WEBVTT - Our Lady Peace 0:00:01.320 --> 0:00:04.320 Hello everyone, and welcome to another episode of Inside the 0:00:04.360 --> 0:00:07.480 Studio on iHeart Radio. My name's Jordan runt Hog, but 0:00:07.640 --> 0:00:11.280 enough about me. My guest today is a Canadian rock god, 0:00:11.440 --> 0:00:13.800 and that's just the top of his lengthy CV, which 0:00:13.840 --> 0:00:18.279 also includes burgeoning tech titan, one time criminology student, husband 0:00:18.440 --> 0:00:22.079 and father of three. He's responsible for post grunge staples 0:00:22.120 --> 0:00:25.560 like Star Seed, Superman's Dead, One Man Army, and of 0:00:25.600 --> 0:00:28.680 course the Immortal Clumsy. Now he and his group are 0:00:28.720 --> 0:00:32.160 readying a sequel to their seminal concept album two Thousands. 0:00:32.159 --> 0:00:35.800 Spiritual Machines do out later this year. Spiritual Machines two 0:00:35.920 --> 0:00:38.640 picks up or the prior installment left off, predicting the 0:00:38.680 --> 0:00:40.720 direction of our world with a little help from the 0:00:40.760 --> 0:00:44.120 futurist author and thinker Ray Kurtzwild. The LP doesn't have 0:00:44.159 --> 0:00:46.519 a release date yet, the fans got a taste with 0:00:46.560 --> 0:00:50.159 a new lead single, Stop Making Stupid People Famous in 0:00:50.200 --> 0:00:52.040 case the title was in a tip off. It's a 0:00:52.040 --> 0:00:54.880 socially conscious song with a sense of humor about itself. 0:00:55.040 --> 0:00:57.920 The debut track also debuts a new sound for the band, 0:00:58.120 --> 0:01:01.360 an electro dance, funk fusionist assisted by Dave Siddek of 0:01:01.480 --> 0:01:04.080 TV on the Radio and a guest feature from Nadia 0:01:04.200 --> 0:01:07.400 Pussy Riot. Prior to the pandemic, my guest did some 0:01:07.480 --> 0:01:10.760 excellent lockdown training by holding up on a small remote 0:01:10.760 --> 0:01:13.160 island off the coast of Canada with his wife, the 0:01:13.240 --> 0:01:16.960 singer songwriter Chantelle cravy Azak. Together, they wrote songs for 0:01:17.000 --> 0:01:20.479 a new partnership calling the duo Moon Versus Sun. They 0:01:20.520 --> 0:01:23.560 filmed the sometimes tense sessions for the wrong and revealing 0:01:23.640 --> 0:01:26.280 documentary I'm Going to Break Your Heart, sort of like 0:01:26.319 --> 0:01:29.000 the Beatles Let It Be film, but the combination of 0:01:29.040 --> 0:01:32.200 their musical and marital partnership makes it even more intimate. 0:01:32.280 --> 0:01:34.360 I'm so happy to welcome the lead singer of our 0:01:34.440 --> 0:01:38.800 lady piece. Rain. Need to so much to ask you about, 0:01:38.840 --> 0:01:40.600 But first off, I want to start with a new album, 0:01:40.720 --> 0:01:43.320 Spiritual Machines too. It's a sequel, of course, your album 0:01:43.400 --> 0:01:47.280 Spiritual Machines from almost exactly twenty years ago. What led 0:01:47.319 --> 0:01:49.680 you to revisit it? Was it the politically charged mood 0:01:49.720 --> 0:01:51.480 of the last couple of years, or was it just 0:01:51.520 --> 0:01:53.200 the more of the shock that it was twenty years 0:01:53.200 --> 0:01:55.040 ago and was to make a good, good time to 0:01:55.080 --> 0:01:58.080 revisit those thoughts. Yeah. Well he said it was based 0:01:58.160 --> 0:02:02.080 on ray Spiritual Shemes book, which is like this incredible, 0:02:02.280 --> 0:02:05.160 you know, really highly touted futurist. He made tons of 0:02:05.160 --> 0:02:08.160 predictions in that book, and it just felt like, twenty 0:02:08.200 --> 0:02:10.200 years later, let's take a look and see what he 0:02:10.240 --> 0:02:12.720 got wrong, what he got right? And Uh, anyone that 0:02:12.800 --> 0:02:15.000 knows Ray, who I think works at Google right now, 0:02:15.120 --> 0:02:18.080 he doesn't get a lot wrong. I'll just give that. Yeah, 0:02:18.200 --> 0:02:19.760 I think I saw on a press release he said 0:02:19.800 --> 0:02:23.639 something like eight seven percent of his predictions were we're 0:02:23.639 --> 0:02:26.840 we're correct something like that. It's true. And and the 0:02:26.880 --> 0:02:30.640 thing is he actually he didn't get he really didn't 0:02:30.639 --> 0:02:34.359 get anything wrong, the stuff that whatever. That is just 0:02:34.480 --> 0:02:37.800 more like he's such a perfectionist, right, it's all about timing. 0:02:37.919 --> 0:02:40.760 So he says that he got like autonomous cars wrong, 0:02:40.880 --> 0:02:42.880 but it was really because he's only a few years off, 0:02:43.440 --> 0:02:46.120 so he doesn't didn't really get anything wrong. What is 0:02:46.160 --> 0:02:48.120 it like working with him? I mean, how involved was 0:02:48.160 --> 0:02:50.120 he in the process of his new record? I mean 0:02:50.200 --> 0:02:52.440 he's kind of like the Muse just in terms of 0:02:52.960 --> 0:02:54.760 and I have to say, like with the with the 0:02:54.880 --> 0:02:57.560 with the new songs, stopped making stupid people famous. And 0:02:57.600 --> 0:02:59.720 even the tone of the record British Machines One was 0:02:59.800 --> 0:03:03.360 kind dark, and I think even Ray's book was talking about, 0:03:03.919 --> 0:03:08.799 you know, the diston future that that humanity might have. 0:03:09.280 --> 0:03:11.800 But I guess twenty years later, which is kind of cool, 0:03:12.000 --> 0:03:14.880 is that it's definitely more upbeat. And the record that 0:03:14.960 --> 0:03:17.880 we made we made it with Dave Siddek, whom you know, 0:03:17.919 --> 0:03:20.560 he's from TV on the radio, just an incredible producer 0:03:20.919 --> 0:03:24.560 like Matt Genius kind of musician and with his kind 0:03:24.560 --> 0:03:26.960 of influenced and what we're going for like this, this 0:03:27.000 --> 0:03:29.280 record has some has hips, like it's a little bit 0:03:29.280 --> 0:03:31.720 more dancy. It's it's kind of an anti rock record, 0:03:31.840 --> 0:03:33.920 but it has a lot of guitars just presented in 0:03:33.960 --> 0:03:35.680 a different kind of way. And the cool thing about 0:03:35.760 --> 0:03:38.120 raised new predictions. I think he gives five or six 0:03:38.160 --> 0:03:40.400 on the album. This thing is like technology is gonna 0:03:40.400 --> 0:03:44.840 actually really help it and help everything we think that's happening, 0:03:44.840 --> 0:03:47.880 even like a little war like that, there's there there's 0:03:47.880 --> 0:03:51.320 ways that technology is gonna exponentially help this with like 0:03:51.480 --> 0:03:54.600 shortages of food poverty. He sees like a you guy 0:03:54.680 --> 0:03:56.839 coming in, So I was kind of surprised, like going 0:03:56.880 --> 0:03:58.560 through all the culture and he's like, yeah, it's like 0:03:58.600 --> 0:04:00.920 this is this is not as did we make it 0:04:01.000 --> 0:04:03.120 out to be, which is great. You know, we have 0:04:03.160 --> 0:04:05.360 a future. So I was gonna say, whenever I hear 0:04:05.480 --> 0:04:07.120 maybe it just says more about me than it does 0:04:07.160 --> 0:04:08.760 about other people. But whenever I hear that there's a 0:04:08.760 --> 0:04:11.200 project set in the future, I always assume it's going 0:04:11.240 --> 0:04:14.800 to be this dystopian hell escape nightmare. And as he said, 0:04:14.800 --> 0:04:17.719 I mean, this record is not like that. It's positive, 0:04:17.760 --> 0:04:19.640 paints this really upbeat view of the future, and he 0:04:19.680 --> 0:04:23.039 touches on things like universal basic income or you know 0:04:23.120 --> 0:04:26.320 AI and like you said, combating the climate crisis, which 0:04:26.440 --> 0:04:28.720 is great, and and you mentioned also, I mean this 0:04:28.839 --> 0:04:31.840 upbeat sense really does come through, at least on the 0:04:31.920 --> 0:04:33.880 lead single it has it's almost to me it almost 0:04:33.920 --> 0:04:37.039 sounded like Scissors Sisters meets Talking Heads or something like that, 0:04:37.160 --> 0:04:38.760 or like a little bit of Gang of forurth thrown 0:04:38.839 --> 0:04:41.400 into something. But what what was it like working with 0:04:41.240 --> 0:04:43.560 with with Dave on this? But how did he how 0:04:43.560 --> 0:04:46.600 did he change the vibe of the sessions? The thing 0:04:46.640 --> 0:04:49.600 with Dave Siddik is he and he'll I think he'll 0:04:49.640 --> 0:04:52.440 admit this. He is a slave to his speaker, so 0:04:52.520 --> 0:04:54.719 he'll tell you whatever he's working on, whatever he produces, 0:04:54.760 --> 0:04:57.680 whatever he is kind of you know, whether he's programming 0:04:57.720 --> 0:04:59.920 beats or whatever he's doing. At the end of the day, 0:05:00.120 --> 0:05:01.880 he just sits in front of the speakers, like, gu 0:05:01.920 --> 0:05:03.839 I am right here. He closes his eyes and if 0:05:03.839 --> 0:05:07.440 what's coming out moves him, then it's like, let' it's 0:05:07.480 --> 0:05:09.400 go and you and he hits a green light and 0:05:09.480 --> 0:05:12.479 let's work on it. If it's not, it's a total failure, 0:05:12.520 --> 0:05:14.640 and he kind of throws things away. So I love 0:05:14.680 --> 0:05:17.200 the idea because COVID was tough because we weren't actually 0:05:17.200 --> 0:05:19.560 working together. But he would just send tracks and I 0:05:19.560 --> 0:05:22.640 would literally sit here, you know, link up, download whatever 0:05:22.640 --> 0:05:24.880 he sense me. And I gotta say, like ninety nine 0:05:24.880 --> 0:05:26.440 percent of the time I was just like it was 0:05:26.560 --> 0:05:28.960 kind of like that Max lf. My hair would fly 0:05:29.040 --> 0:05:32.200 back and I was just like, oh my god, I 0:05:32.240 --> 0:05:35.360 can't wait to sing this. And so he's just got 0:05:35.400 --> 0:05:37.680 that thing, you know, like he he just has a 0:05:37.800 --> 0:05:40.440 sense of taking whatever we gave him as a demo 0:05:40.680 --> 0:05:43.960 or just an acoustic track or a piano vocal building 0:05:44.000 --> 0:05:46.320 something where you just like, oh my god, this feels 0:05:46.320 --> 0:05:49.080 so fresh and new, although it still has like a 0:05:49.160 --> 0:05:51.480 sense of us it was perfect. We've never made this 0:05:51.520 --> 0:05:54.240 sort of reinvention on a record like we have on 0:05:54.279 --> 0:05:57.640 this one. I mean it sounds incredible. I mean fresh 0:05:57.720 --> 0:05:59.640 is the perfect word for it. Getting back to the 0:05:59.680 --> 0:06:02.479 message of the song, stop making stupid people famous. I 0:06:02.480 --> 0:06:04.359 mean that really says it all. Tell me about the 0:06:04.360 --> 0:06:07.400 genesis of that track, you know, I think everyone has 0:06:07.760 --> 0:06:09.920 that person or a collection of people that they could 0:06:09.960 --> 0:06:12.440 fit in there in terms of why am I giving 0:06:12.480 --> 0:06:16.120 bandwidth to this person? Why why are they famous? You know? Um, 0:06:16.160 --> 0:06:17.320 But at the end of the day, I think the 0:06:17.400 --> 0:06:19.479 cool thing is it's more tongue in cheek. Like I 0:06:19.480 --> 0:06:22.279 think five or ten years ago me with this song 0:06:22.360 --> 0:06:25.040 it would have been a little probably too earnest and 0:06:25.080 --> 0:06:27.440 just not come off right. But with with the way 0:06:27.440 --> 0:06:29.840 the track is, like, your references are amazing. I love 0:06:29.880 --> 0:06:31.839 all those all three of those banks so Ganga, four 0:06:31.920 --> 0:06:35.040 Scissor Sisters, definitely talking heads. It's like and Burne had 0:06:35.040 --> 0:06:37.080 a great way of doing that right and his music 0:06:37.080 --> 0:06:39.880 growth like, hey, it's heavy, but let's not be so heavy. 0:06:40.080 --> 0:06:41.440 And the way to do that is, give it a 0:06:41.440 --> 0:06:43.919 great rhythm, make it slightly dancy, and it kind of 0:06:43.920 --> 0:06:45.440 takes a piss out of it a way. So I 0:06:45.480 --> 0:06:47.960 love the fact that it's saying that, but it's not. 0:06:48.080 --> 0:06:50.680 It's not supposed to be heavy. I love that there's 0:06:50.680 --> 0:06:52.680 a sense of humor in it. And I think that's 0:06:52.680 --> 0:06:55.080 some of my favorite David Byrne stuff where he's the 0:06:55.120 --> 0:06:57.720 alien anthropologist. You know, he's taking like why are we 0:06:57.800 --> 0:07:00.640 doing this? Like why are we all collective we indulging 0:07:00.680 --> 0:07:03.160 in whatever insane thing we as humans are doing at 0:07:03.200 --> 0:07:04.800 that moment, you know, I mean it, and it kind 0:07:04.800 --> 0:07:07.760 of highlights the absurdity of existence at that moment. And 0:07:07.800 --> 0:07:09.480 that's that's what I love about the message of this 0:07:09.600 --> 0:07:12.559 song for sure. And you know, my well, right before 0:07:12.600 --> 0:07:15.520 COVID saw David Byrne here in l I with that 0:07:15.520 --> 0:07:19.320 that crazy tour he just finished. It was inspiring and 0:07:19.360 --> 0:07:21.960 it definitely you have those profound moments in your life 0:07:22.000 --> 0:07:24.320 as an artist where you see someone You're like, whoa, 0:07:25.080 --> 0:07:27.240 that was just next level. So I'm not saying we're 0:07:27.240 --> 0:07:29.880 able to like grab that, but definitely that stuck with me. 0:07:29.920 --> 0:07:32.160 It was so incredible watching the band in the way 0:07:32.200 --> 0:07:34.360 to perform that it was art right, So we're hopefully 0:07:34.360 --> 0:07:36.240 you're trying to bring some of that into it. And 0:07:36.280 --> 0:07:38.720 I love that you had Nadia from from Pussy Ride 0:07:38.720 --> 0:07:40.600 in there and it really gave it such a punch. 0:07:40.640 --> 0:07:43.520 I mean, talk about somebody who became, you know, famous 0:07:43.560 --> 0:07:45.880 for the right reasons. Can you tell me more about 0:07:45.960 --> 0:07:48.080 how she got involved with you because you you go 0:07:48.160 --> 0:07:51.000 back to well south By right when you were launching 0:07:51.280 --> 0:07:53.280 the record mob ab Oh my god, you know your 0:07:53.320 --> 0:07:56.679 stuff dude. Um. Yeah, so you know, I love tech. 0:07:56.920 --> 0:07:59.440 It's kind of like a real side hows ondly forever 0:07:59.720 --> 0:08:03.080 And yeah, we had this basically a crowd source anyone 0:08:03.080 --> 0:08:05.360 that has that citizen app that scares you, you you know, 0:08:05.400 --> 0:08:07.920 a man walking down with the machete with some of 0:08:08.200 --> 0:08:10.520 the notifications you get. But we kind of built that 0:08:10.560 --> 0:08:13.480 app about five years ago. It was crowdsourcing, you know, 0:08:13.640 --> 0:08:16.840 if you're at a at a protest or saw riot 0:08:16.840 --> 0:08:19.840 happening or a crime that we kind of built this app. Anyway, 0:08:20.360 --> 0:08:22.760 we launched in the South Plain and we felt like, okay, 0:08:22.880 --> 0:08:26.400 we gotta do a launch party. And uh, in terms 0:08:26.440 --> 0:08:29.000 of who fit that was a musician that had that 0:08:29.120 --> 0:08:32.240 kind of gravitas as a as an artist and like 0:08:32.600 --> 0:08:36.040 social activist blah blah blah, not yet. So she came 0:08:36.080 --> 0:08:38.480 and she just she dj the said and hung out 0:08:38.600 --> 0:08:40.679 and was part of the launch. And then when it 0:08:40.760 --> 0:08:42.800 came for the song as well, it was like, yeah, 0:08:42.800 --> 0:08:45.440 we need some equity. Be really great to have a 0:08:45.480 --> 0:08:48.600 female singing on this song. Who's that artist social justice? 0:08:48.960 --> 0:08:51.960 And there's a few, but with the relationship with Nadia 0:08:52.040 --> 0:08:54.840 and actually Dave worked with her a couple of years ago, 0:08:54.920 --> 0:08:57.120 so day was like, oh, yeah, sure, let's call her 0:08:57.160 --> 0:09:00.280 and she heard the song and two days later was done. So, 0:09:00.480 --> 0:09:02.400 you know, really honored to have her on it. And 0:09:02.440 --> 0:09:04.720 she's a badass. It's such a great track. The video 0:09:04.800 --> 0:09:06.880 is so cool too, because I love that it gives 0:09:06.880 --> 0:09:10.439 a spotlight to activists that late people might not often know. 0:09:10.480 --> 0:09:12.920 I mean people like Sophia Mathr and em and Gousti 0:09:13.080 --> 0:09:14.800 and I mean so many wonderful people. Can you tell 0:09:14.800 --> 0:09:17.040 me more about how some of those uh folks wound 0:09:17.120 --> 0:09:19.800 up in the in the video? Yeah, we just you know, 0:09:19.840 --> 0:09:23.480 we just kept tried to kept like pushing forward with 0:09:24.000 --> 0:09:25.920 this isn't you know. What you hear in the title 0:09:26.040 --> 0:09:28.840 is almost like clickbait, and so the depth in the 0:09:28.960 --> 0:09:31.320 in the song comes from, you know, adding people like 0:09:31.360 --> 0:09:34.240 that show. Even the dancers in the video like incredible, 0:09:34.600 --> 0:09:37.280 you know, unheralded kind of dances around l A and 0:09:37.320 --> 0:09:39.679 then some of these Future Famous, which is a campaign 0:09:39.760 --> 0:09:42.440 we've actually started and are hoping just to you know, 0:09:42.600 --> 0:09:45.040 have this thing be an annual thing. We just met 0:09:45.080 --> 0:09:48.800 some incredible people. And I just literally talked to Alyssa 0:09:48.880 --> 0:09:51.839 Carson a couple of days ago, who was nineteen years old. 0:09:52.080 --> 0:09:55.160 She's basically had to dedicate the next eight years of 0:09:55.200 --> 0:09:57.720 her life. She'll be the one of the first um 0:09:57.760 --> 0:10:00.760 young females to go to Mars. So I nineteen, she's 0:10:00.760 --> 0:10:03.440 already said I'm doing it, and like he's literally living 0:10:03.480 --> 0:10:06.720 in Houston at NASSA for the next eight years getting 0:10:06.840 --> 0:10:08.720 And so when you hear a story it's like that, 0:10:08.800 --> 0:10:11.520 it's like, Okay, that's who deserves a platform. And then 0:10:11.600 --> 0:10:13.840 you know, you have someone like Sophia who's a you know, 0:10:13.960 --> 0:10:17.280 just a great kind of climatologists, and there's just so 0:10:17.360 --> 0:10:19.959 many great people out there that, like you said, deserve 0:10:20.040 --> 0:10:22.679 the platform gives you hope. I mean, like you said earlier, hey, 0:10:22.720 --> 0:10:25.040 we have a future right, and then you know what, 0:10:25.080 --> 0:10:27.480 It's a great point, Jordan, because I feel like all 0:10:27.559 --> 0:10:29.760 this stuff is like intersecting where it's like, yeah that 0:10:29.840 --> 0:10:32.600 there is there is so much more hope than when 0:10:32.640 --> 0:10:35.000 you turn on the TV and everything seems dealing in gloom. 0:10:35.000 --> 0:10:37.000 It's like if you just listen to Array You and 0:10:37.040 --> 0:10:38.920 you follow these young people, it's like, man, we're in 0:10:38.960 --> 0:10:50.320 good vans. Last year, obviously you weren't able to go 0:10:50.320 --> 0:10:53.480 out and do anniversary concerts for for the first Spiritual Machines, 0:10:53.640 --> 0:10:57.840 but you released a remastered recording and also acoustic live 0:10:57.960 --> 0:11:00.800 versions of some of the tracks. What was it like 0:11:00.920 --> 0:11:03.080 for you revisiting those songs? You know? I mean I 0:11:03.080 --> 0:11:06.240 always love asking musicians. You know, they always say that 0:11:06.280 --> 0:11:08.840 every character in your dream is always you, you know, 0:11:09.200 --> 0:11:11.199 Is that that way with lyrics? You you kind of 0:11:11.360 --> 0:11:15.280 revisiting those songs that do you learn something about yourself? Yeah? 0:11:15.360 --> 0:11:18.160 I think because we're in the middle of making Spiritual 0:11:18.160 --> 0:11:21.040 Machines too, with with with Dave Siddik, being able to 0:11:21.080 --> 0:11:23.760 go back dissect especially when you when you break down 0:11:23.760 --> 0:11:26.360 a song that you said acoustically like you obviously the 0:11:26.400 --> 0:11:30.680 lyric becomes incredibly important. Then you know, melodic notes over chords, 0:11:30.720 --> 0:11:32.559 because you're not you don't have all this other stuff 0:11:32.600 --> 0:11:35.800 to rely on in terms of like sonically, um so 0:11:36.000 --> 0:11:38.199 you get to like the core of the song, which 0:11:38.280 --> 0:11:40.800 is usually how these songs were born. So it was 0:11:40.840 --> 0:11:42.880 I think it was a great exercise for me to 0:11:43.040 --> 0:11:47.120 understand where I was lyrically then how we are writing 0:11:47.480 --> 0:11:51.640 compared to like the difference that Spiritual Machines Too was 0:11:52.160 --> 0:11:55.720 was starting to take. And I think it was very drastic. 0:11:55.760 --> 0:11:58.400 Like I said, this is actually like a total reinvention 0:11:58.480 --> 0:12:01.319 for the band. But um, I think it was a thing. 0:12:01.400 --> 0:12:04.319 Was amazing to do that just the exercise of understanding, hey, 0:12:04.360 --> 0:12:07.080 that was then was twenty years ago. The world was 0:12:07.080 --> 0:12:10.520 a different place. We were different musicians, our sound was different, 0:12:10.640 --> 0:12:13.240 and the fact that it's evolved so much kind of 0:12:13.240 --> 0:12:15.520 made sense and it almost validated. It's like, yeah, we 0:12:15.559 --> 0:12:18.480 should be We shouldn't just be trying to copy just 0:12:18.559 --> 0:12:20.559 because it's a follow up to a concept record. We 0:12:20.559 --> 0:12:23.040 shouldn't be trying to copy any part of it. Really 0:12:23.040 --> 0:12:25.840 it should You would hope something evolves over twenty years, right, 0:12:26.400 --> 0:12:29.040 And speaking of evolution, I mean the way the delivery 0:12:29.040 --> 0:12:32.240 mechanism is evolving too. I know that you're releasing one 0:12:32.280 --> 0:12:35.040 of the singles through uh n f T through your 0:12:35.520 --> 0:12:38.400 the app Saying, which is a Seattle based tech company 0:12:38.400 --> 0:12:41.040 that that you've recently become involved with. As you mentioned earlier, 0:12:41.040 --> 0:12:44.160 you've been involved with with tech for a long time now, 0:12:44.200 --> 0:12:46.680 and it seems like a common thread in all that 0:12:46.720 --> 0:12:49.720 you do in the technological sphere is about really championing 0:12:49.880 --> 0:12:54.520 independent creators. How can n f T s benefit musicians. Well, 0:12:54.559 --> 0:12:56.400 I'll start by saying this, because I know there's been 0:12:56.440 --> 0:12:59.080 a lot of stigma around n f T s and 0:12:59.120 --> 0:13:02.000 the fact that you know, the Stevioakes and Blouse are 0:13:02.040 --> 0:13:04.240 making these big bags of money and it feels like 0:13:04.280 --> 0:13:07.200 it's for the one percent again, But I think that's 0:13:07.240 --> 0:13:11.000 like such early days of this blockchain technology, which really 0:13:11.000 --> 0:13:13.000 what it does it allows us to talk to our 0:13:13.040 --> 0:13:16.760 fans directly and build these communities without any gatekeepers, which 0:13:16.800 --> 0:13:18.600 if you just put that on paper as an artist, 0:13:18.600 --> 0:13:20.920 you're like, damn, that's what I love to do. Of course, 0:13:20.960 --> 0:13:23.040 I'd love to maybe not have to sign a record 0:13:23.080 --> 0:13:25.760 deal and maybe not have to have a publisher, where 0:13:26.000 --> 0:13:28.840 if I can get my stuff to our fans direct 0:13:29.360 --> 0:13:32.280 and there's some sort of exchange there I can actually 0:13:32.280 --> 0:13:35.520 survive as an artist. And so if you think of 0:13:35.559 --> 0:13:39.160 it like that, I would propose that if you're an artist, 0:13:39.600 --> 0:13:42.360 not embracing this and figuring out how n f t 0:13:42.520 --> 0:13:45.120 s and blockchain can help the artist community is like 0:13:45.400 --> 0:13:49.280 the biggest crime um for artists because this paradigm show 0:13:49.440 --> 0:13:52.240 back to where artists have control of their their their 0:13:52.320 --> 0:13:55.559 art again in the way they monetize it distributed and 0:13:55.920 --> 0:13:58.600 build their communities is what we've all been waiting for. 0:13:58.760 --> 0:14:01.079 You know. It's like if you know, everyone bitches about 0:14:01.200 --> 0:14:03.880 like the rates of Spotify and now you don't make 0:14:03.880 --> 0:14:05.880 money from that anymore and we don't sell c d s, 0:14:05.920 --> 0:14:08.679 it's like great, so that day's done. Man, Like this 0:14:08.760 --> 0:14:11.400 is new and technology has ability to help us against 0:14:11.440 --> 0:14:15.640 So it's if it's because you know, you feel like 0:14:15.720 --> 0:14:18.400 blockchain and bitcoin and n f t s like are 0:14:18.400 --> 0:14:21.640 harmful to the environment, then fine platforms that don't harm 0:14:21.640 --> 0:14:24.240 that are carbon neutral. Sing the one that I'm involved 0:14:24.280 --> 0:14:26.920 with is carbon neutral. There is an answer to every 0:14:26.960 --> 0:14:29.400 every excuse can an artist can make, So there's really 0:14:29.400 --> 0:14:31.840 no excuse for an artist not to embrace it. You 0:14:31.920 --> 0:14:33.920 just gotta figure how it works for you. But you've 0:14:33.920 --> 0:14:35.640 got to look at the long term n f t 0:14:35.840 --> 0:14:38.120 S and what all p will do with this record. 0:14:38.440 --> 0:14:40.880 We'll probably actually not not just one song, Jordan, We're 0:14:40.880 --> 0:14:42.760 gonna release the whole album as n f T S 0:14:43.080 --> 0:14:44.920 and you so as a fan, you're able to get 0:14:44.960 --> 0:14:47.200 that and buy it first before it gets on the 0:14:47.240 --> 0:14:49.920 Spotify as an Apple, and you'll get a ton of 0:14:50.040 --> 0:14:54.040 other like really cool stuff, like I mean, exclusive artwork 0:14:54.200 --> 0:14:57.320 for for each song. You'll you'll get like commentary on 0:14:57.400 --> 0:15:00.640 the songs. Who knows, we're still figuring out by it's 0:15:00.680 --> 0:15:03.880 gonna be way more interactive and if I was a 0:15:03.880 --> 0:15:05.960 fan of a band and they were doing this, I'd 0:15:05.960 --> 0:15:09.440 be like, depe, I can't wait to participate. Oh totally. 0:15:09.440 --> 0:15:12.360 I mean I just as a music fan, just watching 0:15:12.560 --> 0:15:16.040 the whole stream platform system evolve over the last decade. 0:15:16.040 --> 0:15:18.760 It's been scary because I talked to so many musicians 0:15:18.800 --> 0:15:21.400 because say, this isn't sustainable. You know, I'm worried about 0:15:21.440 --> 0:15:24.440 the generation musicians under me, how they're gonna actually survive 0:15:24.480 --> 0:15:28.240 and do this. And it's really frightening to think of, 0:15:28.320 --> 0:15:30.960 you know, how can people actually make a living doing 0:15:31.000 --> 0:15:35.040 this and continuing to create our involve and it makes 0:15:35.040 --> 0:15:36.680 me feel better. I mean again, it gets back to 0:15:36.720 --> 0:15:39.360 what you said earlier. We have a future thinking about 0:15:39.360 --> 0:15:41.360 these young artists in ways that they are able to 0:15:41.520 --> 0:15:44.760 monetize and survive, if you know, if touring doesn't completely 0:15:44.760 --> 0:15:47.000 cover it. Yeah, man, I mean, I know the art 0:15:47.000 --> 0:15:49.280 world was on it first, right because they just they 0:15:49.360 --> 0:15:51.840 live in that digital space and they and I know 0:15:51.960 --> 0:15:55.560 young artists that you know have like seven thousand Instagram followers, 0:15:55.560 --> 0:15:57.920 so they're not famous, Like they're not these huge people 0:15:57.960 --> 0:16:00.080 that can just demand that people come by the or 0:16:00.080 --> 0:16:03.480 are for some they're making a great living now with 0:16:03.640 --> 0:16:05.720 n f T. So it just shows you like, let 0:16:05.760 --> 0:16:08.560 them lead. But if we're not like right on their tails, 0:16:09.080 --> 0:16:12.560 where the suckers? Man? Really hopeful. I wanted to ask 0:16:12.600 --> 0:16:15.680 you prior to to work or maybe concurrently with your 0:16:15.680 --> 0:16:18.960 work on the new album. You wrapped the project with 0:16:19.040 --> 0:16:24.920 your wife, this extremely just intensely personal, really rather harrowing 0:16:25.040 --> 0:16:27.840 musical project Moon Versus Son, where the two of you 0:16:27.880 --> 0:16:31.240 went to this remote island off the coast of Canada 0:16:31.520 --> 0:16:34.280 and wrote an album while being filmed for this documentary. 0:16:34.280 --> 0:16:37.440 I'm Gonna break your heart did that experience being sort 0:16:37.480 --> 0:16:40.720 of that open and vulnerable push you into something like 0:16:40.720 --> 0:16:43.000 a spiritual machines too, Which is not to say it's 0:16:43.000 --> 0:16:45.960 not personal, but it's giving you a narrative to shield 0:16:46.000 --> 0:16:48.320 yourself a little bit, whereas with Moon versus Son you're 0:16:48.360 --> 0:16:51.000 pretty exposed and out there. Did that somehow impact this 0:16:51.080 --> 0:16:53.000 new album? I think so. I think that's a pretty 0:16:53.000 --> 0:16:55.320 cool point, to be honest. No one's brought that up before. 0:16:55.600 --> 0:16:59.640 Um yeah, making that album kind of like just letting 0:16:59.680 --> 0:17:01.880 it hanging out. I think at the end of the day, 0:17:01.880 --> 0:17:04.600 what my wife and I showed was really like process 0:17:04.800 --> 0:17:07.480 and like we're partners, we're parents. Were like, you know, 0:17:07.520 --> 0:17:11.040 obviously we're lovers and and have been together forever. So 0:17:11.119 --> 0:17:13.200 it's like all that stuff coming together and then trying 0:17:13.200 --> 0:17:15.960 to write music together. It was really intense. You can 0:17:16.000 --> 0:17:18.840 never have just shown oh wow, they're they're way off, 0:17:18.920 --> 0:17:21.359 like four thousand miles away from their home in l 0:17:21.400 --> 0:17:24.240 A on this little French island in the middle winter, 0:17:24.359 --> 0:17:26.320 and they were just able to write these great songs. 0:17:26.800 --> 0:17:28.800 There was a reason those songs happened, and a lot 0:17:28.840 --> 0:17:31.280 of it usually was like a fight that we had 0:17:31.320 --> 0:17:34.199 to come out of. But through that like stress and 0:17:34.240 --> 0:17:37.480 that torment, this song is born, and so it just 0:17:37.480 --> 0:17:41.280 would have been authentic or inauthentic to not have that stuff, 0:17:41.320 --> 0:17:43.359 and so we just showed it all. Like some of 0:17:43.400 --> 0:17:46.080 it's I know it feels a little uncomfortable probably for 0:17:46.400 --> 0:17:48.840 viewers to watch, but I don't think it's anything crazy. 0:17:49.080 --> 0:17:51.480 No one gets pushed off the island, no one breaks 0:17:51.480 --> 0:17:53.960 the door slams the window like it's it's kind of 0:17:54.000 --> 0:17:56.720 tame if you really look back on it, but showing 0:17:56.720 --> 0:17:59.840 the process is cool. And then I think with Spiritual Machines, 0:18:00.480 --> 0:18:03.040 it was just for me. It was doing things that 0:18:03.119 --> 0:18:06.560 I've never done before. And that record was Shantell and 0:18:06.600 --> 0:18:08.600 the doc I'm Gonna Break Your Heart I've never done. 0:18:08.640 --> 0:18:10.840 I've never exposed myself like you said like that before. 0:18:11.320 --> 0:18:13.960 And then in terms of when we talked about, hey 0:18:13.960 --> 0:18:15.600 we get to work with Dave Sitek on this, this 0:18:15.680 --> 0:18:18.560 is amazing, What a great opportunity. We can't just kind 0:18:18.560 --> 0:18:20.919 of like take baby steps. We gotta make We actually 0:18:21.000 --> 0:18:23.920 have to reinvent ourselves. And so because I went through 0:18:23.960 --> 0:18:26.040 that as an artist, I was just like, well, yeah, 0:18:26.160 --> 0:18:28.160 we should, we should go as far as we can 0:18:28.480 --> 0:18:31.359 to where it feels uncomfortable, kind of like that film 0:18:31.359 --> 0:18:33.760 and that album feel Uncomfortable with I'm going to Break 0:18:33.760 --> 0:18:35.720 Your Heart on my wife. I just wrapped a big 0:18:35.760 --> 0:18:38.760 project on on David Bowie and there's that great quote 0:18:38.800 --> 0:18:41.320 he says, I paraphrase and something like the best art 0:18:41.400 --> 0:18:45.160 comes from when you're uncomfortable uncomfortable situations. Did you find 0:18:45.200 --> 0:18:47.280