1 00:00:08,200 --> 00:00:15,600 Speaker 1: Pushkin. Alexander O'Connor wasn't expecting the music sharing platforms SoundCloud 2 00:00:15,640 --> 00:00:18,800 Speaker 1: to change his life. The eighteen year old British musician 3 00:00:18,840 --> 00:00:21,800 Speaker 1: was just uploading songs for fun, but then people started 4 00:00:21,800 --> 00:00:25,120 Speaker 1: taking notice of him and his musical persona Rex Orange County. 5 00:00:25,520 --> 00:00:28,480 Speaker 1: These early recordings started racking up hundreds of thousands of 6 00:00:28,520 --> 00:00:31,880 Speaker 1: plays pretty quickly, and one of those people listening was Tyler, 7 00:00:31,920 --> 00:00:33,920 Speaker 1: the creator, who we just featured on the podcast a 8 00:00:33,960 --> 00:00:36,919 Speaker 1: couple of episodes ago. Tyler liked what he heard from 9 00:00:36,920 --> 00:00:39,040 Speaker 1: Rex OC so much that he wound up flying him 10 00:00:39,040 --> 00:00:41,000 Speaker 1: out to La to work on one of his albums, 11 00:00:41,000 --> 00:00:45,839 Speaker 1: flower Boy. And that's not Rex's only famous collaborator. Randy Newman, 12 00:00:46,280 --> 00:00:49,360 Speaker 1: the legendary singer songwriter, duetted with Rex on his toy 13 00:00:49,400 --> 00:00:52,680 Speaker 1: story classic You've Got a Friend in Me. After all 14 00:00:52,680 --> 00:00:55,680 Speaker 1: of that, Alex aka Rex is still only twenty one 15 00:00:55,760 --> 00:00:59,000 Speaker 1: years old and he's hid another major milestone. He's just 16 00:00:59,080 --> 00:01:03,520 Speaker 1: released his major label debut, Pony. Rex out over the 17 00:01:03,560 --> 00:01:05,800 Speaker 1: summer with Rick Rubin to preview some of the album 18 00:01:05,800 --> 00:01:08,680 Speaker 1: for him and to talk through the tracks. He discusses 19 00:01:08,720 --> 00:01:11,319 Speaker 1: why he's collaborating less and less with other artists these days, 20 00:01:11,319 --> 00:01:13,240 Speaker 1: and how that's helped him find his voice for his 21 00:01:13,319 --> 00:01:17,440 Speaker 1: new project, which he wrote, recorded and played almost entirely 22 00:01:17,480 --> 00:01:24,559 Speaker 1: by himself. This is Broken Record Season three liner notes 23 00:01:24,720 --> 00:01:31,680 Speaker 1: for the Digital Age. I'm justin Richmond. Just a quick 24 00:01:31,720 --> 00:01:33,920 Speaker 1: note here. You can listen to all of the music 25 00:01:33,959 --> 00:01:36,679 Speaker 1: mentioned in this episode on our playlist, which you can 26 00:01:36,720 --> 00:01:40,640 Speaker 1: find a link to in the show notes. For licensing reasons, 27 00:01:40,640 --> 00:01:43,360 Speaker 1: each time a song is referenced in this episode, you'll 28 00:01:43,440 --> 00:01:48,160 Speaker 1: hear this sound effect. Let's listen to now. On Rick's 29 00:01:48,200 --> 00:01:58,560 Speaker 1: conversation with Rex, Orange County three Testings, let's talk. Okay, 30 00:01:59,040 --> 00:02:02,280 Speaker 1: so since I saw you last, where have you been? 31 00:02:02,320 --> 00:02:05,320 Speaker 1: What have you been up to since I saw you last? 32 00:02:05,480 --> 00:02:09,320 Speaker 1: I've been I've been mainly at home in London, and 33 00:02:09,400 --> 00:02:12,200 Speaker 1: I haven't I haven't gone away too much. I haven't 34 00:02:12,240 --> 00:02:15,880 Speaker 1: actually been in America too much or anywhere else. I've 35 00:02:15,960 --> 00:02:18,120 Speaker 1: kind of just spent a lot of time in my 36 00:02:18,200 --> 00:02:21,280 Speaker 1: own space and with with the people who I've made 37 00:02:21,320 --> 00:02:23,080 Speaker 1: the first music ever with and kind of just like 38 00:02:23,760 --> 00:02:26,800 Speaker 1: gotten back to how it was, how it always worked 39 00:02:26,800 --> 00:02:28,800 Speaker 1: best after trying a few things. But it was probably 40 00:02:28,840 --> 00:02:30,679 Speaker 1: like a period of time after we first met where 41 00:02:30,680 --> 00:02:33,320 Speaker 1: I was trying working with other people, and certain things 42 00:02:33,360 --> 00:02:35,960 Speaker 1: worked and a lot of things didn't. It's very difficult 43 00:02:36,000 --> 00:02:38,600 Speaker 1: to let people in. I find on the whole when 44 00:02:38,600 --> 00:02:40,880 Speaker 1: you when you have a lot of control already, but 45 00:02:41,440 --> 00:02:43,520 Speaker 1: I spent a lot of time at home yet writing 46 00:02:43,560 --> 00:02:49,040 Speaker 1: and finishing figuring out this next album. Yeah, it's it's 47 00:02:50,440 --> 00:02:54,040 Speaker 1: it's great that you gave yourself the time and experience 48 00:02:54,040 --> 00:02:56,880 Speaker 1: of training those different things to see what works and 49 00:02:56,919 --> 00:03:01,440 Speaker 1: what doesn't. Because some people, once things get rolling, kind 50 00:03:01,440 --> 00:03:04,560 Speaker 1: of get on a track of starting a project and 51 00:03:04,600 --> 00:03:08,920 Speaker 1: then sometimes going maybe not the best direction and don't 52 00:03:09,000 --> 00:03:13,080 Speaker 1: really stop and think, you know, don't pull back. So 53 00:03:13,120 --> 00:03:15,320 Speaker 1: it's great that you got to do all that and 54 00:03:15,360 --> 00:03:18,440 Speaker 1: see this works, this doesn't work, And absolutely no, I'm 55 00:03:18,440 --> 00:03:21,040 Speaker 1: so grateful I did, because it's I'd hate. The last 56 00:03:21,080 --> 00:03:23,920 Speaker 1: thing I want is to feel as if I feel 57 00:03:23,919 --> 00:03:26,079 Speaker 1: as if I've settled for something that isn't maybe right, 58 00:03:26,120 --> 00:03:28,960 Speaker 1: And you do have to try those things more importantly 59 00:03:28,960 --> 00:03:31,240 Speaker 1: to know that they're not right maybe than that they were. 60 00:03:31,520 --> 00:03:33,200 Speaker 1: We've got a song for the album that's pretty good 61 00:03:33,200 --> 00:03:34,960 Speaker 1: and it's with a cool person or whatever, but it's 62 00:03:35,640 --> 00:03:37,680 Speaker 1: if it's more valuable maybe to go try that thing 63 00:03:37,720 --> 00:03:40,040 Speaker 1: and realize that it didn't working. Absolutely come back home 64 00:03:40,080 --> 00:03:42,480 Speaker 1: and not work with those people anymore. For sure. I 65 00:03:42,600 --> 00:03:45,360 Speaker 1: like to think that there are no there are no 66 00:03:45,560 --> 00:03:49,560 Speaker 1: failed experiments, you know. It's like every experiment we learn 67 00:03:49,640 --> 00:03:51,640 Speaker 1: from and we see what works and what doesn't, and 68 00:03:52,600 --> 00:03:55,640 Speaker 1: it's really helpful in finding our direction. And it's impossible 69 00:03:55,680 --> 00:03:57,520 Speaker 1: to know an advance, you know, until you do it, 70 00:03:57,520 --> 00:04:02,800 Speaker 1: it's impossible. Of course, I agree, totally. I'm really anxious 71 00:04:02,840 --> 00:04:05,360 Speaker 1: to hear. Of course, maybe we should hear. Looking forward 72 00:04:05,400 --> 00:04:10,520 Speaker 1: to listening. Okay, great, all right, it's and it's mainly 73 00:04:10,720 --> 00:04:14,280 Speaker 1: mainly me and there's no other sort of like listed features. Actually, 74 00:04:15,120 --> 00:04:17,920 Speaker 1: the only other voice on there is my girlfriend and 75 00:04:18,240 --> 00:04:20,719 Speaker 1: one of the only other instrumentalists other than the producers, 76 00:04:20,760 --> 00:04:24,520 Speaker 1: Pano playing bass, which is amazing. But I don't I 77 00:04:24,520 --> 00:04:26,800 Speaker 1: don't want to give too much context. But that's generally like, 78 00:04:26,920 --> 00:04:30,240 Speaker 1: that's okay, hopefully that makes some sense. Let me just 79 00:04:30,279 --> 00:04:34,480 Speaker 1: make sure it's actually stopping talk about it a little bit. 80 00:04:35,080 --> 00:04:38,279 Speaker 1: It's completely not what I was expecting at all, much 81 00:04:38,320 --> 00:04:41,400 Speaker 1: more upbeat, much more I'll use the word poppy in 82 00:04:41,440 --> 00:04:46,359 Speaker 1: a melodic way. Whereas I feel like your your the 83 00:04:46,480 --> 00:04:49,760 Speaker 1: other music of yours that I've heard before was more 84 00:04:50,480 --> 00:04:53,680 Speaker 1: more about the style and less about the melody. And 85 00:04:53,760 --> 00:04:57,160 Speaker 1: now it's really has a different energy, but it still 86 00:04:57,240 --> 00:05:01,599 Speaker 1: has the vibes of the original, or i'll call it 87 00:05:01,600 --> 00:05:06,279 Speaker 1: it's not moodiness but emotion of the original short style, sure, 88 00:05:06,400 --> 00:05:09,840 Speaker 1: but in a completely different context. And it's really surprising 89 00:05:09,880 --> 00:05:12,919 Speaker 1: and refreshing. I'm so glad you reacted that way. I'm 90 00:05:13,000 --> 00:05:17,200 Speaker 1: definitely I definitely feel as if it was melody. Like 91 00:05:17,360 --> 00:05:20,920 Speaker 1: the song was not lyrically developed at all right at 92 00:05:20,920 --> 00:05:22,800 Speaker 1: the beginning, and it existed for a week or so 93 00:05:22,960 --> 00:05:27,000 Speaker 1: as just the melody and the structure and the chords 94 00:05:27,040 --> 00:05:30,520 Speaker 1: existing as as a thing before the lyrics actually, and 95 00:05:30,600 --> 00:05:32,440 Speaker 1: so it kind of just like that was already very 96 00:05:32,520 --> 00:05:35,200 Speaker 1: much so solid. And I've been listening to that voice 97 00:05:35,200 --> 00:05:37,440 Speaker 1: memo of me just like mumbling it over and over 98 00:05:37,480 --> 00:05:40,599 Speaker 1: and stuff, and it's kind of like it was way 99 00:05:40,600 --> 00:05:42,960 Speaker 1: more based within the just the song and the melody actually, 100 00:05:42,960 --> 00:05:45,000 Speaker 1: I think primarily and it wasn't necessarily about what I 101 00:05:45,000 --> 00:05:47,479 Speaker 1: had to say first off, So I think that I'm 102 00:05:47,520 --> 00:05:50,360 Speaker 1: glad that came through. I also really love there's there's 103 00:05:50,400 --> 00:05:52,880 Speaker 1: a part towards the beginning of the song, when the 104 00:05:52,880 --> 00:05:57,320 Speaker 1: beat drops out and the sound of the vocal really changes. 105 00:05:57,800 --> 00:06:00,400 Speaker 1: It's subtle, but when it changes, it gets much more 106 00:06:00,400 --> 00:06:03,800 Speaker 1: intimate and it's a it's a beautiful moment. Yeah, it's 107 00:06:03,839 --> 00:06:07,320 Speaker 1: really like tasteful productions. Yes, sir, thank you. That's me 108 00:06:07,360 --> 00:06:09,400 Speaker 1: and my good friend Ben Batsy, as well as just 109 00:06:09,400 --> 00:06:11,880 Speaker 1: me and him in a room. He makes my last album, 110 00:06:11,880 --> 00:06:14,039 Speaker 1: he makes this one too, but he he became pretty 111 00:06:14,120 --> 00:06:17,560 Speaker 1: much my rock of just like my my code, producing 112 00:06:17,600 --> 00:06:19,359 Speaker 1: my partner along the whole way. And he did a 113 00:06:19,400 --> 00:06:21,920 Speaker 1: lot sonically that and it taught me a lot actually 114 00:06:21,920 --> 00:06:25,160 Speaker 1: sonically just explained why things he felt like things sounded 115 00:06:25,200 --> 00:06:27,120 Speaker 1: better like this or didn't sound as good like this, 116 00:06:27,160 --> 00:06:30,120 Speaker 1: and actually informed me a lot on that kind of 117 00:06:30,120 --> 00:06:31,960 Speaker 1: stuff as well. And I'm and now it allows me 118 00:06:32,000 --> 00:06:33,120 Speaker 1: to go and be like, oh, I think the second 119 00:06:33,160 --> 00:06:35,160 Speaker 1: verse should be really up close, so that the vocal 120 00:06:35,200 --> 00:06:37,360 Speaker 1: comes up and it becomes more intimate and you can 121 00:06:37,400 --> 00:06:39,040 Speaker 1: talk about it and just a feeling level. But he 122 00:06:39,080 --> 00:06:42,480 Speaker 1: can just achieve that it feels really fresh. Thank you. 123 00:06:43,000 --> 00:06:44,920 Speaker 1: I'll play this next one. Let me just ask, can 124 00:06:44,960 --> 00:06:46,440 Speaker 1: you can you guys send in a pad and a 125 00:06:46,480 --> 00:06:50,440 Speaker 1: pen thanks. Okay, this next one is the one you know, 126 00:06:51,680 --> 00:06:57,760 Speaker 1: but I felt like he deserves to be honest. When 127 00:06:57,760 --> 00:07:00,640 Speaker 1: we come back, Rexel breakdown face to face the new track, 128 00:07:00,680 --> 00:07:07,479 Speaker 1: which is heard We're back with Rex and Rick talking 129 00:07:07,480 --> 00:07:10,360 Speaker 1: about the style face to face. So how did that 130 00:07:10,360 --> 00:07:13,920 Speaker 1: one come about? That one was actually the first thing 131 00:07:13,960 --> 00:07:18,000 Speaker 1: I made on my laptop after my last album, and 132 00:07:18,040 --> 00:07:20,560 Speaker 1: it was the part this the keys part that is 133 00:07:20,640 --> 00:07:23,400 Speaker 1: just like the sign waves doing the really simple two 134 00:07:23,480 --> 00:07:27,120 Speaker 1: chord part, And it actually existed on my laptop for 135 00:07:27,120 --> 00:07:31,720 Speaker 1: a long time before I figured out what I wanted 136 00:07:31,760 --> 00:07:33,239 Speaker 1: to say on it or figure out where I wanted 137 00:07:33,320 --> 00:07:35,920 Speaker 1: to take it musically. It was always just this thing 138 00:07:35,960 --> 00:07:38,520 Speaker 1: between two chords and had a few synth lines on 139 00:07:38,560 --> 00:07:41,440 Speaker 1: top of each other and just a few bits of 140 00:07:41,480 --> 00:07:45,440 Speaker 1: it really, and what happened was over time. It's kind 141 00:07:45,440 --> 00:07:47,920 Speaker 1: of about it. The song itself is about feeling like 142 00:07:47,960 --> 00:07:50,160 Speaker 1: you want to be back home with the person you 143 00:07:50,200 --> 00:07:52,880 Speaker 1: actually want to be with, and missing the person you 144 00:07:52,960 --> 00:07:54,760 Speaker 1: love and feeling like you're stuck in some kind of 145 00:07:54,800 --> 00:07:59,840 Speaker 1: situation elsewhere geographically and literally, that thing where you're all 146 00:08:00,040 --> 00:08:01,400 Speaker 1: where else where you don't really want to be with 147 00:08:01,400 --> 00:08:03,520 Speaker 1: people who you don't really want to be with and 148 00:08:03,680 --> 00:08:06,440 Speaker 1: your and it's literally I had to get I had 149 00:08:06,480 --> 00:08:09,800 Speaker 1: to have that situation, which was bigger than just that 150 00:08:09,840 --> 00:08:12,080 Speaker 1: one day of like feeling that thing and having phone 151 00:08:12,080 --> 00:08:15,920 Speaker 1: calls where we both wake up, we're both on the 152 00:08:15,920 --> 00:08:17,720 Speaker 1: phone with each other, but she's in bed. We're both 153 00:08:17,720 --> 00:08:19,280 Speaker 1: in bed, but she is the morning for her and 154 00:08:19,400 --> 00:08:21,360 Speaker 1: I'm about to go to sleep. Whatever. It's really surreal 155 00:08:22,000 --> 00:08:25,600 Speaker 1: when you're just like really angry but really really missing 156 00:08:25,600 --> 00:08:28,480 Speaker 1: someone at the same time and feeling emotional. And I 157 00:08:28,520 --> 00:08:30,880 Speaker 1: had to have that before I actually wrote the whole 158 00:08:30,880 --> 00:08:33,760 Speaker 1: song in one go lyrically one of the only times 159 00:08:33,800 --> 00:08:37,440 Speaker 1: that really happened, and ended up fitting it to the 160 00:08:37,480 --> 00:08:40,320 Speaker 1: original project that was not meant to be. It was 161 00:08:40,520 --> 00:08:43,600 Speaker 1: the original instrumental was just for whatever I was going 162 00:08:43,640 --> 00:08:45,600 Speaker 1: to write over it, but obviously it kept its place. 163 00:08:46,120 --> 00:08:47,680 Speaker 1: But when you wrote the words, did you write the 164 00:08:47,679 --> 00:08:50,080 Speaker 1: words with the chords in mind or did you write 165 00:08:50,200 --> 00:08:52,200 Speaker 1: write it more like a poem and then realize that 166 00:08:52,240 --> 00:08:55,360 Speaker 1: they worked over the chords the latter I wrote them 167 00:08:55,400 --> 00:08:59,680 Speaker 1: as a wrote the verse three year I then found 168 00:08:59,679 --> 00:09:01,920 Speaker 1: that it worked over this music. Yeah, I imagined it 169 00:09:02,000 --> 00:09:05,160 Speaker 1: to be some kind of disco ish sort of one 170 00:09:05,480 --> 00:09:08,760 Speaker 1: twenty one t tempo of just fall to the floor 171 00:09:08,800 --> 00:09:10,440 Speaker 1: and I can imagine it, but I didn't. I didn't 172 00:09:10,480 --> 00:09:14,320 Speaker 1: hear those chords necessarily, and I just fit them. Yeah, 173 00:09:14,400 --> 00:09:16,600 Speaker 1: pretty much what you just said. That had the lyrics 174 00:09:16,640 --> 00:09:20,080 Speaker 1: and then fit those two everything else interesting And when 175 00:09:20,080 --> 00:09:24,080 Speaker 1: did the beat come? The beat was actually in the 176 00:09:24,080 --> 00:09:27,000 Speaker 1: original logic far, which was just some logic drums that 177 00:09:28,000 --> 00:09:31,520 Speaker 1: which is putting on the keyboard. It sounded like like 178 00:09:31,559 --> 00:09:34,280 Speaker 1: I could imagine the beat being there from the beginning, 179 00:09:34,400 --> 00:09:37,160 Speaker 1: but I it can sound like that, but it doesn't 180 00:09:37,200 --> 00:09:41,040 Speaker 1: feel that happened. It sounded like that, so I was curious. Yeah, no, 181 00:09:41,200 --> 00:09:43,200 Speaker 1: that was that was always there from the beginning, but 182 00:09:43,400 --> 00:09:45,559 Speaker 1: never was never meant to come in until it was 183 00:09:45,600 --> 00:09:47,920 Speaker 1: always meant to come in where it came in. Yes, yeah, 184 00:09:48,120 --> 00:09:50,319 Speaker 1: but it's still I feel like that beats implied through 185 00:09:50,360 --> 00:09:52,720 Speaker 1: the whole thing, you know, like I feel that energy 186 00:09:53,320 --> 00:09:55,920 Speaker 1: when the beat comes in. It doesn't feel like, yes, 187 00:09:55,960 --> 00:09:58,520 Speaker 1: it feels like dramatic because it's a beat, but I 188 00:09:58,520 --> 00:10:01,520 Speaker 1: feel like we're already in that rhythm. Yeah, clearly you're 189 00:10:01,559 --> 00:10:06,280 Speaker 1: prepared for absolutely. That's great. So the musically it didn't 190 00:10:06,360 --> 00:10:09,559 Speaker 1: change much from the original idea. Not a lot there 191 00:10:09,600 --> 00:10:13,280 Speaker 1: was well, there was a lot of chipping away, adding 192 00:10:13,400 --> 00:10:16,440 Speaker 1: things that we felt like within the studio having like 193 00:10:16,480 --> 00:10:18,640 Speaker 1: different you know, the melotron in the bridge and the 194 00:10:19,640 --> 00:10:21,640 Speaker 1: idea of having the strings they're all not and like 195 00:10:21,679 --> 00:10:24,360 Speaker 1: there were things that conversations that me and Ben had 196 00:10:24,400 --> 00:10:26,600 Speaker 1: for a long time, but actually on the whole, yeah, 197 00:10:26,720 --> 00:10:29,360 Speaker 1: pretty much came in in a certain way and and 198 00:10:29,559 --> 00:10:32,199 Speaker 1: was done over two or three days. The first time 199 00:10:32,400 --> 00:10:34,400 Speaker 1: got it to a certain point where it pretty much 200 00:10:34,400 --> 00:10:36,840 Speaker 1: sounded like an rough version of this pretty much, but 201 00:10:36,840 --> 00:10:39,079 Speaker 1: then there was a lot of details that we wanted 202 00:10:39,120 --> 00:10:42,800 Speaker 1: to go into overtime and changing certain bits, and it's 203 00:10:42,960 --> 00:10:44,760 Speaker 1: kind of hard to remember in ways, it's almost like 204 00:10:44,800 --> 00:10:47,319 Speaker 1: it's a blur of like it was always I could 205 00:10:47,360 --> 00:10:49,680 Speaker 1: from the day that I've figured out that poem would 206 00:10:49,679 --> 00:10:52,240 Speaker 1: work over this thing. It's kind of just since then, 207 00:10:52,240 --> 00:10:54,320 Speaker 1: it's like, well, I mean I just put it there 208 00:10:54,360 --> 00:10:56,240 Speaker 1: and did my best, and he did his best. And 209 00:10:56,280 --> 00:11:00,560 Speaker 1: that was hard to really explain completely understood understand that 210 00:11:00,640 --> 00:11:04,720 Speaker 1: in the in that moment of the burst of creativity 211 00:11:04,960 --> 00:11:08,480 Speaker 1: of like discovery, a lot of things happen very quickly, 212 00:11:09,080 --> 00:11:12,200 Speaker 1: and sometimes I know in my experiences. Sometimes I'll hear 213 00:11:12,280 --> 00:11:15,560 Speaker 1: something after we've recorded it, and I don't even remember 214 00:11:15,600 --> 00:11:18,640 Speaker 1: that it happened, because it's you're kind of in this 215 00:11:18,960 --> 00:11:22,960 Speaker 1: zone where things are just happening, and then afterwards you 216 00:11:23,000 --> 00:11:25,720 Speaker 1: look back it's like, wow, that's incredible, Like I know 217 00:11:25,840 --> 00:11:28,120 Speaker 1: I was involved, but I don't really remember how that 218 00:11:28,240 --> 00:11:32,640 Speaker 1: happened exactly. Very exciting. It's a thrilling feeling. It's like 219 00:11:32,679 --> 00:11:36,080 Speaker 1: almost being in an altered state. Yeah, yeah, you're like it, Yeah, 220 00:11:36,120 --> 00:11:39,840 Speaker 1: do you do you feel that way? Often? No, Often 221 00:11:39,920 --> 00:11:42,400 Speaker 1: it happens. It's it's I feel like a lot of 222 00:11:42,400 --> 00:11:44,600 Speaker 1: the time in the studio, we're waiting for that to happen. 223 00:11:45,320 --> 00:11:47,280 Speaker 1: I don't think about it as waiting, but there's a 224 00:11:47,280 --> 00:11:50,680 Speaker 1: lot of times when sort of we know that there's 225 00:11:50,720 --> 00:11:53,600 Speaker 1: something that needs to happen. You're just kind of waiting 226 00:11:53,880 --> 00:11:57,360 Speaker 1: until the stars align, and then all of a sudden 227 00:11:57,360 --> 00:12:00,760 Speaker 1: it starts happening, and then it's sort of feels almost 228 00:12:00,800 --> 00:12:06,040 Speaker 1: out of control that it just this momentum starts. I 229 00:12:06,080 --> 00:12:08,920 Speaker 1: always when when I realize it's happening, I always try 230 00:12:08,960 --> 00:12:10,840 Speaker 1: to relax and just think, okay, I just hope that 231 00:12:10,880 --> 00:12:12,840 Speaker 1: it goes as long as it can go, yeah, just 232 00:12:12,880 --> 00:12:18,560 Speaker 1: like stay out of the way of this momentum that's arrived. Yeah, 233 00:12:18,559 --> 00:12:21,280 Speaker 1: within the air, definitely, I have that. I've had that 234 00:12:21,320 --> 00:12:23,719 Speaker 1: a few times. But it's it's you always. I think 235 00:12:23,880 --> 00:12:26,440 Speaker 1: you always had an intention, but you never it's hard 236 00:12:26,480 --> 00:12:28,679 Speaker 1: to explain the process. But in the middle I can 237 00:12:28,760 --> 00:12:30,800 Speaker 1: just look back at what I originally was trying to 238 00:12:30,840 --> 00:12:34,160 Speaker 1: do and go, well, I did achieve that, or I didn't, 239 00:12:34,200 --> 00:12:36,040 Speaker 1: but it's still great and it's better for it, and 240 00:12:36,080 --> 00:12:38,400 Speaker 1: we found something else that I wasn't expecting. But it's 241 00:12:38,440 --> 00:12:41,160 Speaker 1: hard to sometimes pin down the moment. In the middle bit, 242 00:12:41,240 --> 00:12:44,360 Speaker 1: I think absolutely absolutely. And when did Pino play on it. 243 00:12:44,600 --> 00:12:48,360 Speaker 1: He played on it probably three quarters of the way 244 00:12:48,360 --> 00:12:50,360 Speaker 1: through making it, so it was already practically like it 245 00:12:50,679 --> 00:12:54,000 Speaker 1: just had a like a synth base. I think before 246 00:12:54,000 --> 00:12:57,120 Speaker 1: that was just kind of driving on like halftime of 247 00:12:57,160 --> 00:13:02,360 Speaker 1: the drums. And I think what happened was I was 248 00:13:02,360 --> 00:13:05,000 Speaker 1: speaking to someone who said, you should try and not 249 00:13:05,040 --> 00:13:08,840 Speaker 1: do everything yourself, and you should try and invest in 250 00:13:08,840 --> 00:13:12,560 Speaker 1: people who are really really great at their craft, because 251 00:13:13,200 --> 00:13:15,320 Speaker 1: if they've spent their whole life doing that one thing, 252 00:13:15,760 --> 00:13:19,840 Speaker 1: then you probably on paper they can do it. They 253 00:13:19,840 --> 00:13:21,439 Speaker 1: can do it the best or whatever. It's like going 254 00:13:21,520 --> 00:13:24,040 Speaker 1: compared to you. You're competent. I'm competent on bass, and 255 00:13:24,040 --> 00:13:25,360 Speaker 1: there's a lot of album, A lot of this album 256 00:13:25,360 --> 00:13:27,640 Speaker 1: I played the bass on, but it was not because 257 00:13:27,640 --> 00:13:30,440 Speaker 1: those songs didn't necessarily in my head feel as if 258 00:13:30,480 --> 00:13:33,760 Speaker 1: they deserved like the you know, it wasn't all about 259 00:13:33,800 --> 00:13:36,400 Speaker 1: the bass. I don't think those other songs, but that 260 00:13:36,480 --> 00:13:38,439 Speaker 1: one for me and bending him and I had a 261 00:13:38,480 --> 00:13:42,120 Speaker 1: conversation where it was like do we just you know, 262 00:13:42,160 --> 00:13:44,640 Speaker 1: after soon after that other conversation about you should invest 263 00:13:44,679 --> 00:13:46,080 Speaker 1: in you know, other people who do they think, not 264 00:13:46,120 --> 00:13:48,160 Speaker 1: do everything yourself, I just said, why don't we get 265 00:13:48,320 --> 00:13:49,959 Speaker 1: Peno to play on this song? And I think we 266 00:13:50,080 --> 00:13:51,920 Speaker 1: joked about it before and was like, imagine if he 267 00:13:51,960 --> 00:13:54,640 Speaker 1: would ever do such a thing. But you realize these 268 00:13:54,640 --> 00:13:57,560 Speaker 1: people are around and they do actually play, you know, 269 00:13:57,600 --> 00:13:59,640 Speaker 1: their instruments for people when you ask. So you just 270 00:13:59,679 --> 00:14:02,360 Speaker 1: had to ask, and it was a very very special 271 00:14:02,600 --> 00:14:04,120 Speaker 1: moment for me because I was just a big fan 272 00:14:04,200 --> 00:14:06,679 Speaker 1: of him and all his work and having him to 273 00:14:06,679 --> 00:14:08,679 Speaker 1: do it so quickly and I'm sure I know you've 274 00:14:08,679 --> 00:14:12,360 Speaker 1: watched him. Yeah, that's fantastic. Did you play him the 275 00:14:12,400 --> 00:14:14,240 Speaker 1: original bass part or did you just play him the 276 00:14:14,240 --> 00:14:17,439 Speaker 1: track with nothing I played? Do you know what happened? 277 00:14:17,440 --> 00:14:20,560 Speaker 1: I played him the We sent him the song and 278 00:14:20,600 --> 00:14:23,600 Speaker 1: it had the sign basin, and he actually called me 279 00:14:23,640 --> 00:14:25,640 Speaker 1: to find out how I wanted to do it in 280 00:14:25,720 --> 00:14:27,720 Speaker 1: terms of keeping the sign basin or not, because he 281 00:14:27,800 --> 00:14:30,360 Speaker 1: was like, I quite like how it is in there, 282 00:14:30,400 --> 00:14:32,320 Speaker 1: and I wonder if we can have the digital based 283 00:14:32,400 --> 00:14:35,200 Speaker 1: and the meet the live human based working together. And 284 00:14:35,240 --> 00:14:37,080 Speaker 1: I was like, I'd like to know that. We'll see 285 00:14:37,080 --> 00:14:39,160 Speaker 1: if we can or can't. And he came in open minded, 286 00:14:39,200 --> 00:14:41,720 Speaker 1: and we quickly realized that it was better with just 287 00:14:41,960 --> 00:14:44,160 Speaker 1: him than the since. But he was he called me 288 00:14:44,200 --> 00:14:46,440 Speaker 1: to say, what should we do with that? Because I'm 289 00:14:46,720 --> 00:14:48,440 Speaker 1: interested to know that. I said in the email, it's 290 00:14:48,480 --> 00:14:50,560 Speaker 1: like it's already a bass part there, but obviously it's 291 00:14:51,080 --> 00:14:53,040 Speaker 1: a case of either switching it out or seeing how 292 00:14:53,080 --> 00:14:55,760 Speaker 1: it goes. But he actually picked up on that and 293 00:14:56,040 --> 00:14:59,080 Speaker 1: we had the conversation and it worked out for the best. 294 00:14:59,480 --> 00:15:05,280 Speaker 1: What would you say, what would you consider your influences 295 00:15:05,280 --> 00:15:08,800 Speaker 1: throughout everything or in general? I don't think we ever 296 00:15:08,840 --> 00:15:13,640 Speaker 1: talked about this before. Maybe not. I feel like as 297 00:15:13,680 --> 00:15:17,160 Speaker 1: a child, I was very open to kind of a 298 00:15:17,200 --> 00:15:21,160 Speaker 1: lot of different types of music, and I was inspired 299 00:15:21,160 --> 00:15:23,280 Speaker 1: a lot by bands and I played the drums, so 300 00:15:23,320 --> 00:15:25,520 Speaker 1: I was listening to Wheezer and Blink one eight two 301 00:15:25,520 --> 00:15:29,160 Speaker 1: and Green Day and to put to put like a 302 00:15:29,240 --> 00:15:31,720 Speaker 1: corner of those type that type of music at a 303 00:15:31,760 --> 00:15:34,920 Speaker 1: young age I really loved. And then there was this thing, 304 00:15:35,200 --> 00:15:37,760 Speaker 1: now that's why I call music CDs where they would 305 00:15:37,800 --> 00:15:40,320 Speaker 1: have just like a compilation of pop music. And it's 306 00:15:40,440 --> 00:15:42,960 Speaker 1: like but they would they would have like Homecoming by 307 00:15:43,040 --> 00:15:46,760 Speaker 1: Kanye on there, or they'd have like like Atomic Kitten 308 00:15:46,880 --> 00:15:48,320 Speaker 1: or like there was like there was like real like 309 00:15:48,400 --> 00:15:50,760 Speaker 1: pop or just like Girls Aloud. It was there was 310 00:15:50,800 --> 00:15:52,960 Speaker 1: just every sort of side of pop music that was 311 00:15:53,000 --> 00:15:55,320 Speaker 1: still working on the radio could go on this compilation CD. 312 00:15:55,720 --> 00:15:57,120 Speaker 1: And I think I was just exposed to a lot 313 00:15:57,160 --> 00:16:00,320 Speaker 1: of different stuff. And you I soon realized. I didn't 314 00:16:00,320 --> 00:16:02,120 Speaker 1: real realize until maybe a couple of years ago. But 315 00:16:02,520 --> 00:16:05,600 Speaker 1: you certain like certain things you're drawn to and always 316 00:16:05,640 --> 00:16:09,120 Speaker 1: like certain things. Certain places resonate with you or don't. 317 00:16:09,360 --> 00:16:13,000 Speaker 1: And it's very easy it's hard to like fake enthusiasm. Actually, 318 00:16:13,040 --> 00:16:15,520 Speaker 1: if you if you're somewhere or you hear something that 319 00:16:15,520 --> 00:16:17,680 Speaker 1: you're not actually into. So there's certain things for me. 320 00:16:17,680 --> 00:16:19,720 Speaker 1: I think I just always was always drawn to things, 321 00:16:20,520 --> 00:16:22,320 Speaker 1: not necessarily who they would buy. I would never be 322 00:16:22,400 --> 00:16:24,280 Speaker 1: like I love that artist, everything by them is great. 323 00:16:24,280 --> 00:16:26,360 Speaker 1: It's like I find that hard even today to say 324 00:16:26,840 --> 00:16:28,960 Speaker 1: I love everything from one person. It's really a small 325 00:16:28,960 --> 00:16:31,800 Speaker 1: handful of people who've ever done that for me. But 326 00:16:31,880 --> 00:16:34,760 Speaker 1: I found people like Kanye and people like Stevie Wonder 327 00:16:34,760 --> 00:16:38,400 Speaker 1: at a young age, and his discography was one of 328 00:16:38,440 --> 00:16:40,120 Speaker 1: the first things I've really found, like there were so 329 00:16:40,120 --> 00:16:42,760 Speaker 1: many different styles but just using a lot of the 330 00:16:42,840 --> 00:16:45,800 Speaker 1: same chords, but so many different chords in different keys, 331 00:16:45,840 --> 00:16:48,080 Speaker 1: and just realized I thought I'd kind of just realized 332 00:16:48,120 --> 00:16:51,360 Speaker 1: what genius was. But then at the same time, it's schooled. 333 00:16:51,440 --> 00:16:53,800 Speaker 1: People would show me Eminem and jay Z and have like, 334 00:16:53,800 --> 00:16:56,720 Speaker 1: show me an MP three player in the flesh and 335 00:16:56,840 --> 00:16:58,960 Speaker 1: someone had I had an MP three player with one 336 00:16:59,240 --> 00:17:02,040 Speaker 1: Eminem song and one jay Z song, and I think 337 00:17:02,080 --> 00:17:06,800 Speaker 1: it was I think it was fac by Eminem Unfortunately 338 00:17:06,800 --> 00:17:08,800 Speaker 1: We're not. Unfortunately was amazing, really but like that was 339 00:17:08,800 --> 00:17:10,480 Speaker 1: like one of the first rap songs ever heard, And 340 00:17:10,480 --> 00:17:15,520 Speaker 1: then I believe it was What more can I say 341 00:17:15,720 --> 00:17:18,240 Speaker 1: or something from the Black album by Jay I think, 342 00:17:18,280 --> 00:17:20,040 Speaker 1: which was at that time. I was just kind of 343 00:17:20,080 --> 00:17:22,760 Speaker 1: like I didn't know what that even was, and that 344 00:17:22,800 --> 00:17:24,919 Speaker 1: was just my first introduction. So I kind of I 345 00:17:25,080 --> 00:17:28,040 Speaker 1: feel as if I was just gravitated towards what was 346 00:17:28,040 --> 00:17:29,399 Speaker 1: put in front of me. But then there was so 347 00:17:29,480 --> 00:17:30,760 Speaker 1: much put in front of me. I didn't have to 348 00:17:30,800 --> 00:17:33,280 Speaker 1: get into all these other bands from pop bands from 349 00:17:33,280 --> 00:17:35,679 Speaker 1: the UK and stuff. Certain things. I was into certain songs, 350 00:17:35,760 --> 00:17:37,280 Speaker 1: but there was a lot of cause, and I think 351 00:17:37,280 --> 00:17:41,240 Speaker 1: a lot of theory and certain vocal melodies and stuff 352 00:17:41,240 --> 00:17:44,320 Speaker 1: actually that I wasn't like always driven to melody. Sometimes 353 00:17:44,320 --> 00:17:45,560 Speaker 1: they would just be the cause and they would be 354 00:17:45,560 --> 00:17:48,399 Speaker 1: a vocalist doing something that actually didn't really resonate with me, 355 00:17:48,440 --> 00:17:50,399 Speaker 1: but I could just point out certain bits that I 356 00:17:50,400 --> 00:17:54,800 Speaker 1: loved about it, mainly music. Actually, honestly, I haven't really 357 00:17:54,800 --> 00:17:56,640 Speaker 1: had a lot of I'd be lying if I said 358 00:17:56,640 --> 00:17:58,840 Speaker 1: I'm really influenced by films and stuff, because I'm not. 359 00:17:58,920 --> 00:18:01,679 Speaker 1: But I do, you know, I enjoy watching films like 360 00:18:01,720 --> 00:18:04,040 Speaker 1: a lot of people. But I think most of what 361 00:18:04,320 --> 00:18:07,440 Speaker 1: truly truly resonates with me is either just like people 362 00:18:07,520 --> 00:18:10,080 Speaker 1: saying words that make me want to go and do 363 00:18:10,160 --> 00:18:13,800 Speaker 1: something or real like sound at sonics and chords and 364 00:18:14,440 --> 00:18:17,080 Speaker 1: music from any type of person, any type of band. 365 00:18:17,119 --> 00:18:19,879 Speaker 1: Just just a lot of influences really that could go 366 00:18:19,920 --> 00:18:21,640 Speaker 1: on a long list, but I think when I really 367 00:18:21,640 --> 00:18:24,119 Speaker 1: put it down to just what resonates with me, I 368 00:18:24,160 --> 00:18:26,640 Speaker 1: think that's that's all. And I've just I love music 369 00:18:26,640 --> 00:18:28,680 Speaker 1: as well, so it probably it helps you know when 370 00:18:28,680 --> 00:18:31,800 Speaker 1: did you start experimenting with chords? It moved from drums 371 00:18:31,840 --> 00:18:38,240 Speaker 1: to two keys. I mean I actually probably experimented with 372 00:18:38,280 --> 00:18:42,199 Speaker 1: the keys before the good idea. I've probably experimented with 373 00:18:42,280 --> 00:18:46,280 Speaker 1: keys before drums, and was playing like Cold Play songs 374 00:18:46,320 --> 00:18:49,840 Speaker 1: on the piano at a young age, like whilst learning drums. 375 00:18:49,880 --> 00:18:51,000 Speaker 1: But there was there was a point when I was 376 00:18:51,040 --> 00:18:53,560 Speaker 1: at school. I went to a place called the brit School, 377 00:18:54,119 --> 00:18:57,119 Speaker 1: and when I arrived there on my first day, I 378 00:18:57,160 --> 00:18:59,399 Speaker 1: met a guy called Jim who played the drums, and 379 00:18:59,440 --> 00:19:01,240 Speaker 1: I came as a drummer as well. And in the 380 00:19:01,280 --> 00:19:02,840 Speaker 1: year there was sort of like four or five people 381 00:19:02,840 --> 00:19:07,720 Speaker 1: that played drums and they had everyone performer a set 382 00:19:08,400 --> 00:19:11,760 Speaker 1: like not a set, sorry, like a solo performance on 383 00:19:11,880 --> 00:19:13,280 Speaker 1: the first dick, so we could all kind of like 384 00:19:13,280 --> 00:19:17,040 Speaker 1: show the year what we did, and I remember watching 385 00:19:17,119 --> 00:19:19,560 Speaker 1: Jim play drums and I was I just thought, I 386 00:19:19,600 --> 00:19:22,879 Speaker 1: don't think I'm a drummer. I think he is a drummer. 387 00:19:22,880 --> 00:19:24,800 Speaker 1: I think I'm someone that is competent on drums, and 388 00:19:25,200 --> 00:19:27,800 Speaker 1: i'm I love drums, but I also I've spent I've 389 00:19:27,800 --> 00:19:29,680 Speaker 1: spent time doing a bit of keys, I've spent time 390 00:19:29,680 --> 00:19:31,520 Speaker 1: doing a bit of this, and like singing and stuff, 391 00:19:31,520 --> 00:19:34,280 Speaker 1: and Jim or I'm assuming, having not knowing him at 392 00:19:34,320 --> 00:19:35,879 Speaker 1: the time, I was like, I guess this guy's just 393 00:19:35,960 --> 00:19:37,960 Speaker 1: spent his whole life doing drums because he look he 394 00:19:38,080 --> 00:19:40,679 Speaker 1: sounds like someone who's put so much into the drums, 395 00:19:40,680 --> 00:19:42,600 Speaker 1: which I've I can't catch up on that. And there's 396 00:19:42,640 --> 00:19:45,120 Speaker 1: so many people out there, you know, it's very instant, like, well, 397 00:19:45,160 --> 00:19:48,000 Speaker 1: that's probably not my calling. I think that's his calling 398 00:19:48,000 --> 00:19:50,960 Speaker 1: all someone else of that sort. And what happened was 399 00:19:51,520 --> 00:19:54,640 Speaker 1: I probably that sparked me to think that I could 400 00:19:54,640 --> 00:19:57,960 Speaker 1: just do something else. And people were putting me onto 401 00:19:58,000 --> 00:20:00,600 Speaker 1: other solo artists that I was unaware of, and like 402 00:20:00,640 --> 00:20:02,760 Speaker 1: singers who played the guitar, and I never really was 403 00:20:02,800 --> 00:20:05,200 Speaker 1: interested in the guitar as much. It was more the piano, 404 00:20:05,240 --> 00:20:06,280 Speaker 1: and so I kind of was like, well, if I 405 00:20:06,320 --> 00:20:08,800 Speaker 1: can translate the chords from the piano over to the guitar, 406 00:20:08,840 --> 00:20:11,080 Speaker 1: I don't have to be much of a guitarist. I 407 00:20:11,080 --> 00:20:15,119 Speaker 1: can just be someone playing music through a using a guitar. 408 00:20:15,280 --> 00:20:18,040 Speaker 1: So I can't play really a guitar solo competently, but 409 00:20:18,119 --> 00:20:20,520 Speaker 1: I could still to this day, I'm still just more 410 00:20:20,560 --> 00:20:23,119 Speaker 1: of just a chord guy if you want. I just 411 00:20:23,240 --> 00:20:25,320 Speaker 1: kind of translated it over to that. But it was 412 00:20:25,359 --> 00:20:28,080 Speaker 1: at school, middle of school, and I realized it couldn't 413 00:20:28,119 --> 00:20:30,040 Speaker 1: be a drummer, didn't want to be a drummer, would 414 00:20:30,119 --> 00:20:32,800 Speaker 1: rather be something else, and also had a lot on 415 00:20:32,840 --> 00:20:35,440 Speaker 1: my mind I wanted to talk about. And they came 416 00:20:35,480 --> 00:20:37,720 Speaker 1: at the right times together, and I was like, what 417 00:20:37,800 --> 00:20:41,200 Speaker 1: else can I do? Let's just, you know, found a way, 418 00:20:41,840 --> 00:20:44,840 Speaker 1: spent the summer in someone's house just recording and very 419 00:20:44,880 --> 00:20:49,240 Speaker 1: amateur in a good way and very diy and just yeah, 420 00:20:49,240 --> 00:20:50,560 Speaker 1: it just all came in. It was the right place, 421 00:20:50,640 --> 00:20:52,240 Speaker 1: right time. It was lucky. It was quite early on 422 00:20:52,280 --> 00:20:54,880 Speaker 1: in my life, to be honest, and it was, yeah, 423 00:20:54,960 --> 00:20:56,480 Speaker 1: how old do you when the first thing you put 424 00:20:56,480 --> 00:20:58,720 Speaker 1: who you released your first piece of music? I think 425 00:20:58,760 --> 00:21:01,600 Speaker 1: I had just turned seventeen. Wow, I think i'd maybe 426 00:21:01,640 --> 00:21:05,120 Speaker 1: all just a few months after being seventeen. On SoundCloud. Yes, 427 00:21:06,359 --> 00:21:09,399 Speaker 1: SoundCloud has been good to you. It really has. It 428 00:21:09,520 --> 00:21:11,720 Speaker 1: really has. And I did the first album there as well. 429 00:21:11,760 --> 00:21:14,080 Speaker 1: And then you watch you like, go on SoundCloud every 430 00:21:14,119 --> 00:21:15,880 Speaker 1: day and watch it go up and you're like wow, 431 00:21:15,920 --> 00:21:18,520 Speaker 1: and just start. It's not on actual streaming services yet 432 00:21:18,520 --> 00:21:21,280 Speaker 1: they really it was me. You know, the artist does 433 00:21:21,320 --> 00:21:24,800 Speaker 1: it whatever. The music speaks for itself, but the platform 434 00:21:24,880 --> 00:21:29,000 Speaker 1: is was really genuinely useful for that. I wonder if 435 00:21:29,080 --> 00:21:31,120 Speaker 1: timing had anything to do with it as well, because 436 00:21:31,119 --> 00:21:34,840 Speaker 1: I feel like when I heard about you, I was 437 00:21:34,840 --> 00:21:37,600 Speaker 1: listening to a lot of music on SoundCloud, and I 438 00:21:37,640 --> 00:21:39,600 Speaker 1: feel like lately I haven't been listening to as much 439 00:21:39,640 --> 00:21:42,560 Speaker 1: on SoundCloud you as well. I haven't, I definitely have. 440 00:21:42,600 --> 00:21:46,600 Speaker 1: It's interesting. It's like, I wonder how that works. It's 441 00:21:46,640 --> 00:21:49,080 Speaker 1: just fascinating. What are you listening to music on at 442 00:21:49,080 --> 00:21:53,600 Speaker 1: the moment. I've been listening mostly to like classical music 443 00:21:53,640 --> 00:21:57,800 Speaker 1: and jazz from all different places, but not so much usually. 444 00:21:57,960 --> 00:22:01,159 Speaker 1: The only the only new music that I listen to 445 00:22:01,480 --> 00:22:04,160 Speaker 1: is when a friend tells me to listen to something sure, 446 00:22:04,480 --> 00:22:06,480 Speaker 1: And for some reason I went from a phase of 447 00:22:06,920 --> 00:22:09,960 Speaker 1: not listening to much hip hop to listening to much 448 00:22:09,960 --> 00:22:12,160 Speaker 1: more hip hop, much more new hip hop, which I'm 449 00:22:12,200 --> 00:22:16,880 Speaker 1: really enjoying. Yeah, yeah, great, it feels like a it's 450 00:22:16,920 --> 00:22:21,560 Speaker 1: an interesting moment in hip hop because I'm hearing I'm hearing. 451 00:22:21,800 --> 00:22:25,000 Speaker 1: Usually the thing that most excites me about music is 452 00:22:25,280 --> 00:22:28,359 Speaker 1: when it sounds like something I haven't heard before and 453 00:22:28,359 --> 00:22:32,480 Speaker 1: it's really surprising. Yet I'm hearing some hip hop now 454 00:22:32,520 --> 00:22:37,600 Speaker 1: that is not so surprising. In some ways, it's ordinary, 455 00:22:38,320 --> 00:22:42,119 Speaker 1: yet it's a very very very good version of ordinary, 456 00:22:42,280 --> 00:22:45,240 Speaker 1: and I like it. Yeah. So that's that's a little 457 00:22:45,240 --> 00:22:48,800 Speaker 1: bit of a new experience right now for me. Great. Yeah, 458 00:22:48,840 --> 00:22:51,760 Speaker 1: I do love some new representually love some new rep 459 00:22:51,760 --> 00:22:55,119 Speaker 1: And there's definitely that element of it's not necessarily surprising. 460 00:22:55,680 --> 00:22:57,359 Speaker 1: What new and hip hop have you been listening to 461 00:22:57,480 --> 00:23:01,359 Speaker 1: that you like? I like the Baby I feel. I 462 00:23:01,359 --> 00:23:03,520 Speaker 1: don't know if you've heard the Baby should listened to him. 463 00:23:03,960 --> 00:23:08,000 Speaker 1: He's a d a baby and he's from North Carolina. 464 00:23:08,040 --> 00:23:11,960 Speaker 1: He's from Charlotte, and he's just got a very he's 465 00:23:11,960 --> 00:23:14,520 Speaker 1: got a specific flow that actually talking about it's like 466 00:23:14,520 --> 00:23:18,320 Speaker 1: you don't I haven't actually really heard much exactly like him. 467 00:23:18,359 --> 00:23:22,679 Speaker 1: I just mean I enjoyed. He's very clever lyrically in 468 00:23:23,119 --> 00:23:28,480 Speaker 1: his beats are very simple and effective. And I think 469 00:23:28,800 --> 00:23:30,480 Speaker 1: a lot of this new rap actually some of it's 470 00:23:30,800 --> 00:23:32,679 Speaker 1: very simple and not effective. A lot of it's some 471 00:23:32,760 --> 00:23:35,560 Speaker 1: of it when you get it right, and all subjective. Again, 472 00:23:36,040 --> 00:23:38,000 Speaker 1: like some things resonating me, some things don't. But some 473 00:23:38,040 --> 00:23:42,000 Speaker 1: of these rap songs feel very effective in their simplicity, 474 00:23:42,160 --> 00:23:44,800 Speaker 1: and you don't, I like not hearing ad libs before 475 00:23:45,840 --> 00:23:47,680 Speaker 1: when you first hear it, and then later on listening, 476 00:23:47,680 --> 00:23:49,439 Speaker 1: I mean like that's where the energies come from, of 477 00:23:49,480 --> 00:23:51,959 Speaker 1: them shouting behind their other vocal But I didn't even 478 00:23:52,040 --> 00:23:54,360 Speaker 1: realize the first few times. Now that's a simple thing. 479 00:23:54,359 --> 00:23:58,720 Speaker 1: But that's just an observation. It's hard to listen names. 480 00:23:58,760 --> 00:24:01,119 Speaker 1: There's there is also so any names in the conversation, 481 00:24:01,160 --> 00:24:04,399 Speaker 1: I think absolutely, and now more than it's endless, it's endless, 482 00:24:04,400 --> 00:24:08,720 Speaker 1: and it feels like the turnover or the excitement about music. 483 00:24:10,080 --> 00:24:13,240 Speaker 1: It moves much faster, Like when I hear something, even 484 00:24:13,280 --> 00:24:16,280 Speaker 1: something that I really love, I listen to it and 485 00:24:16,320 --> 00:24:20,359 Speaker 1: then there's something new that replaces that slot sooner than later, 486 00:24:20,760 --> 00:24:23,119 Speaker 1: which used to be the case. Used to I used 487 00:24:23,160 --> 00:24:24,720 Speaker 1: to really live with things that I liked for a 488 00:24:24,720 --> 00:24:27,400 Speaker 1: long time. Of course, so it's happening, feels like it's 489 00:24:27,400 --> 00:24:30,800 Speaker 1: happening less not sure why. No. I wonder if it's 490 00:24:30,880 --> 00:24:33,680 Speaker 1: just because of the amount of things that are out 491 00:24:33,680 --> 00:24:36,000 Speaker 1: and I wonder if that means that that gives people 492 00:24:36,000 --> 00:24:39,800 Speaker 1: a reason to be less impressed, and maybe just it's 493 00:24:39,920 --> 00:24:43,560 Speaker 1: landfill amounts from music to the point where it's like, well, okay, once, 494 00:24:43,760 --> 00:24:45,480 Speaker 1: once you're done with something. Once it's not if it 495 00:24:45,480 --> 00:24:47,399 Speaker 1: doesn't really if you don't love it, if you don't again, 496 00:24:47,480 --> 00:24:49,480 Speaker 1: like if it doesn't really really resonate with you, then 497 00:24:49,520 --> 00:24:52,000 Speaker 1: you're it's quite easy to feel like you can just 498 00:24:52,200 --> 00:24:54,280 Speaker 1: move on to the next thing and hope that there's 499 00:24:54,320 --> 00:24:56,119 Speaker 1: something else, because there probably will be, because there's so 500 00:24:56,280 --> 00:24:59,040 Speaker 1: much music out I'm speaking from the perspective of maybe 501 00:24:59,200 --> 00:25:02,640 Speaker 1: a listener that I've can't necessarily relate with. I don't 502 00:25:02,720 --> 00:25:06,480 Speaker 1: know what I'm guessing this is an assumption, but I 503 00:25:06,520 --> 00:25:08,400 Speaker 1: think it's just quite a lot of music out there. 504 00:25:08,600 --> 00:25:10,719 Speaker 1: It's true. Let's see the next one, let's hear it. 505 00:25:11,440 --> 00:25:13,480 Speaker 1: When we come back, we'll have more of Rix conversation 506 00:25:13,560 --> 00:25:15,720 Speaker 1: with Rax Slange County and we'll hear his new song 507 00:25:15,880 --> 00:25:23,280 Speaker 1: Stressed Out. We're back with Rax slannge County song stressed Out, 508 00:25:24,920 --> 00:25:28,000 Speaker 1: I have that one calling about. That one was actually 509 00:25:28,160 --> 00:25:30,679 Speaker 1: one of the two songs on there that I wrote 510 00:25:30,720 --> 00:25:34,879 Speaker 1: in a small house by myself in a place called Devon, 511 00:25:35,440 --> 00:25:37,960 Speaker 1: which is in the countryside of things, about four four 512 00:25:37,960 --> 00:25:40,440 Speaker 1: and a half hours probably from here, I would imagine, 513 00:25:40,880 --> 00:25:46,040 Speaker 1: And I decided to go and be by myself for 514 00:25:46,200 --> 00:25:49,200 Speaker 1: a week and try and write things because I'd spent 515 00:25:49,280 --> 00:25:51,960 Speaker 1: a lot of time with like I've mentioned earlier, with 516 00:25:52,200 --> 00:25:58,439 Speaker 1: instrumentals and ideas that were either waiting for vocals or 517 00:25:58,480 --> 00:26:01,120 Speaker 1: just had some vocals and waiting for the rest of them, 518 00:26:01,119 --> 00:26:03,879 Speaker 1: and I was feeling like sticking with saying in the 519 00:26:03,920 --> 00:26:05,720 Speaker 1: room listening to them over and over again, or in 520 00:26:05,760 --> 00:26:07,560 Speaker 1: the presence of someone else. I just felt as if 521 00:26:08,320 --> 00:26:10,080 Speaker 1: it was just maybe going to be a good thing 522 00:26:10,160 --> 00:26:12,399 Speaker 1: for me to remove myself from all of it, be 523 00:26:12,520 --> 00:26:15,440 Speaker 1: in the same country, but just take some time out 524 00:26:15,480 --> 00:26:19,320 Speaker 1: and take some space. But it was very difficult, actually, 525 00:26:19,359 --> 00:26:21,439 Speaker 1: and I actually wrote that on the last day, on 526 00:26:21,480 --> 00:26:23,720 Speaker 1: the Sunday. I did seven days, and I wrote on 527 00:26:23,720 --> 00:26:27,080 Speaker 1: the final day and recorded a demo that some of 528 00:26:27,080 --> 00:26:29,879 Speaker 1: the vocals and the keys in facts recorded off my phone. 529 00:26:30,280 --> 00:26:32,160 Speaker 1: Still on the same things on there, and it's kind 530 00:26:32,160 --> 00:26:35,480 Speaker 1: of like it was a moment of confusion and frustration 531 00:26:35,520 --> 00:26:38,000 Speaker 1: and feeling as if people, you know, there are people 532 00:26:38,000 --> 00:26:39,520 Speaker 1: in the world that do take advantage of you, And 533 00:26:39,560 --> 00:26:42,280 Speaker 1: there's a lot of themes of that across here all 534 00:26:42,280 --> 00:26:43,920 Speaker 1: of the songs. But it was it's kind of like 535 00:26:43,960 --> 00:26:48,160 Speaker 1: the epitome of me being frustrated and stressed out. It's 536 00:26:48,200 --> 00:26:50,359 Speaker 1: called stressed out. But it happened. It came from a 537 00:26:50,359 --> 00:26:52,280 Speaker 1: really annoying period of time where I didn't write anything 538 00:26:52,320 --> 00:26:53,679 Speaker 1: in that week and that's all I wanted to do, 539 00:26:53,720 --> 00:26:56,240 Speaker 1: and then write on the last day of course, sort 540 00:26:56,280 --> 00:26:58,919 Speaker 1: of finished the one thing that I really didn't loved 541 00:26:58,960 --> 00:27:01,719 Speaker 1: and allowed to. I wonder if it's as short as 542 00:27:01,760 --> 00:27:05,440 Speaker 1: it is because you wanted to get out of Devon. Yeah, 543 00:27:05,560 --> 00:27:08,639 Speaker 1: that's probably the case. It probably is. It feels it 544 00:27:08,640 --> 00:27:11,680 Speaker 1: it's almost like a personification of my trip. It was 545 00:27:12,240 --> 00:27:15,399 Speaker 1: a but it's beautiful because again it captures a feeling 546 00:27:15,440 --> 00:27:18,440 Speaker 1: in a moment and it feels different than the rest. 547 00:27:18,520 --> 00:27:20,520 Speaker 1: So it was a successful even though you had to 548 00:27:20,800 --> 00:27:25,760 Speaker 1: have this lonely week. Yeah, you got something beautiful from it, exactly. 549 00:27:25,800 --> 00:27:28,920 Speaker 1: That's that's like exactly how I feel. It's definitely got 550 00:27:28,920 --> 00:27:31,520 Speaker 1: something out. It's definitely worth doing. Yeah. Yeah, where would 551 00:27:31,560 --> 00:27:34,120 Speaker 1: you say you recorded the majority of the album? There's 552 00:27:34,160 --> 00:27:36,640 Speaker 1: a strong Room. There was a studio in London called 553 00:27:36,680 --> 00:27:41,000 Speaker 1: Strong Room sorry, and it's in East London and it 554 00:27:41,080 --> 00:27:43,520 Speaker 1: was in a small room that belongs to the producer 555 00:27:43,600 --> 00:27:45,520 Speaker 1: Ben and we did a lot of it in there 556 00:27:45,880 --> 00:27:47,520 Speaker 1: and then mixed a lot of it in a slightly 557 00:27:47,520 --> 00:27:50,879 Speaker 1: bigger room there and that pretty much all. I went 558 00:27:50,920 --> 00:27:53,119 Speaker 1: there pretty much every day for a lot of days, 559 00:27:53,520 --> 00:27:57,080 Speaker 1: just to track things and try things, and a lot 560 00:27:57,119 --> 00:27:59,439 Speaker 1: of playing and things like a lot of you know, 561 00:27:59,640 --> 00:28:01,600 Speaker 1: just years and stuff that that didn't make it. But 562 00:28:01,760 --> 00:28:04,720 Speaker 1: was that that again, like just the idea of going 563 00:28:04,760 --> 00:28:06,720 Speaker 1: there for as much time as I needed to to 564 00:28:06,760 --> 00:28:09,080 Speaker 1: get all the options, to be aware of what we 565 00:28:09,119 --> 00:28:10,880 Speaker 1: didn't need to do and what I didn't want to use. 566 00:28:11,440 --> 00:28:14,560 Speaker 1: But mainly mainly in that small room. And then that 567 00:28:14,560 --> 00:28:16,800 Speaker 1: that Devin for this song and one other song I'll 568 00:28:16,840 --> 00:28:18,760 Speaker 1: show you as well. How many how many songs would 569 00:28:18,760 --> 00:28:22,520 Speaker 1: you say you started that didn't make it? Like how many, 570 00:28:23,040 --> 00:28:25,119 Speaker 1: just so I get a sense of the scale of 571 00:28:25,160 --> 00:28:27,840 Speaker 1: the project. Sure to end up with ten, it was 572 00:28:27,880 --> 00:28:31,600 Speaker 1: actually not a lot more. There wasn't a lot left over. 573 00:28:31,640 --> 00:28:35,840 Speaker 1: There was probably three or four that were considered heavily considered. 574 00:28:35,880 --> 00:28:39,240 Speaker 1: In fact that there was there was probably five, and 575 00:28:39,280 --> 00:28:41,640 Speaker 1: the first three or something happened at the beginning of 576 00:28:41,640 --> 00:28:43,160 Speaker 1: the album where I thought they were going to make it, 577 00:28:43,240 --> 00:28:45,600 Speaker 1: and they just didn't end making it, but they were 578 00:28:45,640 --> 00:28:49,080 Speaker 1: really worth while having there. It was only probably five 579 00:28:49,120 --> 00:28:50,720 Speaker 1: songs there was. There was a couple of things towards 580 00:28:50,760 --> 00:28:52,680 Speaker 1: the mid There was in the middle where a lot 581 00:28:52,760 --> 00:28:55,360 Speaker 1: wasn't finished, and there were other songs that weren't finished 582 00:28:55,360 --> 00:28:57,479 Speaker 1: and haven't been finished since. And I'm okay with that 583 00:28:57,520 --> 00:28:59,120 Speaker 1: because I sort of just got to a point where 584 00:28:59,120 --> 00:29:01,600 Speaker 1: it was like, what am I really trying to say? 585 00:29:01,720 --> 00:29:05,600 Speaker 1: There was maybe fifteen, maybe fourteen fifteen songs, and I 586 00:29:05,640 --> 00:29:07,760 Speaker 1: was towing between ten and twelve, and I just realized 587 00:29:07,960 --> 00:29:11,240 Speaker 1: my attention span is definitely not long enough these days 588 00:29:11,280 --> 00:29:13,760 Speaker 1: to really give up, like put up with more than 589 00:29:14,080 --> 00:29:17,480 Speaker 1: ten to twelve songs. I think realistically, I'm a fan 590 00:29:17,520 --> 00:29:20,680 Speaker 1: of short. Short these days just feels right. It feels 591 00:29:20,760 --> 00:29:22,720 Speaker 1: right it does, and I think other people I can't 592 00:29:22,720 --> 00:29:24,800 Speaker 1: speak for other people, but I think people are the same. 593 00:29:24,840 --> 00:29:27,640 Speaker 1: People say it was too long, or like I absolutely, 594 00:29:27,680 --> 00:29:29,960 Speaker 1: you know because it was or whoever's album or whatever. 595 00:29:30,000 --> 00:29:32,880 Speaker 1: It's like, I feel like, you know, over twenty songs 596 00:29:33,000 --> 00:29:36,040 Speaker 1: is just I can't imagine loving all twenty of them. 597 00:29:36,080 --> 00:29:39,400 Speaker 1: I'd rather hear two eight song albums, yeah, than one 598 00:29:39,560 --> 00:29:42,840 Speaker 1: sixteen songs, And even if it's the same songs, Absolutely 599 00:29:43,480 --> 00:29:46,880 Speaker 1: that makes a lot of sense. Yeah, actually I agree. 600 00:29:48,000 --> 00:29:51,320 Speaker 1: But if that answers your question, yeah, yeah, I think so. 601 00:29:52,040 --> 00:29:56,440 Speaker 1: But so you said you got to fifteen contenders, But 602 00:29:56,680 --> 00:29:59,920 Speaker 1: were there many other songs started? Like in the experimental phase? 603 00:30:00,680 --> 00:30:03,160 Speaker 1: Were there many starts that just never went anywhere? There 604 00:30:03,160 --> 00:30:04,760 Speaker 1: were a lot of small Yeah, there are a lot 605 00:30:04,800 --> 00:30:07,600 Speaker 1: of very small starts that never went anywhere, so like 606 00:30:07,880 --> 00:30:11,320 Speaker 1: really just voice notes of ideas or there was like 607 00:30:11,360 --> 00:30:14,360 Speaker 1: a lot of voice notes where it's like I just 608 00:30:14,440 --> 00:30:17,240 Speaker 1: knew straight away that I'd be improvising and playing the 609 00:30:17,320 --> 00:30:19,880 Speaker 1: keys or the guitar, and then a lot of those 610 00:30:20,440 --> 00:30:22,520 Speaker 1: just never went anywhere. And that's hope. I was always 611 00:30:22,560 --> 00:30:24,880 Speaker 1: just they weren't particularly like valuable, and I would know 612 00:30:25,000 --> 00:30:27,520 Speaker 1: quickly if they were valuable, so like it would be 613 00:30:28,400 --> 00:30:30,200 Speaker 1: this one is like, oh, this is going to be 614 00:30:30,200 --> 00:30:32,520 Speaker 1: the blueprint for this song, and it ended up being 615 00:30:32,760 --> 00:30:34,959 Speaker 1: whatever melody I was coming up with off the top 616 00:30:35,000 --> 00:30:36,480 Speaker 1: of my head end up being the melody for the 617 00:30:36,480 --> 00:30:38,920 Speaker 1: whole song. And you just stick. I just ended up 618 00:30:38,960 --> 00:30:41,560 Speaker 1: just sticking with things, and I'd say, yeah, there was 619 00:30:41,600 --> 00:30:43,680 Speaker 1: a few that was probably again like maybe ten or 620 00:30:43,720 --> 00:30:47,400 Speaker 1: twenty other like random things that or just logic files 621 00:30:47,400 --> 00:30:49,360 Speaker 1: you open up, make a couple of things. But I 622 00:30:49,440 --> 00:30:53,520 Speaker 1: hate I really don't like that feeling of pursuing something 623 00:30:53,520 --> 00:30:55,640 Speaker 1: that I know maybe isn't worth it or it's not 624 00:30:55,720 --> 00:30:57,760 Speaker 1: the time, as there's something about it where it just 625 00:30:57,840 --> 00:31:00,200 Speaker 1: feels wrong and I feel like i'm forcing so and 626 00:31:00,320 --> 00:31:02,560 Speaker 1: so I do usually cut it off pretty quickly and 627 00:31:02,640 --> 00:31:04,800 Speaker 1: try and only puts you the things that feel this 628 00:31:04,920 --> 00:31:06,480 Speaker 1: is gonna be a great song and I'm gonna love it, 629 00:31:06,480 --> 00:31:10,120 Speaker 1: and that's, you know, great, cool. Let's hear the next one. 630 00:31:10,360 --> 00:31:14,760 Speaker 1: So this last one is the last one. Yeah, it's 631 00:31:14,800 --> 00:31:18,760 Speaker 1: really ending on it's not the same anymore. It's better, 632 00:31:18,960 --> 00:31:24,120 Speaker 1: it's really hopeful ending. It's really nice. That was definitely intentional. Yeah, 633 00:31:24,600 --> 00:31:26,200 Speaker 1: it's funny it's not same when you hear s not 634 00:31:26,360 --> 00:31:32,240 Speaker 1: same anymore. Immediately we go to missing the past and 635 00:31:32,280 --> 00:31:35,200 Speaker 1: it being a negative and it's worse now always, but 636 00:31:35,400 --> 00:31:38,080 Speaker 1: it's not the same anymore. It's better. It's really feels 637 00:31:38,080 --> 00:31:40,080 Speaker 1: like a new message. I love it that. Yeah, that 638 00:31:40,160 --> 00:31:42,520 Speaker 1: was that was actually had to happen. Really, I would 639 00:31:42,560 --> 00:31:44,920 Speaker 1: hate to have ended it on a really negative note 640 00:31:44,960 --> 00:31:47,960 Speaker 1: like that, or just there's a few songs where that 641 00:31:47,960 --> 00:31:50,200 Speaker 1: actually happens. It starts while I'm sounding as if I'm 642 00:31:50,200 --> 00:31:52,480 Speaker 1: pretty upset about things, or just sound as if I'm 643 00:31:52,480 --> 00:31:55,720 Speaker 1: not happy and ending up you know, you get the 644 00:31:55,760 --> 00:31:58,360 Speaker 1: journey's literally just the story is just it was I'm 645 00:31:58,440 --> 00:32:02,080 Speaker 1: like coming out of a bad time. The resolution through 646 00:32:02,080 --> 00:32:05,080 Speaker 1: the song, Yeah, yeah, that's that's the therapy itself. Is 647 00:32:05,080 --> 00:32:06,640 Speaker 1: the is the writing of it, and you get to 648 00:32:06,640 --> 00:32:07,760 Speaker 1: the end of the song and it's like and that 649 00:32:07,880 --> 00:32:10,160 Speaker 1: sort of cured my for the moment for now, I got. 650 00:32:10,320 --> 00:32:12,160 Speaker 1: I got this song out of it from just talking 651 00:32:12,160 --> 00:32:15,400 Speaker 1: about it. Where did this one come in the writing? 652 00:32:15,680 --> 00:32:18,000 Speaker 1: In the overall scale of the project? Where did this 653 00:32:18,040 --> 00:32:24,160 Speaker 1: one show up? This was actually fairly early on and 654 00:32:24,320 --> 00:32:28,440 Speaker 1: was written on guitar with which was as in and 655 00:32:28,440 --> 00:32:32,800 Speaker 1: and and just actually the guitar part was written without 656 00:32:32,800 --> 00:32:36,840 Speaker 1: really any of the lyrics again again was just written 657 00:32:36,880 --> 00:32:39,920 Speaker 1: as a pegiated part, like yes, yeah, yeah, or it 658 00:32:40,120 --> 00:32:43,680 Speaker 1: was definitely just and only acoustic as well. And that 659 00:32:43,720 --> 00:32:46,080 Speaker 1: whole middle section where there's it's a whole bridge of 660 00:32:46,240 --> 00:32:50,800 Speaker 1: way different chords that somehow resolves back to the original 661 00:32:50,880 --> 00:32:54,600 Speaker 1: that took That was kind of the main challenge for me, 662 00:32:54,760 --> 00:32:58,040 Speaker 1: was just writing something lyrically that could work over that 663 00:32:58,080 --> 00:33:00,440 Speaker 1: whole section there. So the bridge was there from beginning. 664 00:33:00,480 --> 00:33:02,760 Speaker 1: It was always really really spectacular. It's one of my 665 00:33:02,800 --> 00:33:05,320 Speaker 1: favorite parts. Thank you. That was definitely, yeah, it was. 666 00:33:05,400 --> 00:33:07,800 Speaker 1: It was absolutely meant to be there from the beginning, 667 00:33:07,800 --> 00:33:09,680 Speaker 1: but didn't have the context over it yet. I just 668 00:33:09,760 --> 00:33:12,000 Speaker 1: knew I wanted to take it all the way from 669 00:33:12,000 --> 00:33:16,040 Speaker 1: like really solid, safe, basic pop chords to all the 670 00:33:16,040 --> 00:33:20,080 Speaker 1: way over there, you know, seven six nine chords and 671 00:33:20,200 --> 00:33:22,920 Speaker 1: like and just do do something I hadn't quite done. 672 00:33:22,920 --> 00:33:24,280 Speaker 1: And found a couple of other shapes that I'd not 673 00:33:24,400 --> 00:33:26,440 Speaker 1: used on any of the songs and I wanted to use. 674 00:33:26,560 --> 00:33:29,000 Speaker 1: I wanted to use that as an opportunity. It was 675 00:33:29,040 --> 00:33:31,040 Speaker 1: based totally based on the guitar and then at one 676 00:33:31,080 --> 00:33:33,640 Speaker 1: point realized I knew the whole time it could be 677 00:33:33,680 --> 00:33:36,080 Speaker 1: the last song. And there was a moment where that 678 00:33:36,240 --> 00:33:38,320 Speaker 1: the sax players, same guy on all the songs, came 679 00:33:38,320 --> 00:33:40,320 Speaker 1: in and did his parts on this that felt like 680 00:33:40,480 --> 00:33:43,520 Speaker 1: they really tied the song together and made it definitely 681 00:33:43,520 --> 00:33:46,440 Speaker 1: had to be the last song. Yes, and his melody, 682 00:33:46,480 --> 00:33:48,640 Speaker 1: that melody at the end that is him as well 683 00:33:48,640 --> 00:33:50,160 Speaker 1: as came from his head. So it's kind of like 684 00:33:50,280 --> 00:33:53,920 Speaker 1: it feels like the ultimate sort of concluding reflective feelings. 685 00:33:54,000 --> 00:33:57,080 Speaker 1: It's actually really kind of somber but very positive, and 686 00:33:57,240 --> 00:33:59,640 Speaker 1: had to just write. The chorus actually came pretty quickly. 687 00:33:59,680 --> 00:34:01,480 Speaker 1: All the lyric es actually for this one came quite quickly. 688 00:34:01,520 --> 00:34:03,840 Speaker 1: It was very easy for me to talk really honestly 689 00:34:03,840 --> 00:34:07,480 Speaker 1: and be really brutal and b it didn't take so long. 690 00:34:07,480 --> 00:34:09,560 Speaker 1: It was how much of the track was together before 691 00:34:09,640 --> 00:34:14,240 Speaker 1: the words came. M We said more just over the guitar. 692 00:34:14,400 --> 00:34:17,399 Speaker 1: Was it over the track? I think it was more. 693 00:34:18,080 --> 00:34:19,719 Speaker 1: It was more just over the guitar, and then we 694 00:34:20,040 --> 00:34:23,160 Speaker 1: over time added a lot of the drums and brass 695 00:34:23,200 --> 00:34:27,000 Speaker 1: and flutes and the strings obviously as well, which was 696 00:34:27,080 --> 00:34:28,960 Speaker 1: probably the last thing on it. And then we're just 697 00:34:29,080 --> 00:34:32,920 Speaker 1: you know, turned right down to just be there to 698 00:34:32,960 --> 00:34:35,440 Speaker 1: add rather than be like another feature because there's so 699 00:34:35,520 --> 00:34:37,200 Speaker 1: much going on. But yeah, it was Actually it was 700 00:34:37,200 --> 00:34:39,839 Speaker 1: a guitar based for a long time, and then all 701 00:34:39,840 --> 00:34:43,920 Speaker 1: the other elements came over time. Beautiful. What percentage of 702 00:34:43,960 --> 00:34:46,520 Speaker 1: the songs would you say came on guitar versus piano? 703 00:34:47,320 --> 00:34:50,480 Speaker 1: I think there's more on piano. It was. I'd say 704 00:34:50,560 --> 00:34:59,480 Speaker 1: percentage wise is about sixty forty or maybe slightly more piano, 705 00:34:59,560 --> 00:35:01,600 Speaker 1: but only only you know, only a little bit more, 706 00:35:01,640 --> 00:35:04,120 Speaker 1: only a bit more, really, And some things were then 707 00:35:04,200 --> 00:35:09,400 Speaker 1: translated to keys or vice versa. But it usually stays. 708 00:35:09,440 --> 00:35:12,279 Speaker 1: They usually stay from where they began. They usually stay 709 00:35:12,280 --> 00:35:14,120 Speaker 1: in that place because I feel like the chords the 710 00:35:14,160 --> 00:35:17,160 Speaker 1: way you touched either instrument are not the same at all. 711 00:35:17,200 --> 00:35:18,640 Speaker 1: We can get a similar thing out of both, but 712 00:35:18,880 --> 00:35:21,359 Speaker 1: in no way are they the same instruments. So it's 713 00:35:21,400 --> 00:35:23,960 Speaker 1: like they're two separate things. And I think that's the 714 00:35:24,000 --> 00:35:26,040 Speaker 1: best thing about both of them, that they're not like 715 00:35:26,120 --> 00:35:29,640 Speaker 1: each other. Cool man, I'm so happy you shared this 716 00:35:29,680 --> 00:35:31,919 Speaker 1: with us, and I'm so happy you made this. Thank you. 717 00:35:32,120 --> 00:35:34,200 Speaker 1: I'm so happy that you allowed me to come over 718 00:35:34,200 --> 00:35:36,200 Speaker 1: here and play it for you, because I really am. 719 00:35:36,239 --> 00:35:42,200 Speaker 1: I'm glad that I could. Many thanks to Rex Slunge 720 00:35:42,239 --> 00:35:44,640 Speaker 1: County for spending time for a set Broken Record. His 721 00:35:44,760 --> 00:35:47,120 Speaker 1: new album Pony is out now wherever you get your 722 00:35:47,200 --> 00:35:50,000 Speaker 1: music and had to Rex slannge County dot com for tourdens. 723 00:35:50,800 --> 00:35:53,000 Speaker 1: You can check out more of rexoc's music by visiting 724 00:35:53,040 --> 00:35:56,160 Speaker 1: Broken Record podcast dot com and subscribing to our playlist. 725 00:35:56,200 --> 00:35:59,000 Speaker 1: For this episode, Broken Record is produced with help from 726 00:35:59,040 --> 00:36:02,880 Speaker 1: Jason Gambrella me Lobell. Our theme music is by Kenny Beats. 727 00:36:02,920 --> 00:36:05,440 Speaker 1: Stay tuned for next week's episode with Brandy Carlisle and 728 00:36:05,480 --> 00:36:07,720 Speaker 1: Tanya Tucker. I'm justin Richmond.