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Speaker 1: Pushkin. Just a quick note here. You can listen to

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Speaker 1: all of the music mentioned in this episode on our playlist,

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Speaker 1: which you can find a link to in the show

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Speaker 1: notes for licensing reasons. Each time a song is referenced

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Speaker 1: in this episode, you'll hear this sound effect all right.

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Speaker 1: Enjoy the episode. At first glance, the psych rock band

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Speaker 1: Krungbin may seem hard to pin down. There are three

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Speaker 1: piece multiracial band from Houston, Texas. Two of their members

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Speaker 1: always appear in dark black wigs, and the pronunciation of

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Speaker 1: their band name has sent a lot of people straight

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Speaker 1: to Google. Krungben's music, on the other hand, is easy

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Speaker 1: to understand. It's undeniable. That's so we won't forget from

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Speaker 1: Krungbin's fourth album, Mordecai. The band is up of Laura

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Speaker 1: Lee on bass, Mark Spear on guitar, and Donald DJ

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Speaker 1: Johnson on drums. Since Foreman in twenty fifteen, Krungbin I've

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Speaker 1: taken off on the festival circuit worldwide, which makes sense

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Speaker 1: for a band whose name in Tai means flying engine.

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Speaker 1: In my conversation with Krungbin, you'll hear how their funking,

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Speaker 1: fused surf rock sound is inspired in part by multicultural diffusion.

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Speaker 1: They also talk about how disappointed they were when their

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Speaker 1: spring tour with Tam and Paula was canceled, but also

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Speaker 1: how Shelteron in Place has given them a much needed

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Speaker 1: break from the road. This is broken record liner notes

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Speaker 1: for the digital Age. I'm justin Richmondson. Here's my conversation

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Speaker 1: with Laura Lee, Mark Spear, and DJ of Krungben Krungbin.

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Speaker 1: I feel like I just learned how this is pronounced.

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Speaker 1: I've been listening to you guys since twenty fifteen, and

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Speaker 1: I think I just now as Actually I was worried

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Speaker 1: I was pronounced it wrong this entire time right now,

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Speaker 1: but I think I finally got it. I mean, at

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Speaker 1: the time though, it was a very simple way of

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Speaker 1: naming the band, because I was I had a bootleg

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Speaker 1: Rosetta stone for tie, and it's like the first in

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Speaker 1: the first five words you learn. And it was fun

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Speaker 1: to say, and we needed a band name stat and

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Speaker 1: we didn't think we would be where we are now,

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Speaker 1: So call it whatever you want. No one's going to care, right,

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Speaker 1: I mean, I've been in countless bands. It's like, dude,

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Speaker 1: I'm not going to make it, you know, No big deal.

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Speaker 1: Just call it what you want, play what you want.

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Speaker 1: Although I do feel like we did have the foresight

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Speaker 1: that we didn't want the website to be taken and

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Speaker 1: since it's a you know, anglicized way of spelling that

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Speaker 1: thie word, depending on who's writing it, it it might look

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Speaker 1: completely different because the only way to actually write it

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Speaker 1: is to write it in tie. So what we're writing

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Speaker 1: is the you know, an anglicized version of that of

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Speaker 1: that word. It feels like, you guys, in a way

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Speaker 1: go back to like an old school band, you know,

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Speaker 1: where you would just get in a room and because

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Speaker 1: there's not necessarily until the new record lyrics, you would

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Speaker 1: just I think the listener would think a lot of

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Speaker 1: jamming was happening to hash out the songs. That was

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Speaker 1: another thing that kind of informed the you know, the

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Speaker 1: start of the band and what we were going to

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Speaker 1: do is like I didn't want to have a bunch

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Speaker 1: of drum machines and sequencers and backing tracks and laptops

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Speaker 1: on stage or have to depend on that when we

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Speaker 1: were like perform these tunes. It's like we use the

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Speaker 1: technology to compose and to write you know, the whole

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Speaker 1: like cut and paste and basically sampling ourselves and flipping

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Speaker 1: things like that around. But when it comes down to it,

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Speaker 1: we play it. If we can't play it with three people,

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Speaker 1: then it's not that's not happening. You know. There's some

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Speaker 1: percussion parts and keyboard parts that happened on the records,

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Speaker 1: but it's like that stuff isn't really you know, crucial.

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Speaker 1: It's like just ear candy. So if we go play

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Speaker 1: these songs live and there's no keyboard part, it's fine.

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Speaker 1: You know, we don't need to hire or play to

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Speaker 1: a backing track in order to make this work. You know,

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Speaker 1: we can do it with three people, but you gotta

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Speaker 1: give yourself some kind of limitation otherwise it's kind of overwhelming,

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Speaker 1: you know, the amount of ideas that you can do,

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Speaker 1: So limit what you do, and it kind of informs

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Speaker 1: what you do, right, like what you don't do informs

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Speaker 1: what you do absolutely, absolutely, And I think emotionally, it's

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Speaker 1: like the band really started those few years when we

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Speaker 1: met every Tuesday night for dinner, and our bond was

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Speaker 1: certainly solidified during that time, so the three of us

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Speaker 1: were a unit, and you know, to add another component

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Speaker 1: in there throws off the whole situation. Yeah, that's stuff. Plus,

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Speaker 1: I mean, how do you arrange you know, how do

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Speaker 1: you arrange us on stage with four people? You know,

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Speaker 1: we got ded in the middle. You know, I'm on

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Speaker 1: the left, Lordly it's on the right. That's a nice

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Speaker 1: power triangle, you know. But then you add a fourth person.

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Speaker 1: Where are you gonna put that person? If it was

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Speaker 1: the lead singer of obviously they would be in the front.

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Speaker 1: But we don't have a lead singer. So where do

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Speaker 1: you put that fourth person? Do you put them behind me?

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Speaker 1: Put them behind lor Lee? You know. Now it's just unbalanced.

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Speaker 1: So if you were going to add anybody, you have

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Speaker 1: to add two. So you have five on stage. You

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Speaker 1: still have that power, you know, that cemetry happening. That's

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Speaker 1: very it's this is very important. You know, I pay

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Speaker 1: attention to stuff. It doesn't look right if how early

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Speaker 1: did the did the stagecraft like come in the wigs

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Speaker 1: and the and the and the outfits and just sort

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Speaker 1: of the presence on stage day one, first show. We've

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Speaker 1: always we've always worn the stuff. We've always tried to have,

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Speaker 1: you know, a look or a vibe on stage, you know,

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Speaker 1: since day one that first show was like to me,

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Speaker 1: compare it to like a bride getting ready because everything

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Speaker 1: was so important to me, you know, the hair and

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Speaker 1: the shoes and the outfit. I probably spent you know,

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Speaker 1: my cash for weeks on that show because it could

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Speaker 1: have been my only show. But yeah, the wigs were important.

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Speaker 1: And nobody knew who we were in Houston. Mark had

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Speaker 1: been in so many bands in Houston. Every would have

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Speaker 1: everyone would have known who he was up there, and

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Speaker 1: nobody knew who he was. We were like aliens. Yeah

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Speaker 1: we want We wanted to come fresh, you know. I

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Speaker 1: didn't want to have anybody like, oh, this coast before,

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Speaker 1: you know, just leave that out the door, no expectation

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Speaker 1: for what they're about to see. And DJ, while it

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Speaker 1: had been super prevalent in the Houston like hip hop scene,

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Speaker 1: hadn't really played the like indie band hipster kind of situation.

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Speaker 1: So we were all relatively unknown in that scene. Remember,

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Speaker 1: while we were trying to like be kind of rocky,

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Speaker 1: you know, we would starting to like kind of like

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Speaker 1: adapt some of our tunes would be like louder and

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Speaker 1: like more rock, you know, because the bands we were

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Speaker 1: playing with were like loud, you know, and we were quiet,

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Speaker 1: like you know, that's part of what makes the KB

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Speaker 1: recording sounding like to do is because we're playing so quietly,

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Speaker 1: but that doesn't really translate well when you're playing in

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Speaker 1: like a dingy you know, kind of like punk club

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Speaker 1: with like loud bands. So we played in the room now,

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Speaker 1: we did then and we still do. I feel like

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Speaker 1: a lots made of like kind of the world influence

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Speaker 1: with you guys. Were you guys listening to a bunch

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Speaker 1: of world music and thinking we want to also bring

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Speaker 1: in some of these vibs. It was it just guys

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Speaker 1: listening to everything and things are just creeping in, whether

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Speaker 1: it's a Latin sound or tie. I could say this,

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Speaker 1: I said, I've met Mark in two thousand and four.

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Speaker 1: Mark has always listened to music that wasn't in English.

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Speaker 1: I didn't understand it back then. I grew up listening

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Speaker 1: to music that was in my own language. I can

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Speaker 1: understand the words, you know, and every now and then

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Speaker 1: there was an instrumental cut. But he had this, you know,

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Speaker 1: entire library on his computer or you know, in his

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Speaker 1: iTunes that was just stuff that's not in English. I remember,

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Speaker 1: like maybe early on he played some tie funk tune

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Speaker 1: and it felt like James Brown I'm a huge James

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Speaker 1: Brown guy, like that sixties funk sound, and it was

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Speaker 1: it sounded like that, but you had just a tie vocalist,

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Speaker 1: you know, singing over the top of it. I'm like, wow,

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Speaker 1: this is cool. And I really started to connect how

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Speaker 1: you know, things from other parts of the world connected

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Speaker 1: with the music that was happening, you know, in the

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Speaker 1: US at the same time, and you know how it

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Speaker 1: was kind of you know, there was this cross talk. Yeah,

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Speaker 1: Mark is a huge, huge influence, and you know what

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Speaker 1: Krumban is known to be like a world you know,

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Speaker 1: music inspired Ben. I mean, I would say it started

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Speaker 1: like from his music taste. Yeah, we also liked we

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Speaker 1: liked this like conversation that was happening between like the

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Speaker 1: East and the West, and that that time music was

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Speaker 1: influenced by, you know, by James Brown, by the Shadows,

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Speaker 1: by the Beatles, and then they play their version of it.

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Speaker 1: And if we're then inspired by their take, the Eastern

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Speaker 1: take on Western music, then you know there's this cool

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Speaker 1: meta kind of saying that's happening. It's a game of

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Speaker 1: telephone man. Love that stuff. Cultural diffusion. Absolutely, that's what

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Speaker 1: I love about you guys. If you listen to a

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Speaker 1: lot of music from around the world. Like if you

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Speaker 1: listen to African music, you'll find a Cuban song that

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Speaker 1: sounds just like a like a West African song, and

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Speaker 1: then you'll find out that also Fayla Coody was listening

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Speaker 1: to Cuban music. And then so there's always this meta

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Speaker 1: thing happening with all kinds of genres that you don't

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Speaker 1: really think about because you just think about it as

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Speaker 1: being like the blues, but then there's you know, like

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Speaker 1: an African version of blues or like a tie version

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Speaker 1: of blues, and you guys have one hundred percent and

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Speaker 1: just saying like we're going to be in conversation with

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Speaker 1: all of that at once, you know, yeah, I want

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Speaker 1: to want to make that conversation, Like I mean, lourally,

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Speaker 1: what's that style you were like obsessed with for a

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Speaker 1: second of balleros? Still there's like it's just these one

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Speaker 1: of those like Latin rhythms that just gets everywhere. It

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Speaker 1: was like it's basically the reggaetne of its day, you know. Right,

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Speaker 1: so you get like Mexican belerros, which are probably influenced

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Speaker 1: in a way by Spanish music, and then it makes

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Speaker 1: its way into like South America and the Caribbean, and

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Speaker 1: there's definitely Belros in Africa, and there's absolutely Bealerros and

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Speaker 1: a scene for Balro in Vietnam, like in Southeast Asia,

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Speaker 1: probably from records brought in from service people back in

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Speaker 1: you know, the fifties and sixties. But I was I

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Speaker 1: was gonna try to make a playlist or a mix

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Speaker 1: just of the song Subortam, because there's like one million

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Speaker 1: covers of it. So I was going to try to

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Speaker 1: do a mix just in that song standard yeah um,

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Speaker 1: which is my grandma's favorite song, so I'm sure that

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Speaker 1: has something to do with the way I interpret it.

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Speaker 1: But then found this whole Vietnamese pocket of the song,

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Speaker 1: wrote Mark, thinking that I was going to blow his mind.

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Speaker 1: But obviously, Mark, you already knew He's already he's already

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Speaker 1: plugged in. But dude, like we hear that stuff like

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Speaker 1: every time we go to a fun restaurant on tour,

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Speaker 1: what do you hear totally even though we might not

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Speaker 1: make that connection at that moment, we're like, this is well,

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Speaker 1: this sound was like the sounds like the Shadows, with

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Speaker 1: like a kind of a sweet, like Latin kind of beat,

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Speaker 1: going on, you know, and that's kind of what it is. Yeah.

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Speaker 1: You know, there's this like kind of twanging guitar, there's

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Speaker 1: like a midi keyboard, there's just like person singing and

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Speaker 1: it's got that ballero rhythm underneath it, you know, and

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Speaker 1: it's it's so cool. Cool. That's that's that diffusion. Man.

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Speaker 1: We we sort of resented the fact that we got

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Speaker 1: called tai funk because we're not tai and we're definitely

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Speaker 1: not tai funk. And the bands that we were listening

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Speaker 1: to that we're Tai funk, they weren't called American funk,

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Speaker 1: you know when they came out. It was called shadow

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Speaker 1: music because of the shadows. And that's a much cooler

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Speaker 1: way of like, I don't know, i'd be I love

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Speaker 1: to be a shadow band. Yeah, that's the coolest. And

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Speaker 1: like when you go back and listen to that first record,

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Speaker 1: I mean, yeah, there's there's some tunes that are obviously

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Speaker 1: influenced by all the time music we were listening too,

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Speaker 1: because we were definitely listening to a lot of it.

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Speaker 1: But I don't know if I would call Mister White

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Speaker 1: a Tai funk song to me. I think we just

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Speaker 1: wanted to we always try to put a song on

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Speaker 1: the record that sounds like roy Airs, because we love

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Speaker 1: roy Airs, you know, Little Joe and Mary specifically, I'm

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Speaker 1: trying to sound like like Franco, Like I want to

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Speaker 1: sound like one of those awesome really just really pretty

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Speaker 1: guitar you know, African like Western and Central African stuff,

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Speaker 1: Like I love that business man balls and pins. That's

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Speaker 1: just like classic psyche rock, you know. So it's like,

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Speaker 1: I reject the notion of calling us a taie punk band.

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Speaker 1: I don't think that's fair to us or to tie

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Speaker 1: funk artists. There's little there's more to us than what's

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Speaker 1: going on with that. Like I want to play everything,

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Speaker 1: you know, I want to figure out a way to

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Speaker 1: put it into what we do. We're listening to Mister White,

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Speaker 1: the roy Ayre's inspired track from Krungbin's debut album, The

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Speaker 1: Universe Smiles upon You. We'll be back with the band

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Speaker 1: after a break. Before we jump back into my interview

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Speaker 1: with Krungbin, let's hear a bit of the song first

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Speaker 1: Class from their latest release. Mordecai speaking of the Royer's vibe,

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Speaker 1: the first track on this new album, first Class kind

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Speaker 1: of captured that feeling to me a lot that's absolutely intentional, man, Like, yeah,

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Speaker 1: I was like, I want to I want to put it.

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Speaker 1: It's so intentional, Like I wanted to play big Roy

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Speaker 1: Ayre's chords, you know, on guitar. That was the that

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Speaker 1: was the whole thing. There's a production thing about Roy

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Speaker 1: Ayer's too, and I don't I'm not savvy enough to

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Speaker 1: understand it. But there's a certain sound to his recordings

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Speaker 1: too that I feel like certain like space involved or

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Speaker 1: something that you guys have figured out, and I feel

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Speaker 1: like it's kind of pretty present and at least in

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Speaker 1: this new one. So when we do when we do vocals,

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Speaker 1: we all sing together at the same time, you know.

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Speaker 1: And I really liked that about roy air stuff. It

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Speaker 1: sounds like he's got everybody in the band kind of

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Speaker 1: sing it at the same time, not unlike you know,

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Speaker 1: Santana from back in the sixties and seventies work the

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Speaker 1: whole band singing the same time in unison, Like no

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Speaker 1: one's trying to do any crazy harmonies, and it's just

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Speaker 1: like this is the melody, We're all going to sing

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Speaker 1: it together. War does that too. I was like, I

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Speaker 1: want to do that so that when we sing together.

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Speaker 1: It sounds big and full, but none of us want

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Speaker 1: to be lead singers, you know, and if we got

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Speaker 1: a lead singer, well then it would pretty much be

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Speaker 1: about the lead singer, not about the band, and we

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Speaker 1: just wanted to be about the music. So that's why

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Speaker 1: we started doing it that way. And to me, psychoacoustically,

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Speaker 1: if you hear a bunch of people singing a melody,

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Speaker 1: you're gonna want to also sing this melody with this

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Speaker 1: bunch of people. It's like, hey, let's all sing this together.

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Speaker 1: And that was that's absolutely intentional. Is that kind of

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Speaker 1: like that way of bringing everyone into it. I hadn't

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Speaker 1: considered that, but you know, one hundred percent right. It

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Speaker 1: makes it one automatically, just some more communal vibe, like

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Speaker 1: like we're you know, like you guys are one unit

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Speaker 1: one and it makes it like the sing long. So

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Speaker 1: it also makes like the person listening feel like they're involved,

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Speaker 1: like you want to automatically jump in yea, even if

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Speaker 1: it's just doo doo doo na na whatever. Right, What

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Speaker 1: made you guys on the new record decide to throw more?

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Speaker 1: I mean there's been some vocals on previous records, but

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Speaker 1: there's definitely more on this one. Was there the thought

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Speaker 1: that it might be fun to stretch out and do

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Speaker 1: some more of that or did just happened naturally while writing? Yeah,

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Speaker 1: it happened naturally. I think it's a natural progression. I

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Speaker 1: mean when I think there was a big deal made

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Speaker 1: out out of it when we did a lot of

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Speaker 1: the press stuff this time around, as if we never

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Speaker 1: had vocals on one of our records before, which we

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Speaker 1: have since Album one. But yeah, it just it just

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Speaker 1: so happened as it was a path that we went down. Normally,

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Speaker 1: we record everything in the barn, and once that part

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Speaker 1: of the procedure is done, we go back into the

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Speaker 1: studio and you see what you have. And sometimes you

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Speaker 1: go back and songs sound complete and they're finished and

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Speaker 1: they don't need anything outside of some you know, light

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Speaker 1: vocals for texture or you know, percussion, or we're bringing

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Speaker 1: you know, one of our friends to come and play

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Speaker 1: on something. But this time around, things needed vocals, and

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Speaker 1: thankfully Laura Lee had some you know, some stuff scribbled

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Speaker 1: down and some ideas to pull from, and I personally

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Speaker 1: think it came together beautifully. Laura was the scribbled stuff,

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Speaker 1: was that with a thought for using it for a

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Speaker 1: song or was it just no, just purely word vomit

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Speaker 1: journal style, you know writing. But I did feel a

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Speaker 1: burst of energy right before we went into the studio,

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Speaker 1: um when I wrote all this stuff and felt like

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Speaker 1: I had lived a life of adventures and stories and

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Speaker 1: they were worth writing down. So I did. So I

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Speaker 1: tried and it worked. No. I I mean, I think

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Speaker 1: you know, Mark sort of hinted at it earlier. But

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Speaker 1: one of the things with this record was that we

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Speaker 1: went into the studio with time booked and you know,

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Speaker 1: paying our engineer and time studio stuff. But it was

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Speaker 1: in between touring, heavy touring, and we didn't have any

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Speaker 1: time prior to going into the barn to write, so

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Speaker 1: we literally went in with nothing and it was hard.

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Speaker 1: It's hard to just switch off tour and switch into

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Speaker 1: writing mode, you know. I know, like I've been starting

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Speaker 1: to write this week and I have to give myself

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Speaker 1: minimum four hours because it's going to take potentially two

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Speaker 1: hours just to get in the zone, so you know,

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Speaker 1: minimum four hours. And this was like two weeks record

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Speaker 1: an album with nothing written. And if Steve Arn engineer

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Speaker 1: always says you finished an album because you run out

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Speaker 1: of time, or you run out of money, and you know,

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Speaker 1: we ran out and we made an album, but we

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Speaker 1: spent the majority of our time on the record in post,

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Speaker 1: and so the words and the lyrics were something we

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Speaker 1: could do in post, whereas the bass, guitar and drums

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Speaker 1: we record in the barn. And that's part of Krungbin ethos.

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Speaker 1: So we had to stick to those rules and we

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Speaker 1: gave ourselves so the things we could add, you know,

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Speaker 1: one of them was words, and that's part of how

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Speaker 1: that development happened on this particular round. But we love

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Speaker 1: it and you know, like DJ DJ is mentioning that

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Speaker 1: it's been such a point of chat during the interviews

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Speaker 1: we've had, and it's so hilarious when you think about it.

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Speaker 1: It's like you're talking about lyrics most of the time

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Speaker 1: they're in songs. It's like it's like the big the

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Speaker 1: big deal is that Crungbin foot words on a song.

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Speaker 1: I don't know, It's it's just funny that like the

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Speaker 1: big Krungbin reveal is like, you know, time, if you

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Speaker 1: had more time, I loved the time You and me too? Man,

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Speaker 1: such a cool disco vibe on that or you know,

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Speaker 1: like kind of like boogie vibe on it. Oh thank you.

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Speaker 1: That comes I think from us, you know, being on

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Speaker 1: the road for so along and like we would take,

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Speaker 1: you know, whatever break we could. And one of our

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Speaker 1: favorite spots to go to m is a festival and

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Speaker 1: crow we should called Love International, and it's basically it's

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Speaker 1: just like a DJ fest, you know. But the kind

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Speaker 1: of music that's being played, at least at the you know,

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Speaker 1: party is that we would be going to is like

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Speaker 1: very kind of disco post disco boogie, extended break, kind

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Speaker 1: of like John Morales Larry Levan kind of vibe. And

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Speaker 1: it was like, oh, dude, man, I really want to

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Speaker 1: I'm sitting here like at Barbarella at like five am

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Speaker 1: in the morning, Man, I would like, I really would

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Speaker 1: love to have a song and the next record like

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Speaker 1: has like an extended disco break. That'd be awesome, you know.

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Speaker 1: And that's so that's that's what we did. I really

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Speaker 1: wanted to have that going on. And at some point

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Speaker 1: during the recording of the vocals of that, we're like, dude,

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Speaker 1: why don't we just like put that's life in as

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Speaker 1: many different languages as we can during this like breakdown,

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Speaker 1: And so we started calling up all of our friends

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Speaker 1: from all over the world and like try to get

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Speaker 1: you know, how how can we how can we say

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Speaker 1: this in the right way? Yeah, we knew that there

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Speaker 1: must be an equivalent of the expression that's life in

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Speaker 1: most languages. You know, we knew, stay Levy. We figured

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Speaker 1: if we knew that's life and say Levey, that there

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Speaker 1: must be more. And you know, we put out text messages,

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Speaker 1: you know, called everyone we knew that spoke different languages,

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Speaker 1: were like, is there that's life? Sure enough? You know, yes?

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Speaker 1: And it looks are really cool and it's super percussive,

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Speaker 1: like you were saying, Lord, like I mean everything. I

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Speaker 1: love that it's short, short sentences. It's not like there's

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Speaker 1: not like Clausets hanging on from one meter to the next.

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Speaker 1: It's just super a tight song and really cool. Yeah,

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Speaker 1: I mean that the lyric writing for that song was

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Speaker 1: very much like an exercise and when in doubt, subtract. Yeah,

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Speaker 1: So the lyrics got simpler and simpler as you know,

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Speaker 1: time went on. I think the lyrics of that song

390
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Speaker 1: up ended up being prophetic. I mean, as soon as

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Speaker 1: we went into quarantine, like I was, you know, going

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Speaker 1: back listen listening to the lyrics and I'm like, this

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Speaker 1: is exactly what everyone's doing right now. Everyone has all

394
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Speaker 1: this time, and everyone's timing like children time and you know,

395
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Speaker 1: just live in life. That's time you and I from

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Speaker 1: Krungbin's new album. We'll be back with DJ Laura and

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Speaker 1: Mark after this break. Here's the rest of my conversation

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Speaker 1: with Krungben. You guys have really made a name for

399
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Speaker 1: yourselves as like a crazy good live band, and I

400
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Speaker 1: can attest you guys are really a great live I mean,

401
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Speaker 1: everyone is in this space at the moment, but I

402
00:22:52,440 --> 00:22:54,720
Speaker 1: think it might be nice for people to hear from

403
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Speaker 1: a band like you guys who do tour so consistently,

404
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Speaker 1: what it is like not being a the tour right now.

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Speaker 1: You know. Um, for us, it came at a good time, honestly,

406
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Speaker 1: because we've been hitting it hard, really really hard for

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Speaker 1: the last four years, and we just finished the record

408
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Speaker 1: and we were due to go right back out on

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Speaker 1: the road in April. We were supporting Taman Polla on

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Speaker 1: his run in Australia and New Zealand. So yeah, that

411
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Speaker 1: was like the first thing that got canceled when everything happened.

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Speaker 1: I think the thing that I missed most is outside

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Speaker 1: of connecting with you know, people and our fans, is

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Speaker 1: just hanging out with my friends on the road. That's

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Speaker 1: the thing that you you really realize you missed the

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Speaker 1: most because we spent the last four years just hanging

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Speaker 1: out together. I missed that. Yeah. I never thought i'd

418
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Speaker 1: long for a backstage sofa. I do you know some

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Speaker 1: wassas and avocados, Yeah, some cocoa water. I have that here.

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Speaker 1: But it's different. Yeah, something different about drinking at tequila

421
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Speaker 1: soda that's been sitting on top of the ampast like

422
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Speaker 1: something real nostalgic about that. I feel like I'm trying

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Speaker 1: to just be where I am and not yearned too much,

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Speaker 1: because it can be a slippery slope when you get

425
00:24:19,840 --> 00:24:23,640
Speaker 1: into that headspace. But I think it's helpful that we're

426
00:24:23,720 --> 00:24:27,600
Speaker 1: not on the road whilst everyone is not on the road.

427
00:24:28,840 --> 00:24:32,080
Speaker 1: You know, if if other people were touring and we

428
00:24:32,080 --> 00:24:35,040
Speaker 1: were sitting at home, I don't think it would last

429
00:24:35,160 --> 00:24:39,560
Speaker 1: very long as much as I you know, specifically, but

430
00:24:39,600 --> 00:24:42,960
Speaker 1: everyone I think needed a break from the road. Festivals

431
00:24:42,960 --> 00:24:49,040
Speaker 1: were happening right now, you know, it would be rough, yeah, right,

432
00:24:50,320 --> 00:24:56,560
Speaker 1: But yeah, I've gone back recently and watched some Crungben

433
00:24:56,600 --> 00:25:04,280
Speaker 1: live performances, and it's like, wow, that's a lot. It's

434
00:25:04,320 --> 00:25:07,120
Speaker 1: a lot to feel on a regular basis that we're

435
00:25:07,119 --> 00:25:09,919
Speaker 1: not feeling, you know. And it's great because we're feeling

436
00:25:09,920 --> 00:25:14,080
Speaker 1: other things. But what a rush? You know? Were you

437
00:25:14,119 --> 00:25:18,959
Speaker 1: getting the feeling watching the video? Oh yeah, I mean big,

438
00:25:19,640 --> 00:25:22,800
Speaker 1: I'm an emotional mess most of the time, but that

439
00:25:22,960 --> 00:25:27,160
Speaker 1: was it was pretty intense watching it. And it's awesome.

440
00:25:27,200 --> 00:25:31,600
Speaker 1: It's like, look what we did, you know? So cool? Yeah,

441
00:25:31,640 --> 00:25:36,520
Speaker 1: we made something and we crafted it and I'm so

442
00:25:36,600 --> 00:25:42,400
Speaker 1: proud of it. So awesome, awesome project, awesome everything. Um,

443
00:25:42,560 --> 00:25:48,280
Speaker 1: it's given me so much life and even for right

444
00:25:48,320 --> 00:25:50,280
Speaker 1: now it just being the record and it just being

445
00:25:50,720 --> 00:25:54,320
Speaker 1: shows that happened before. It's it's a beautiful thing to watch.

446
00:25:55,080 --> 00:25:57,920
Speaker 1: Does it Does it feel weird or bad or any

447
00:25:58,400 --> 00:26:02,879
Speaker 1: particular way to have just released a record and not

448
00:26:02,960 --> 00:26:04,600
Speaker 1: be able to sort of go play it for people

449
00:26:05,200 --> 00:26:07,040
Speaker 1: or promote it in the traditional sort of way by

450
00:26:07,080 --> 00:26:12,720
Speaker 1: going to play And this is awesome. I love being

451
00:26:12,760 --> 00:26:17,679
Speaker 1: able to chill at my house with Miguel and you know,

452
00:26:17,800 --> 00:26:21,720
Speaker 1: like make Italian food every night and do yoga in

453
00:26:21,720 --> 00:26:24,280
Speaker 1: the morning and go on hikes and not have to

454
00:26:24,320 --> 00:26:26,720
Speaker 1: like sound check and then go to a hotel for

455
00:26:26,840 --> 00:26:28,680
Speaker 1: like a cat nap and then go back and then

456
00:26:30,119 --> 00:26:31,960
Speaker 1: you know, I love touring, man, don't get me wrong,

457
00:26:32,000 --> 00:26:36,480
Speaker 1: it's awesome. But dude, this is tight and we don't

458
00:26:36,480 --> 00:26:38,520
Speaker 1: have to support the record right now. We actually give

459
00:26:38,720 --> 00:26:41,439
Speaker 1: you know, the audience time to like digest it, so

460
00:26:41,440 --> 00:26:43,719
Speaker 1: when we do come out, they actually know the music.

461
00:26:43,800 --> 00:26:48,399
Speaker 1: Like that's way better. Yeah, this is awesome. Yeah, I

462
00:26:48,440 --> 00:26:52,560
Speaker 1: mean it was something I definitely said a lot was

463
00:26:53,560 --> 00:26:57,120
Speaker 1: you know what the last record we put out, Well,

464
00:26:57,119 --> 00:26:59,399
Speaker 1: we were kind of already on tour, but then we

465
00:26:59,480 --> 00:27:03,800
Speaker 1: put it out, and you're supposed to quote unquote play

466
00:27:03,960 --> 00:27:06,560
Speaker 1: songs from the new record, but nobody knows them yet,

467
00:27:07,119 --> 00:27:11,520
Speaker 1: and you know, some of them, like Maria Tombien, it's

468
00:27:11,520 --> 00:27:15,120
Speaker 1: just it's a banger, so it's gonna be fun even

469
00:27:15,119 --> 00:27:17,840
Speaker 1: if you don't know it. But other songs you kind

470
00:27:17,840 --> 00:27:20,320
Speaker 1: of need to let simmer for a while before you

471
00:27:20,359 --> 00:27:26,080
Speaker 1: play them, so it will be fun coming back whenever

472
00:27:26,240 --> 00:27:28,920
Speaker 1: that is. But also I kind of needed more time

473
00:27:28,960 --> 00:27:32,359
Speaker 1: to practice singing and playing those basslines at the same time,

474
00:27:32,440 --> 00:27:35,880
Speaker 1: So thank you time. Did you were you considering when

475
00:27:35,880 --> 00:27:37,719
Speaker 1: you're laying the tracks down, you're thinking, well, we might

476
00:27:37,760 --> 00:27:40,080
Speaker 1: add words over this, or I don't know, maybe you

477
00:27:40,160 --> 00:27:43,040
Speaker 1: decided that in post or whatnot. Were you considering what

478
00:27:43,040 --> 00:27:45,000
Speaker 1: basslines you were playing so that you could think, like

479
00:27:45,080 --> 00:27:46,680
Speaker 1: can I can I pull this off a lot? You know,

480
00:27:46,680 --> 00:27:51,119
Speaker 1: because it's that's a lot. It's a lot. To Mark's

481
00:27:51,119 --> 00:27:56,119
Speaker 1: smiling at me on zoom because every time this happens

482
00:27:56,119 --> 00:27:58,040
Speaker 1: in the studio, I'm like, you know what it's for

483
00:27:58,119 --> 00:28:00,280
Speaker 1: the record. Let's worry about the records outing good and

484
00:28:00,280 --> 00:28:02,600
Speaker 1: when it's time to play live and we'll figure it out.

485
00:28:03,320 --> 00:28:06,199
Speaker 1: And he's like, it's gonna be hard for you. You know,

486
00:28:06,280 --> 00:28:08,560
Speaker 1: it's gonna be hard. We should think about this, and

487
00:28:09,320 --> 00:28:11,680
Speaker 1: and me too, And I'm trying to make my job easy,

488
00:28:11,760 --> 00:28:12,919
Speaker 1: Like why do you think I got rid of all

489
00:28:12,920 --> 00:28:15,240
Speaker 1: those pedals and all those like laptop stuff. It's like, no,

490
00:28:15,520 --> 00:28:19,680
Speaker 1: keep it simple, easy if there makes some music. But

491
00:28:20,080 --> 00:28:22,840
Speaker 1: you know, when you're in the studio, it's about the

492
00:28:22,880 --> 00:28:28,200
Speaker 1: integrity of the record. And I knew that even if

493
00:28:28,240 --> 00:28:33,040
Speaker 1: it was hard, it's just practice. Like it is just practice,

494
00:28:33,080 --> 00:28:35,760
Speaker 1: and you can make it happen. It might be painful

495
00:28:35,920 --> 00:28:40,560
Speaker 1: and long, but with enough practice you can tap your

496
00:28:40,560 --> 00:28:44,160
Speaker 1: head and rub your stomach at varying speeds at the

497
00:28:44,160 --> 00:28:46,560
Speaker 1: same time. It's true, are you getting it under your

498
00:28:46,600 --> 00:28:50,800
Speaker 1: fingers more? Now? You know? I've I've I took break

499
00:28:50,840 --> 00:28:57,040
Speaker 1: from playing period when Quarantine hit because I honestly I

500
00:28:57,080 --> 00:29:00,360
Speaker 1: assumed life would go back more quickly than it has.

501
00:29:00,400 --> 00:29:03,640
Speaker 1: But I was kind of like, this might be the

502
00:29:03,800 --> 00:29:06,000
Speaker 1: first and only time in a long time that I

503
00:29:06,080 --> 00:29:08,520
Speaker 1: do not have to play, and I'm just gonna take

504
00:29:08,520 --> 00:29:12,040
Speaker 1: a break and cook and you know, do some other things.

505
00:29:12,440 --> 00:29:15,480
Speaker 1: But I started playing again, and I definitely haven't been

506
00:29:15,480 --> 00:29:18,360
Speaker 1: playing Crumbin songs in a way. It just doesn't feel

507
00:29:18,360 --> 00:29:21,080
Speaker 1: like the right time yet. I don't know. I don't

508
00:29:21,080 --> 00:29:24,360
Speaker 1: know how to explain it. It's definitely like emotionally related,

509
00:29:24,720 --> 00:29:27,360
Speaker 1: but it's like, I know, I don't know when I'm

510
00:29:27,400 --> 00:29:31,760
Speaker 1: going to be playing those songs professionally and with my band,

511
00:29:32,320 --> 00:29:36,080
Speaker 1: and so there's something a little bit like bitter sweet

512
00:29:36,200 --> 00:29:38,800
Speaker 1: about playing them on my own right now. So I

513
00:29:38,880 --> 00:29:42,360
Speaker 1: kind of feel like if I just play that, at

514
00:29:42,400 --> 00:29:46,520
Speaker 1: least I will have some things in my fingers and

515
00:29:47,080 --> 00:29:52,160
Speaker 1: when it's time to really grind and rehearse, then it'll

516
00:29:52,200 --> 00:29:54,760
Speaker 1: be that time. And you guys are Lord, you kind

517
00:29:54,760 --> 00:29:57,440
Speaker 1: of hinted at it earlier that you're writing stuff now,

518
00:29:57,560 --> 00:30:01,280
Speaker 1: you guys trying to write stuff just for fun? Or

519
00:30:01,280 --> 00:30:03,480
Speaker 1: are you guys actually trying to write something to write

520
00:30:03,480 --> 00:30:12,200
Speaker 1: something well, per like reflection of you know, this album

521
00:30:12,520 --> 00:30:16,160
Speaker 1: and how you know there's always room for improvement even

522
00:30:16,200 --> 00:30:19,280
Speaker 1: if you make something you're super proud of. But the

523
00:30:19,400 --> 00:30:21,360
Speaker 1: one place we didn't have time on the record was

524
00:30:21,840 --> 00:30:25,960
Speaker 1: pre production, and right now we kind of have nothing.

525
00:30:26,040 --> 00:30:30,000
Speaker 1: But time for pre production doesn't necessarily mean we will

526
00:30:30,040 --> 00:30:34,280
Speaker 1: be as productive as we are without it. But since

527
00:30:34,280 --> 00:30:38,640
Speaker 1: we have this time in theory, it would be nice

528
00:30:38,680 --> 00:30:41,280
Speaker 1: to begin to write some stuff so that when we

529
00:30:41,280 --> 00:30:45,280
Speaker 1: go into the studio next time, we actually have songs. Earlier,

530
00:30:45,320 --> 00:30:47,320
Speaker 1: we were talking about how it's kind of not fair

531
00:30:47,960 --> 00:30:50,680
Speaker 1: for you guys to call yourselves a tie funk group

532
00:30:50,760 --> 00:30:53,000
Speaker 1: or something which you don't do. You guys, ever, worry

533
00:30:53,120 --> 00:30:57,560
Speaker 1: about any sort of cultural appropriation, criticism, or just feeling

534
00:30:57,600 --> 00:31:00,400
Speaker 1: like you're dipping too far into this thing or pulling

535
00:31:00,400 --> 00:31:02,120
Speaker 1: too much from this particular thing, and that it's going

536
00:31:02,160 --> 00:31:06,600
Speaker 1: to come across as insensitive. But we're not trying to

537
00:31:06,640 --> 00:31:09,520
Speaker 1: be anything. We're not. It's like we are who we are,

538
00:31:09,800 --> 00:31:13,479
Speaker 1: we are from Houston, and we're representing what we know.

539
00:31:14,120 --> 00:31:17,600
Speaker 1: I think a lot of it goes back to the

540
00:31:17,600 --> 00:31:19,840
Speaker 1: thing I always used to hear like coming up in

541
00:31:19,920 --> 00:31:22,440
Speaker 1: church is that God looks at the heart. God knows

542
00:31:22,440 --> 00:31:25,000
Speaker 1: your heart. And I think the thing that people can

543
00:31:25,040 --> 00:31:28,360
Speaker 1: hear even when you hear a Krungben song or a

544
00:31:28,400 --> 00:31:31,840
Speaker 1: Crungban record, you can hear the heart of the people

545
00:31:32,840 --> 00:31:36,960
Speaker 1: that are playing the music through the music. And I

546
00:31:37,000 --> 00:31:39,920
Speaker 1: think the people that really support us, people that know us.

547
00:31:40,160 --> 00:31:43,800
Speaker 1: You know, the people that love Krungben, they love the music,

548
00:31:44,040 --> 00:31:47,239
Speaker 1: but you can't love the music without loving, you know,

549
00:31:47,320 --> 00:31:49,440
Speaker 1: the heart of what it's coming from and the place

550
00:31:49,440 --> 00:31:52,120
Speaker 1: that it's coming from. So I mean, the people that

551
00:31:52,200 --> 00:31:56,080
Speaker 1: know us, they know our intentions and they know we

552
00:31:56,120 --> 00:31:59,680
Speaker 1: don't have any ill intentions or we're trying to be

553
00:31:59,800 --> 00:32:02,239
Speaker 1: something that we're not. You know, we've been saying it,

554
00:32:02,640 --> 00:32:04,840
Speaker 1: and it doesn't really matter how many times you say it.

555
00:32:05,040 --> 00:32:07,080
Speaker 1: We've said it a ton of times. But I mean

556
00:32:07,560 --> 00:32:10,080
Speaker 1: that stuff still comes up every now and then. But

557
00:32:10,720 --> 00:32:12,120
Speaker 1: the one thing that we used to get all the

558
00:32:12,120 --> 00:32:14,560
Speaker 1: time is like, how did you guys meet? Because no

559
00:32:14,600 --> 00:32:17,840
Speaker 1: one could really understand how three people that don't look

560
00:32:17,840 --> 00:32:19,880
Speaker 1: like each other could end up in the same band

561
00:32:20,040 --> 00:32:23,640
Speaker 1: making music together. And the one thing we'd always tell

562
00:32:23,720 --> 00:32:25,720
Speaker 1: them is, like, you know, this happens all the time

563
00:32:25,720 --> 00:32:29,520
Speaker 1: in Houston. Houston is you know, it's a multicultural city.

564
00:32:29,920 --> 00:32:33,640
Speaker 1: We all have friends from other cultures and other races

565
00:32:33,800 --> 00:32:37,600
Speaker 1: you know here, and it's a common it's a common thing.

566
00:32:38,280 --> 00:32:41,040
Speaker 1: You know, things blend anyone. It's never been in Houston

567
00:32:41,080 --> 00:32:42,680
Speaker 1: and you know, maybe you've been in La. It's just

568
00:32:42,720 --> 00:32:44,920
Speaker 1: so much. It really got the feel of LA when

569
00:32:44,920 --> 00:32:46,880
Speaker 1: I was in Houston, where it's just like there's so

570
00:32:46,960 --> 00:32:51,120
Speaker 1: much going on here culturally, you know, it's so diverse

571
00:32:51,200 --> 00:32:55,160
Speaker 1: and almost less segregated than LA. It feels like in

572
00:32:55,160 --> 00:32:56,880
Speaker 1: a way just from you know, I havn't been there

573
00:32:56,880 --> 00:32:58,880
Speaker 1: a few times, Like it feels like everyone's just sort

574
00:32:58,920 --> 00:33:01,600
Speaker 1: of on top of each other a bit more bro

575
00:33:01,680 --> 00:33:04,360
Speaker 1: we all hang out. We hang out here like everybody

576
00:33:04,400 --> 00:33:07,880
Speaker 1: hangs out with everybody here. Yeah, that's how we get down.

577
00:33:08,480 --> 00:33:11,960
Speaker 1: I love my band, I love Mark and DJ. Feel

578
00:33:12,080 --> 00:33:15,360
Speaker 1: very very lucky to have found them in my life

579
00:33:15,360 --> 00:33:19,960
Speaker 1: and for them to have agreed to be in my band.

580
00:33:20,240 --> 00:33:23,160
Speaker 1: It's ultimately this music is meant to bring people together,

581
00:33:23,240 --> 00:33:26,240
Speaker 1: not to you know, pull people apart. It's not meant

582
00:33:26,240 --> 00:33:29,680
Speaker 1: to be divisive. You guys were, So there's kind of

583
00:33:29,680 --> 00:33:31,760
Speaker 1: this dual sort of thing happened in your band, where

584
00:33:31,800 --> 00:33:35,200
Speaker 1: you're sort of equal parts ambitious and sort of equal

585
00:33:35,240 --> 00:33:38,640
Speaker 1: parts sort of let things happen as they happen. There's

586
00:33:38,680 --> 00:33:40,520
Speaker 1: no part of you guys that feels a little insecure

587
00:33:40,800 --> 00:33:42,840
Speaker 1: right now, not being able to tour, not being able

588
00:33:42,840 --> 00:33:46,160
Speaker 1: to maybe do just in terms of keeping any momentum going,

589
00:33:46,440 --> 00:33:50,280
Speaker 1: or I feel like we're not supposed to be here anyway.

590
00:33:50,440 --> 00:33:55,520
Speaker 1: So we if it all ended today and the momentum

591
00:33:55,520 --> 00:33:58,280
Speaker 1: all died, we had a great time. I mean like

592
00:33:58,320 --> 00:34:01,040
Speaker 1: we're the band that did everything wrong. Literally, I mean,

593
00:34:01,280 --> 00:34:03,600
Speaker 1: we picked a name that no one could pronounce, we

594
00:34:03,720 --> 00:34:07,920
Speaker 1: recorded in a barn, didn't use a click track, one

595
00:34:07,960 --> 00:34:11,360
Speaker 1: of them doesn't yeah, we don't have words, one of

596
00:34:11,360 --> 00:34:14,160
Speaker 1: the member doesn't wear a wig. It's like we did

597
00:34:14,200 --> 00:34:20,520
Speaker 1: it all wrong and somehow, you know, people heard what

598
00:34:20,560 --> 00:34:24,840
Speaker 1: we were doing and they gravitated to it, and we're

599
00:34:24,960 --> 00:34:28,400
Speaker 1: extremely grateful for it. And I'm of the mindset that

600
00:34:28,480 --> 00:34:31,319
Speaker 1: everything happens for a reason and there's always a plan,

601
00:34:33,360 --> 00:34:36,279
Speaker 1: and you just have to follow it and walk in it.

602
00:34:37,120 --> 00:34:40,439
Speaker 1: And I think that's the biggest lesson that everyone learned

603
00:34:40,440 --> 00:34:44,040
Speaker 1: in twenty twenty so far. Halfway through it, you know,

604
00:34:44,120 --> 00:34:47,960
Speaker 1: you all realize that we're not in control. Cool. Well,

605
00:34:47,960 --> 00:34:50,480
Speaker 1: thanks for doing this, guys, I really appreciate it. Thank you,

606
00:34:50,800 --> 00:34:56,320
Speaker 1: Thanks for having us. Thank you so much. Thanks to

607
00:34:56,400 --> 00:34:58,840
Speaker 1: Lord Mark and DJ from Crumbin for getting together to

608
00:34:58,920 --> 00:35:01,799
Speaker 1: talk shop with me. Hopefully they'll be back together on

609
00:35:01,880 --> 00:35:04,480
Speaker 1: stage soon. You can hear all of our favorite Krongmen

610
00:35:04,560 --> 00:35:07,360
Speaker 1: songs on a playlist at Broken Record podcast dot com,

611
00:35:07,400 --> 00:35:09,640
Speaker 1: and be sure to subscribe to our YouTube channel at

612
00:35:09,760 --> 00:35:13,440
Speaker 1: YouTube dot com slash broken Record Podcast. There you can

613
00:35:13,480 --> 00:35:16,480
Speaker 1: find extended cuts of our past episodes and also new ones.

614
00:35:17,040 --> 00:35:20,120
Speaker 1: Broken Record is produced with help from Leah Rose, Jason Gambrell,

615
00:35:20,400 --> 00:35:24,480
Speaker 1: Martin Gonzalez, Eric Sandler, and is executive produced by Mia

616
00:35:24,520 --> 00:35:27,800
Speaker 1: La Belle. A theme musics by Kenny Beats. Broken Record

617
00:35:27,840 --> 00:35:31,160
Speaker 1: is production of Pushkin Industries and if you like Broken Record,

618
00:35:31,200 --> 00:35:33,360
Speaker 1: please remember to share, rate, and review our show on

619
00:35:33,400 --> 00:35:36,360
Speaker 1: your podcast app. I'm justin Richmond, Peace,