trevor got a cool thing going on a drum 0:06:20.996 --> 0:06:24.276 machine and OPI one. We had a little Yamaha refaced 0:06:24.316 --> 0:06:27.596 keyboard and I got a little French worn texture going 0:06:27.596 --> 0:06:31.476 with a line six pedal and I remember this incredible 0:06:31.476 --> 0:06:34.116 moment where Edie said, do you mind if I sing something? 0:06:34.156 --> 0:06:37.036 We're like, of course not, and she just sang a 0:06:37.076 --> 0:06:44.676 whole song right, metaphors, stories versus choruses, and we were like, well, 0:06:44.756 --> 0:06:49.316 that was funny. And she did this like four or 0:06:49.316 --> 0:06:51.556 five times, and then she left the room for a 0:06:51.556 --> 0:06:52.836 minute and Trevor looked at me. 0:06:52.796 --> 0:06:55.476 And says, like, what are these I was like, oh, 0:06:55.516 --> 0:06:56.436 I'm sure she's like just. 0:06:56.356 --> 0:06:58.676 Been writing lyrics on the side, and you know, it's 0:06:58.796 --> 0:07:01.756 just like things she's been working on. And that was 0:07:01.916 --> 0:07:04.476 we asked her though, and they were all just really 0:07:04.716 --> 0:07:09.436 improvisations and it was perplexing and amazing to be in 0:07:09.436 --> 0:07:11.636 the room for that. And and as a musician, it's 0:07:11.676 --> 0:07:14.436 a big challenge, right, so you're going to follow, you know, 0:07:15.876 --> 0:07:17.916 she says, we're going to a chorus. You got to 0:07:18.036 --> 0:07:22.076 play improvised chorus chords right and keep the keep the 0:07:22.156 --> 0:07:24.796 energy of the music flowing and follow where her melodies 0:07:24.796 --> 0:07:27.596 are going. So it's it was It was a it 0:07:27.676 --> 0:07:32.036 was a lot of fun and a fascinating musical challenge. Yeah, 0:07:32.116 --> 0:07:35.156 I think and once we kind of started realizing like 0:07:35.396 --> 0:07:37.676 CG and I are both I think, you know, we 0:07:38.036 --> 0:07:41.796 both in res and jazz before and different environments and 0:07:41.796 --> 0:07:45.076 and it is well with many different like not jamming 0:07:45.116 --> 0:07:49.476 but long form solos and like things emerge and and uh, 0:07:49.596 --> 0:07:51.596 it wasn't It was a little different kind of improvisation 0:07:51.676 --> 0:07:54.196 than that. But I think once we figured out, okay, 0:07:54.236 --> 0:07:57.796 we're kind of making a painting here, and we just 0:07:57.876 --> 0:08:00.436 kind of kind of sit in this chords or in 0:08:00.476 --> 0:08:02.516 a beat or in a groove and just kind of 0:08:03.596 --> 0:08:06.636 let Edy kind of stare out the window and see 0:08:06.636 --> 0:08:09.076 a picture in her head. And then when she starts say, 0:08:09.276 --> 0:08:11.396 we can kind of just slowly follow her. 0:08:11.756 --> 0:08:12.996 And then and we. 0:08:13.036 --> 0:08:15.596 Just would do that over and over again. We just 0:08:15.676 --> 0:08:18.636 do it for ten minutes, stop, start a new BPM, 0:08:18.756 --> 0:08:22.436 started a new progression, and just go I mean for 0:08:22.516 --> 0:08:25.236 this album, we did that for every day for yeah, 0:08:25.356 --> 0:08:27.556 CJA mentioned for about two weeks, and then we just 0:08:27.596 --> 0:08:31.796 had all of these song ideas and it's very exciting 0:08:31.836 --> 0:08:33.556 and then we go back through all of them and 0:08:33.556 --> 0:08:36.196 we're finding all of these great tunes and then we 0:08:36.236 --> 0:08:38.756 have to decide which ones do we keep and which 0:08:38.796 --> 0:08:40.836 ones do we let go or come back to or 0:08:41.076 --> 0:08:43.316 you know, what fit together in a certain way, the 0:08:43.436 --> 0:08:46.316 songs fit together, so really it's it all kind of 0:08:46.316 --> 0:08:50.276 emerges in a very natural, intuitive way, and so we're 0:08:50.316 --> 0:08:53.076 just trying to We kind of stumbled upon that whole 0:08:53.076 --> 0:08:55.756 process really the first time we went and jammed with Eadie, 0:08:56.356 --> 0:08:58.196 and so with this album we kind of knew a 0:08:58.196 --> 0:09:01.036 little bit more like, Okay, how can we set the 0:09:01.116 --> 0:09:02.916 environment correctly? 0:09:03.196 --> 0:09:05.156 More or less Eadie? 0:09:05.236 --> 0:09:08.396 Were you improvising the melody as well over the chords? 0:09:08.876 --> 0:09:13.636 Yes, yes, that's it's really my favorite thing to do 0:09:13.796 --> 0:09:18.196 as I As I said before that I discovered with 0:09:18.716 --> 0:09:23.276 playing with my first band, with New Bohemians, because the 0:09:23.476 --> 0:09:28.636 energy of it is so of the moment you're it's 0:09:28.756 --> 0:09:31.076 and you know how everybody says living in the moment 0:09:31.156 --> 0:09:34.356 is your is your is the healthiest way to live 0:09:35.516 --> 0:09:38.836 and it and that's what I love about inviting these 0:09:38.876 --> 0:09:42.636 players to come and jam, because we're all right there 0:09:42.676 --> 0:09:45.476 in the moment, and it does make you feel so 0:09:45.716 --> 0:09:51.876 alive and so good, and it also makes you trust 0:09:51.596 --> 0:09:55.596 the strange first thing that may come, you know, and 0:09:55.596 --> 0:09:59.676 and when you allow that to unfold and you hear 0:09:59.716 --> 0:10:02.916 the rhymes and you just go with it. Then later 0:10:03.476 --> 0:10:06.636 when you listen back, it's it's like a Sometimes it's 0:10:06.636 --> 0:10:10.796 a gift to yourself, say oh, look what's Look what it's, 0:10:10.916 --> 0:10:14.196 Look what it's whatever. That's what it's saying. Look what's 0:10:14.236 --> 0:10:18.076 happening there. And and as a writer, sitting down with 0:10:18.116 --> 0:10:21.196 an instrument playing a chord progression with piano, I wouldn't 0:10:21.676 --> 0:10:24.236 flow in that same way. That's why I really like 0:10:24.356 --> 0:10:30.596 to flow as a singer making melodies and lyrics as 0:10:30.636 --> 0:10:34.556 a band plays, because it completely frees me up. All 0:10:35.156 --> 0:10:39.716 we're engaging in a conversation together. We're really listening to 0:10:39.796 --> 0:10:43.756 each other, and it's like writing on the best roller 0:10:43.796 --> 0:10:49.796 coaster and or doing just something really super fun together, 0:10:50.236 --> 0:10:53.556 and we're you're really just connected with other people in 0:10:53.596 --> 0:10:59.796 a musical conversation, and that musical conversation involves unpredictable energy 0:10:59.996 --> 0:11:05.636 and unpredictable emotions and imagery that just flow out. 0:11:06.876 --> 0:11:09.916 So you weren't playing at all during this, you were 0:11:09.956 --> 0:11:10.436 just singing. 0:11:11.116 --> 0:11:11.756 I'm just singing. 0:11:11.836 --> 0:11:13.836 So I'm interested if you sat down with one of 0:11:13.876 --> 0:11:15.876 these songs and I want to talk through some of 0:11:15.876 --> 0:11:18.636 the songs later and you were playing the guitar chords 0:11:18.636 --> 0:11:20.276 along with it. You don't think you would have the 0:11:20.276 --> 0:11:23.356 same experience as a singer and writer. 0:11:24.236 --> 0:11:27.916 I wouldn't. I would know, I would be mindful of 0:11:27.956 --> 0:11:31.796 the structure, whereas with this, I can play with phrasing, 0:11:33.196 --> 0:11:38.116 I can play with the energy of it a lot better. 0:11:38.916 --> 0:11:42.636 And as CJ pointed out, I mean I can just 0:11:42.636 --> 0:11:45.236 give the guys a look that says, Okay, I'm finished 0:11:45.276 --> 0:11:49.236 with this partner, let's move on and we But they 0:11:49.276 --> 0:11:52.876 feel it too. It's it's really not It's not a 0:11:52.876 --> 0:11:56.636 lot that I'm directing at all. I'm not. I can 0:11:56.716 --> 0:12:00.476 just glance over. It's almost like a courtesy look where 0:12:01.756 --> 0:12:05.236 they won't change until I offered it. Okay. 0:12:06.876 --> 0:12:08.716 You know, it's a shame this is a podcast because 0:12:08.716 --> 0:12:11.636 you just gave be that look, and you know, I 0:12:11.676 --> 0:12:13.556 thought I should wrap things up. It was like, well, 0:12:14.276 --> 0:12:16.916 onto the B section, you know, the look of the interview. 0:12:16.996 --> 0:12:18.356 Yeah, no, I'm not going to mess with that. 0:12:19.676 --> 0:12:22.196 We'll be right back with more from Heavy Makeup. After 0:12:22.236 --> 0:12:28.916 the break, we're back with Edie Brokel, c J Camery 0:12:29.036 --> 0:12:31.076 and Trevor Hagen of Heavy Makeup. 0:12:31.876 --> 0:12:35.116 The fact that you were doing this mainly with electronic instruments. 0:12:35.916 --> 0:12:38.036 I mean, there were a couple things in this that 0:12:38.276 --> 0:12:42.316 really interested me on is you did very little treatment 0:12:42.356 --> 0:12:46.676 of Edie's voice, And there was something about the different 0:12:48.836 --> 0:12:54.036 temperatures of the sounds coming out the electronic sounds and 0:12:55.756 --> 0:12:57.676 you know, I'm going to deal in cliches here, but 0:12:57.756 --> 0:13:01.076 we tend to think of them as technological and quite cold, 0:13:01.636 --> 0:13:03.996 but then her voice was very, very warm. It was 0:13:05.236 --> 0:13:07.436 really something in the album. Was that something you want 0:13:07.516 --> 0:13:08.396 to preserve or. 0:13:11.516 --> 0:13:12.316 Not not not? 0:13:12.916 --> 0:13:14.756 Maybe intuitively, I think. 0:13:16.316 --> 0:13:19.276 Eatie's voice is so centering I think to of course, 0:13:19.396 --> 0:13:22.676 to every song, so it's kind of leading that just 0:13:22.756 --> 0:13:26.876 front and center, and you know, we we experiment a 0:13:26.916 --> 0:13:29.196 few different times, maybe trying to like bring the voice 0:13:29.236 --> 0:13:31.556 down to the mix a little different, and there's some affecting, 0:13:31.716 --> 0:13:35.356 but really it's just that was just like it just 0:13:35.716 --> 0:13:38.396 flowed so nicely within already the mix of what we've 0:13:38.436 --> 0:13:41.916 been doing and all the treatments we've been doing, and 0:13:42.876 --> 0:13:43.756 it just didn't need it. 0:13:44.236 --> 0:13:45.916 It just just spoke for itself. 0:13:45.956 --> 0:13:48.196 Not that other things needed it either way, but this 0:13:48.436 --> 0:13:50.916 is just kind of, like it said, it's a different flavor, 0:13:50.956 --> 0:13:54.596 a different texture and it seems like it almost comes 0:13:54.596 --> 0:13:58.236 out in a very unexpected way sometimes, So yeah, we 0:13:58.356 --> 0:14:00.756 just kind of let that flow and we never really 0:14:00.916 --> 0:14:03.476 looked back. I don't think, you know, we've I mean 0:14:03.516 --> 0:14:05.276 there's a few times maybe we try something, but it 0:14:05.356 --> 0:14:06.316 was pretty good otherwise. 0:14:07.196 --> 0:14:08.836 Yeah, and I think, I mean, it's it's a really 0:14:08.876 --> 0:14:12.156 great question and something I definitely noticed and thought about 0:14:12.276 --> 0:14:15.236 from an arrangement perspective. Yeah, I think a lot of times, 0:14:15.436 --> 0:14:18.436 I mean, there might be horns on every song, which, 0:14:18.476 --> 0:14:20.556 as I say, that is like a little bit embarrassing, 0:14:20.996 --> 0:14:28.116 but I think sometimes the horn texture and character kind 0:14:28.156 --> 0:14:30.716 of bridges that like purity of the vocal sound with 0:14:30.876 --> 0:14:33.116 the electronic instrument, So it's sort of like in between. 0:14:33.636 --> 0:14:36.236 Trevor would treat the horns in a certain way a 0:14:36.316 --> 0:14:38.476 lot of times, so it kind of characterized, you know, 0:14:38.596 --> 0:14:40.476 both sort of you played with both characters. 0:14:40.676 --> 0:14:44.036 Yeah, I think I misspoke because there's times I'm particularly 0:14:44.076 --> 0:14:48.476 thinking of the first song, Shoe in the Air, that 0:14:49.396 --> 0:14:52.196 there's a nice but trumpet duet. I think it's both trumpets, 0:14:52.236 --> 0:14:54.796 but I might be wrong. Trumpet duet that kind of 0:14:55.836 --> 0:14:58.876 starts before the vocals come in. It's very very warm 0:14:58.916 --> 0:15:00.076 and it's really lovely pace. 0:15:00.836 --> 0:15:02.276 Right, So it's a little bit of like you know, 0:15:03.156 --> 0:15:04.316 sonic foreshadowing. 0:15:04.996 --> 0:15:08.036 Yeah, kind of bridges those two worlds, but there, you know, 0:15:08.196 --> 0:15:13.156 it's it's the world we're interested in. So it's what 0:15:13.316 --> 0:15:15.716 we with the instruments we had when we showed up, 0:15:16.116 --> 0:15:19.636 you know, and so and yeah, it just kind of 0:15:19.636 --> 0:15:20.276 happened naturally. 0:15:20.436 --> 0:15:22.156 This is going to sound like a naive question, but 0:15:22.196 --> 0:15:25.316 I think I would know how someone would compose at 0:15:25.316 --> 0:15:27.316 a piano. I think I might know how they would 0:15:27.716 --> 0:15:31.116 compose at a guitar with a guitar part in me. 0:15:31.596 --> 0:15:36.796 But when you sit down with electric electronic instruments, you generally, 0:15:36.876 --> 0:15:38.836 you guys use like small MIDI controller. 0:15:38.956 --> 0:15:42.996 Is that what you're using? Yeah, I mean, well, like 0:15:43.076 --> 0:15:44.316 there's a bunch of keyboards. 0:15:44.316 --> 0:15:46.276 I mean I think CG and I have like a 0:15:46.476 --> 0:15:49.916 setup like a table together, and I think that kind 0:15:49.916 --> 0:15:52.636 of kind of came out of working in karm together. 0:15:52.836 --> 0:15:56.516 And so we're kind of connected with keyboards, drum machine, 0:15:56.916 --> 0:16:01.596 MIDI controllers and other small instruments to kind of we're 0:16:01.676 --> 0:16:03.996 kind of playing a set up together in some way. 0:16:04.436 --> 0:16:07.036 And and and that allows us to i mean c 0:16:07.196 --> 0:16:10.916 JO to have you know, agnored to reface and he'll 0:16:10.916 --> 0:16:15.396 be playing those. So we have you know, uh, synthesizers, 0:16:15.436 --> 0:16:17.316 and it's not just midti, but we have that to 0:16:17.396 --> 0:16:20.356 control you know, loops and to control different parameters of 0:16:20.396 --> 0:16:24.996 stuff when we're playing live more but essentially when we're improvising, 0:16:25.116 --> 0:16:27.676 we have these. We're all connected, you know, kind of 0:16:27.796 --> 0:16:31.956 to it's some kind of breathing breathing heart or beating heart, 0:16:32.756 --> 0:16:34.836 I guess Trevor would. Trevor kind of makes the initial 0:16:34.876 --> 0:16:38.996 decision with picking a BPM, you know, and so like okay, 0:16:39.796 --> 0:16:41.916 you know, and so what is that where you know, 0:16:41.996 --> 0:16:44.596 and then I sort of pick a synthesizer sound you know, 0:16:44.636 --> 0:16:46.476 we have you have four or five different keyboards or 0:16:46.516 --> 0:16:49.276 all create a front shorn texture, the line six pedal 0:16:49.556 --> 0:16:53.276 or harming you trumpet thing which you know pushes here there. 0:16:53.716 --> 0:16:56.916 The thing we really learned was one of the fun 0:16:57.076 --> 0:17:00.916 lessons of that time in Texas, was we'd immediately try 0:17:00.996 --> 0:17:03.276 to make the most interesting thing we could make, right, 0:17:03.396 --> 0:17:06.276 So Trevor would get a beat going, and I'd create 0:17:06.316 --> 0:17:08.756 a synth texture and then I'd add a little harm 0:17:08.836 --> 0:17:12.876 in you trumpet with a delay, and Edie would get 0:17:12.876 --> 0:17:14.916 the light bulb and she want to start singing, but 0:17:15.036 --> 0:17:17.556 then I would add a move base part. 0:17:17.716 --> 0:17:20.796 She'd be like, oh, no, now I'm thinking about another thing. 0:17:20.876 --> 0:17:22.316 And then Trevor would ad to you know, because we 0:17:22.436 --> 0:17:24.116 created the thing that we thought was really good, but 0:17:24.316 --> 0:17:27.756 like we weren't paying attention to like her initial moment 0:17:27.876 --> 0:17:31.076 of inspiration that she needed to like follow and trust 0:17:31.236 --> 0:17:31.676 right away. 0:17:31.836 --> 0:17:33.356 And so she say, hey, it's. 0:17:33.276 --> 0:17:34.996 Really cool, you did a cool thing, but we need 0:17:35.076 --> 0:17:37.636 to like, you know, but now I'm got three stories 0:17:37.676 --> 0:17:39.076 going in my head and I got to just pick 0:17:39.116 --> 0:17:40.316 the one and focus on it. 0:17:40.396 --> 0:17:43.076 So it's it's just like this, this whole project is 0:17:43.116 --> 0:17:43.356 such a. 0:17:43.396 --> 0:17:49.236 Fascinating music musical journey and like exploring your skill sets. 0:17:49.276 --> 0:17:51.676 You know, Trevor and I both been professional musicians for 0:17:51.716 --> 0:17:55.276 twenty years, and this just really draws upon everything we've 0:17:55.316 --> 0:17:55.836 ever had to do. 0:17:55.956 --> 0:17:58.556 Because it's chamber music, but it's jazz. 0:17:58.876 --> 0:18:01.276 But these are you know, what end up being sort 0:18:01.276 --> 0:18:05.116 of like pop songs, and you know, it's you're using 0:18:05.276 --> 0:18:08.156 all of these skills and it's and it's you have 0:18:08.276 --> 0:18:08.796 to trust them. 0:18:08.876 --> 0:18:11.036 You know, you can't say, but maybe this one will 0:18:11.076 --> 0:18:12.836 be better. No, you can't. You can't do that, because 0:18:12.836 --> 0:18:13.876 then near you missed it. 0:18:14.076 --> 0:18:14.236 You know. 0:18:15.396 --> 0:18:18.356 So once you had the songs that the eleven songs 0:18:18.396 --> 0:18:21.196 you wanted on the album, did you then redo them? 0:18:21.436 --> 0:18:22.676 Did you re record them? 0:18:23.396 --> 0:18:25.716 Did you add elements? How did how did that happen? 0:18:25.796 --> 0:18:27.276 How did the actual recording happen? 0:18:29.796 --> 0:18:29.836 So? 0:18:29.956 --> 0:18:32.076 Yeah, so after I mean, we recorded everything down in 0:18:32.796 --> 0:18:35.916 Texas that time, and then we kind of peered down 0:18:36.276 --> 0:18:40.236 those we'll say, one hundred ideas down to twenty and 0:18:40.276 --> 0:18:42.796 then from there we're like, okay, these we actually I 0:18:42.796 --> 0:18:44.956 think we maybe had fifteen that we really worked on, 0:18:45.316 --> 0:18:47.596 and there's there's four that didn't three or four that 0:18:47.716 --> 0:18:49.596 we really worked on a lot afterwards that didn't make 0:18:49.636 --> 0:18:52.796 it on to the album that just didn't fit with 0:18:52.876 --> 0:18:54.596 the other tunes in the flow of the whole things. 0:18:54.636 --> 0:18:56.196 We kind of had to pick these eleven songs and 0:18:56.276 --> 0:18:57.916 how they spoke to each other. 0:18:58.436 --> 0:19:00.036 But okay, was that an argument? 0:19:00.276 --> 0:19:04.716 Were we uh no, really, I don't think so. No, 0:19:04.916 --> 0:19:07.836 We're yeah, no, no, it was it was there. They're great. 0:19:07.876 --> 0:19:09.676 I think Edi has a great you have a great 0:19:10.036 --> 0:19:12.836 way to say, how you like to choose these songs? 0:19:13.836 --> 0:19:14.036 I do? 0:19:14.836 --> 0:19:16.196 Yeah, well, puppies. 0:19:17.556 --> 0:19:20.996 Oh, it's like choosing puppies. Yeah, it's impossible for me. 0:19:21.196 --> 0:19:28.236 So I love them all. So I trust. I like 0:19:28.356 --> 0:19:32.036 these musicians. I like these guys there. I trust their ears. 0:19:32.676 --> 0:19:35.596 And that's a big element of this whole kind of 0:19:35.676 --> 0:19:39.556 band is trust across the board. I trust that they're 0:19:39.596 --> 0:19:43.236 great musicians. I trust their ears. I trust that they 0:19:43.356 --> 0:19:48.156 can help me as a songwriter find that song that's 0:19:48.476 --> 0:19:52.676 more interesting. And I think they've done that, and they'll 0:19:52.716 --> 0:19:54.596 show them to me, because I haven't heard all those 0:19:54.756 --> 0:19:58.236 hundreds of songs that we've done. They curate them and 0:19:58.356 --> 0:20:02.116 then they give them to me, and so many of 0:20:02.156 --> 0:20:05.716 them I've just completely forgotten about. And the last time 0:20:05.756 --> 0:20:07.076 we got together, they said, oh, you got to check 0:20:07.116 --> 0:20:09.676 this out, you and the air and and I love 0:20:09.756 --> 0:20:13.236 that they chose that and that they pointed out that 0:20:13.316 --> 0:20:17.916 that was good and so and then they they'll edit them. 0:20:18.316 --> 0:20:24.316 And so from those edits, I'll take that initial subconscious 0:20:24.836 --> 0:20:31.196 song and write a second or third verse if it 0:20:31.316 --> 0:20:35.156 needs it. But the one song on this album that 0:20:35.436 --> 0:20:41.556 most excites me is Let Them Lie, because it was 0:20:42.596 --> 0:20:45.436 just a complete improv. It's one that we didn't touch 0:20:45.556 --> 0:20:49.156 the only thing that they touched is that Trevor had 0:20:49.196 --> 0:20:53.516 to change the vocal tone because we recorded it in 0:20:53.596 --> 0:20:56.556 this room in this barn that I'm in here, and 0:20:56.956 --> 0:20:59.076 when these lads are on, they had a little buzz 0:20:59.356 --> 0:21:01.236 and they and since we didn't know that they were 0:21:01.276 --> 0:21:04.076 going to make an album, we didn't eliminate the buzz 0:21:05.596 --> 0:21:07.196 and he what did you do? 0:21:07.396 --> 0:21:09.956 You just fixed that was just to just put a 0:21:09.996 --> 0:21:12.076 filter on it, because there was this budget buzz that 0:21:12.236 --> 0:21:15.236 you know, I don't know, ten thousand. 0:21:16.556 --> 0:21:17.876 Killer hurts, and so it was. 0:21:17.916 --> 0:21:19.996 Maybe like just had to put little filter on it, 0:21:20.076 --> 0:21:22.596 and then it gave this really nice dark quality to 0:21:22.756 --> 0:21:24.996 Edie's voice. And then then there's a little treatment on 0:21:25.076 --> 0:21:27.356 that too, with every voice is a little treatment, but 0:21:27.436 --> 0:21:28.236 it's trying not. 0:21:28.356 --> 0:21:31.916 To like mask the tone of her voice at all. 0:21:32.196 --> 0:21:34.476 So just just a little bit gave it a nice. 0:21:36.116 --> 0:21:38.636 Sound to even what Edie is singing about too, which 0:21:38.676 --> 0:21:41.036 is a very kind of internal monologue. 0:21:42.076 --> 0:21:42.876