1
00:00:08,200 --> 00:00:15,240
Speaker 1: Pushkin. Just a quick note here. You can listen to

2
00:00:15,280 --> 00:00:18,239
Speaker 1: all of the music mentioned in this episode on our playlist,

3
00:00:18,280 --> 00:00:20,320
Speaker 1: which you can find a link to in the show

4
00:00:20,360 --> 00:00:24,120
Speaker 1: notes for licensing reasons, each time a song is referenced

5
00:00:24,120 --> 00:00:29,320
Speaker 1: in this episode, you'll hear this sound effect all right.

6
00:00:29,960 --> 00:00:34,720
Speaker 1: Enjoy the episode. There's no playbook for successfully releasing music

7
00:00:34,920 --> 00:00:38,159
Speaker 1: during a pandemic, especially if you're an indie artist. The

8
00:00:38,240 --> 00:00:41,599
Speaker 1: stakes really couldn't be higher, but Deep Sea Diver has

9
00:00:41,640 --> 00:00:44,479
Speaker 1: managed to put all that aside to drop a thrilling

10
00:00:44,560 --> 00:00:49,559
Speaker 1: and relevant new album. That's the lead singer Jessica Dobson

11
00:00:49,880 --> 00:00:52,600
Speaker 1: singing the title track of Deep Sea Diver's third album,

12
00:00:52,720 --> 00:00:56,680
Speaker 1: Impossible Wait. While the Seattle based band only recently started

13
00:00:56,680 --> 00:00:59,480
Speaker 1: their assent in to indie rock stardom, Jessica Dobson has

14
00:00:59,480 --> 00:01:02,880
Speaker 1: played in some the genre's most defining bands. She toured

15
00:01:02,920 --> 00:01:05,160
Speaker 1: the world as lead guitarists for Beck and the Shins

16
00:01:05,520 --> 00:01:07,960
Speaker 1: and played keyboard and bass for the Yeah Yeah Yaz.

17
00:01:08,880 --> 00:01:11,600
Speaker 1: In twenty fifteen, Jessica formed Deep Sea Diver with her

18
00:01:11,680 --> 00:01:14,720
Speaker 1: husband and drummer Peter Manson, and the wake of their

19
00:01:14,720 --> 00:01:17,959
Speaker 1: new album, Broken Record producer Leah Rose talked to Jessica

20
00:01:18,000 --> 00:01:21,040
Speaker 1: about how I Stay at Home livestream series inspired her

21
00:01:21,080 --> 00:01:25,000
Speaker 1: to write a pandemic anthem and record time. Jessica also

22
00:01:25,040 --> 00:01:27,720
Speaker 1: talks about how volunteering at a shelter for homeless sex

23
00:01:27,760 --> 00:01:31,200
Speaker 1: workers helped her overcome a vicious bout of depression and

24
00:01:31,280 --> 00:01:33,920
Speaker 1: write what she considers to be the best album of

25
00:01:33,959 --> 00:01:40,360
Speaker 1: her career. This is broken record liner notes for the

26
00:01:40,360 --> 00:01:48,760
Speaker 1: digital Age. I'm justin Richmondson. Here's Leah Rose with Jessica

27
00:01:48,800 --> 00:01:52,240
Speaker 1: Dobson of Deep Sea Diver. Let's talk a little bit

28
00:01:52,280 --> 00:01:56,240
Speaker 1: about your new album. Yeah, so, how has the pandemic

29
00:01:56,360 --> 00:02:00,560
Speaker 1: changed the release and the marketing? Well, you know, most dramatically,

30
00:02:01,440 --> 00:02:05,760
Speaker 1: no touring for everybody, that's you know, the most foreign thing.

31
00:02:06,320 --> 00:02:08,600
Speaker 1: Usually this is the time you're getting ready to hit

32
00:02:08,639 --> 00:02:11,880
Speaker 1: the road and like, if there's any momentum, keep pushing

33
00:02:11,919 --> 00:02:15,919
Speaker 1: that momentum forward, you know. And that's always been how

34
00:02:15,960 --> 00:02:19,920
Speaker 1: we've gained new new fans and follows. Is just like

35
00:02:20,240 --> 00:02:23,200
Speaker 1: with the live show and meeting other bands on the road,

36
00:02:23,240 --> 00:02:28,560
Speaker 1: and it really is devastating, but we've tried to pivot

37
00:02:28,600 --> 00:02:32,600
Speaker 1: and be as scrappy as possible and you know, try

38
00:02:32,680 --> 00:02:35,200
Speaker 1: to figure out what it looks like for us to

39
00:02:35,960 --> 00:02:38,359
Speaker 1: I guess the only presence you can have now is online,

40
00:02:38,480 --> 00:02:41,480
Speaker 1: and so just like figuring out how we want to

41
00:02:41,520 --> 00:02:45,160
Speaker 1: do that and be creative with that that medium, and

42
00:02:45,200 --> 00:02:48,160
Speaker 1: then have you had to sort of reimagine how you

43
00:02:48,280 --> 00:02:51,320
Speaker 1: present the live show or even the new music now

44
00:02:51,320 --> 00:02:53,680
Speaker 1: that everything's just kind of like on zoom or you're

45
00:02:53,720 --> 00:02:58,200
Speaker 1: live streaming. Absolutely for a while we were doing like

46
00:02:58,240 --> 00:03:02,120
Speaker 1: a weekly live stream when this first hit and Stop

47
00:03:02,200 --> 00:03:06,720
Speaker 1: Pretending came out of the stay home tours like live

48
00:03:06,760 --> 00:03:09,600
Speaker 1: streams that we were doing on Sunday nights, and Peter

49
00:03:09,720 --> 00:03:12,359
Speaker 1: had this like crazy idea, like I think it was

50
00:03:12,400 --> 00:03:15,160
Speaker 1: the first live stream we did. At the end of

51
00:03:15,160 --> 00:03:18,360
Speaker 1: the live stream, he played a drum beat We recorded

52
00:03:18,360 --> 00:03:21,800
Speaker 1: it live as we were showing people it on like Instagram,

53
00:03:21,840 --> 00:03:24,560
Speaker 1: and he said, Okay, this drum beat that I just played,

54
00:03:24,639 --> 00:03:26,799
Speaker 1: we recorded it and we're going to upload it to dropbox.

55
00:03:26,960 --> 00:03:29,680
Speaker 1: Whoever wants to download it, take it and write your

56
00:03:29,720 --> 00:03:31,880
Speaker 1: own song to it. At the end of that week,

57
00:03:32,000 --> 00:03:35,160
Speaker 1: like people's submissions were due, because I was so interested

58
00:03:35,160 --> 00:03:37,520
Speaker 1: to see, like, Okay, obviously everyone has a different brain,

59
00:03:37,520 --> 00:03:41,240
Speaker 1: different melotic sensibilities. There's going to be so many different submission.

60
00:03:41,280 --> 00:03:43,559
Speaker 1: I actually didn't know how many people were going to participate,

61
00:03:43,640 --> 00:03:45,960
Speaker 1: and we ended up getting like seventy people sent in

62
00:03:46,080 --> 00:03:50,280
Speaker 1: songs with this one looped drum beat, and towards the

63
00:03:50,360 --> 00:03:52,640
Speaker 1: end of the week when it was due, I hadn't

64
00:03:52,640 --> 00:03:55,160
Speaker 1: even started writing on that drum beat yet, and I

65
00:03:55,160 --> 00:03:56,800
Speaker 1: was like, that's kind of lame if I asked people

66
00:03:56,840 --> 00:03:59,480
Speaker 1: to write, like write a song, but I don't even

67
00:03:59,480 --> 00:04:03,920
Speaker 1: do it. Yeah. So I sat in the studio and

68
00:04:04,040 --> 00:04:06,080
Speaker 1: I tried to write to the drum beat, and whatever

69
00:04:06,200 --> 00:04:08,400
Speaker 1: was coming out was kind of lifeless. And I ended

70
00:04:08,440 --> 00:04:12,040
Speaker 1: up going on a walk and I came back and

71
00:04:12,080 --> 00:04:15,680
Speaker 1: then stop pretending just came out. So it was written

72
00:04:15,680 --> 00:04:18,000
Speaker 1: in a day, it was mixed the next day by

73
00:04:18,000 --> 00:04:20,640
Speaker 1: me in the home studio, and then it was released

74
00:04:20,760 --> 00:04:23,520
Speaker 1: the next day after that. Never done anything like that.

75
00:04:23,640 --> 00:04:28,040
Speaker 1: And it has the line everything's falling apart. Yeah, honey,

76
00:04:28,080 --> 00:04:32,160
Speaker 1: I can't pretend to understand why everything's falling apart. Yeah. Yeah,

77
00:04:32,200 --> 00:04:33,960
Speaker 1: I've been singing that around the house my little two

78
00:04:34,000 --> 00:04:39,400
Speaker 1: year old sweet yea, so good, thank you. Yeah. I

79
00:04:39,480 --> 00:04:43,160
Speaker 1: definitely was, you know, a song very much influenced, you know,

80
00:04:43,279 --> 00:04:47,400
Speaker 1: by the times. It's just like it's so yeah, everything

81
00:04:47,480 --> 00:04:50,880
Speaker 1: was just so unsure and still is. There's no end

82
00:04:50,920 --> 00:04:53,520
Speaker 1: date to what's going on right now, and it's just

83
00:04:53,560 --> 00:04:56,920
Speaker 1: like almost like, Okay, I could write like a terror

84
00:04:57,000 --> 00:04:59,279
Speaker 1: filled song or just something I just kind of like,

85
00:04:59,360 --> 00:05:02,360
Speaker 1: all right, call Spada spade. The situation is totally messed up,

86
00:05:02,520 --> 00:05:04,240
Speaker 1: and I don't know what's going on, and I can't

87
00:05:04,240 --> 00:05:07,440
Speaker 1: pretend to understand. But just like I don't know the

88
00:05:07,520 --> 00:05:11,320
Speaker 1: resilience of the human spirit and relating on that meant

89
00:05:11,320 --> 00:05:13,200
Speaker 1: a lot to me. And so for some reason, yeah,

90
00:05:13,240 --> 00:05:18,440
Speaker 1: the song came out. Stop pretending. So your sound classically

91
00:05:18,520 --> 00:05:24,360
Speaker 1: is sort of really warm and poppy, fuzzy, sort of dreamy.

92
00:05:25,200 --> 00:05:29,240
Speaker 1: How would you say that your sound has evolved over

93
00:05:29,279 --> 00:05:33,080
Speaker 1: the course of the three albums. I think that the

94
00:05:33,240 --> 00:05:38,520
Speaker 1: first album was kind of leaning more into like jangly

95
00:05:38,600 --> 00:05:42,760
Speaker 1: pop songs like you Go Running kind of you know,

96
00:05:42,800 --> 00:05:46,359
Speaker 1: at the time, was influenced more by like Phoenix and

97
00:05:46,400 --> 00:05:51,560
Speaker 1: the Smiths, and but then also total contrast, like a

98
00:05:51,600 --> 00:05:53,919
Speaker 1: lot of ballads that were darker. I love Nick Cave

99
00:05:54,000 --> 00:05:55,880
Speaker 1: and and so I was kind of just like finding

100
00:05:55,880 --> 00:05:59,280
Speaker 1: my footing in in the first record and then the

101
00:05:59,360 --> 00:06:03,680
Speaker 1: second one, and I think I I really tried to

102
00:06:03,680 --> 00:06:07,320
Speaker 1: step out more with like leading with guitar, and so

103
00:06:07,480 --> 00:06:10,039
Speaker 1: there was a lot more jammy moments and guitar solos

104
00:06:10,120 --> 00:06:13,440
Speaker 1: and heaviness. And then this record I kind of feel

105
00:06:13,480 --> 00:06:16,120
Speaker 1: like I I came home again to like some of

106
00:06:16,160 --> 00:06:21,600
Speaker 1: my my like earlier influences a lot more like narrative

107
00:06:21,720 --> 00:06:25,200
Speaker 1: storytelling and songwriting. It's something that I had kind of

108
00:06:25,240 --> 00:06:27,320
Speaker 1: dismissed for a while or didn't think I was good

109
00:06:27,400 --> 00:06:30,920
Speaker 1: enough at. And so I think a lot these songs

110
00:06:30,960 --> 00:06:34,440
Speaker 1: breathed really well, and they maybe are not as heavy

111
00:06:34,560 --> 00:06:37,160
Speaker 1: in terms of like the rock world that maybe Secrets

112
00:06:37,160 --> 00:06:40,240
Speaker 1: lived in. They are a lot more vulnerable, so I

113
00:06:40,279 --> 00:06:44,120
Speaker 1: don't And then musically there's still like a lot of

114
00:06:44,120 --> 00:06:47,520
Speaker 1: those stabby guitar and moments that I think I tried

115
00:06:47,520 --> 00:06:50,280
Speaker 1: to write a lot of like what I perceived as

116
00:06:50,360 --> 00:06:54,000
Speaker 1: that sounded almost like I'm singing a lyric melody, but

117
00:06:54,120 --> 00:06:57,200
Speaker 1: through guitar there's a lot of those moments. So it's

118
00:06:57,240 --> 00:07:00,880
Speaker 1: an extension of my voice instead of just like heaviness

119
00:07:00,880 --> 00:07:04,400
Speaker 1: and loudness and jamminess and feedback and all that. So, yeah,

120
00:07:04,400 --> 00:07:09,440
Speaker 1: it's a lot more melodic. Yeah it's super catchy. You know,

121
00:07:09,480 --> 00:07:12,480
Speaker 1: I've listened to the album a lot over the last week,

122
00:07:12,520 --> 00:07:16,040
Speaker 1: and it's like by the second or third listen, it's

123
00:07:16,080 --> 00:07:17,600
Speaker 1: like I feel like I'm right there and I know

124
00:07:17,640 --> 00:07:22,120
Speaker 1: the melodies and they're totally synking in. That's awesome. How

125
00:07:22,120 --> 00:07:25,640
Speaker 1: do you not play a melody that you've already heard

126
00:07:25,680 --> 00:07:28,480
Speaker 1: from another song, or how do you even know if

127
00:07:28,560 --> 00:07:34,160
Speaker 1: you're yeah, you know, like recreating something unconsciously. That seems

128
00:07:34,200 --> 00:07:36,840
Speaker 1: like the hardest part of songwriting. I just feel like

129
00:07:36,840 --> 00:07:40,360
Speaker 1: I would sit down and you know, play like something

130
00:07:40,520 --> 00:07:43,600
Speaker 1: like something very obvious and well known totally. There have

131
00:07:43,600 --> 00:07:46,240
Speaker 1: been moments where I literally have I mean I know

132
00:07:46,320 --> 00:07:48,760
Speaker 1: I have it on voice memos where somewhere of just

133
00:07:48,840 --> 00:07:52,760
Speaker 1: like being so excited to show Peter he's my partner

134
00:07:52,800 --> 00:07:54,440
Speaker 1: in the band or the whole band, just like check

135
00:07:54,440 --> 00:07:56,760
Speaker 1: out this new song, and then someone goes like, yeah,

136
00:07:56,760 --> 00:07:59,880
Speaker 1: that's like a feist song, like that melody right there

137
00:08:00,360 --> 00:08:03,680
Speaker 1: or whatever, like and you know, something that I'll be

138
00:08:03,720 --> 00:08:06,640
Speaker 1: so excited about, and I'll just have I just yeah,

139
00:08:06,840 --> 00:08:08,600
Speaker 1: be wrapped up in the moment not even realize that

140
00:08:08,640 --> 00:08:10,600
Speaker 1: it's like a total rip off. And then other times

141
00:08:11,480 --> 00:08:15,840
Speaker 1: I write songs by ripping off melodies, so then I

142
00:08:15,880 --> 00:08:20,080
Speaker 1: can get into the mindset of that artist or like

143
00:08:20,320 --> 00:08:24,520
Speaker 1: literally just like pretending and trying to get out of,

144
00:08:25,160 --> 00:08:28,960
Speaker 1: you know, my headspace and then from there having the

145
00:08:29,040 --> 00:08:32,920
Speaker 1: freedom to make it my own. Yeah. Kevin Parker from

146
00:08:33,040 --> 00:08:35,800
Speaker 1: Tam and Paulo was talking about the same thing, and

147
00:08:35,920 --> 00:08:38,280
Speaker 1: he was saying, when he writes, he often tries to

148
00:08:38,360 --> 00:08:42,280
Speaker 1: make a continuation of a song, right, like He'll listen.

149
00:08:42,320 --> 00:08:44,440
Speaker 1: He was like talking about a beach House song that

150
00:08:44,480 --> 00:08:47,240
Speaker 1: he was obsessed with, and then he tried to write

151
00:08:47,280 --> 00:08:50,320
Speaker 1: like the next volume of that song. Yeah, that's a

152
00:08:50,360 --> 00:08:54,000
Speaker 1: great idea. Anything that helps. Like, we just get in

153
00:08:54,040 --> 00:08:56,239
Speaker 1: our heads all the time, and there's so many reasons,

154
00:08:56,280 --> 00:08:58,079
Speaker 1: you know, why not to push forward on a song,

155
00:08:58,280 --> 00:09:02,960
Speaker 1: and so all of the little tools are so necessary

156
00:09:02,960 --> 00:09:07,120
Speaker 1: and helpful. So you produced this album, right, co produced? Yeah,

157
00:09:07,280 --> 00:09:10,360
Speaker 1: my first one. I think I've been producing my whole

158
00:09:10,400 --> 00:09:13,840
Speaker 1: life without knowing it and without giving it the official title,

159
00:09:14,600 --> 00:09:18,360
Speaker 1: but like or attempting to produce things. But this was

160
00:09:18,400 --> 00:09:21,080
Speaker 1: the first official one. Yeah. Did you come to it

161
00:09:21,120 --> 00:09:25,240
Speaker 1: with an overall vision for the project? I first came

162
00:09:25,559 --> 00:09:30,840
Speaker 1: to it actually in a very scared place. I at

163
00:09:30,840 --> 00:09:35,880
Speaker 1: the time when we were going to record this this

164
00:09:36,200 --> 00:09:39,599
Speaker 1: record that that's coming out now. We had already attempted

165
00:09:40,000 --> 00:09:44,000
Speaker 1: twice to make a record coming right off the heels

166
00:09:44,040 --> 00:09:47,560
Speaker 1: of Like Secrets, and it didn't go well. And I

167
00:09:47,600 --> 00:09:51,680
Speaker 1: was in a pretty low, dark place and questioning a lot.

168
00:09:52,160 --> 00:09:55,719
Speaker 1: And I had finally, like I had a couple of

169
00:09:55,760 --> 00:09:57,880
Speaker 1: songs that I saw some sparks in, but I was

170
00:09:57,880 --> 00:10:01,080
Speaker 1: still in a pretty pretty low place. And Peter came

171
00:10:01,120 --> 00:10:03,800
Speaker 1: downstairs remember one day, and he was like, I think

172
00:10:03,800 --> 00:10:05,720
Speaker 1: you're going to produce this record. You need to produce

173
00:10:05,760 --> 00:10:09,320
Speaker 1: this record, And I just instantly started crying. I don't

174
00:10:09,320 --> 00:10:13,600
Speaker 1: know why, but I just was in such a fucked

175
00:10:13,640 --> 00:10:16,400
Speaker 1: up place and just like didn't even have the self

176
00:10:16,440 --> 00:10:19,360
Speaker 1: confidence to think that, like, yeah, that's a good idea.

177
00:10:19,679 --> 00:10:22,000
Speaker 1: So was that more pressure? Did that feel like oh no, no,

178
00:10:22,080 --> 00:10:24,080
Speaker 1: I have two jobs to do? Yeah? I know it

179
00:10:24,120 --> 00:10:26,320
Speaker 1: felt like, oh no, if I step into that role,

180
00:10:27,040 --> 00:10:31,680
Speaker 1: like this record will never get made or I'll overthink it.

181
00:10:32,880 --> 00:10:35,200
Speaker 1: Then if it doesn't do well, it will really be

182
00:10:35,280 --> 00:10:38,680
Speaker 1: all on me because I produced it. And so there's

183
00:10:38,720 --> 00:10:41,920
Speaker 1: so much fear wrapped up in that and for a

184
00:10:42,080 --> 00:10:45,199
Speaker 1: number of reasons, but like basically in the end, I

185
00:10:46,160 --> 00:10:48,480
Speaker 1: was just like, you know what I need to do this,

186
00:10:48,720 --> 00:10:51,840
Speaker 1: and I think I'm prepared to do it, and I'm

187
00:10:51,880 --> 00:10:55,720
Speaker 1: ready to jump up over that cliff. And I basically

188
00:10:55,760 --> 00:10:58,520
Speaker 1: sought out like a co producer for the things that

189
00:10:58,559 --> 00:11:01,199
Speaker 1: I knew that I was not, like I needed a

190
00:11:01,280 --> 00:11:03,679
Speaker 1: right hand man of just like I'm not good at

191
00:11:04,040 --> 00:11:08,040
Speaker 1: time management. I will press record a thousand times and

192
00:11:08,800 --> 00:11:11,640
Speaker 1: then not even use it. And Andy, So, Andy Park

193
00:11:11,960 --> 00:11:13,880
Speaker 1: was my co producer for this, and there's so many

194
00:11:13,880 --> 00:11:17,080
Speaker 1: wonderful things he brought to the table and really challenged

195
00:11:17,080 --> 00:11:19,400
Speaker 1: me to like sharpen the tip on all of the

196
00:11:19,480 --> 00:11:23,440
Speaker 1: songs and the lyrics. And yeah, it was such a fun,

197
00:11:24,200 --> 00:11:28,959
Speaker 1: joyful experience. That's amazing. Also, it sounds like exactly what

198
00:11:29,000 --> 00:11:32,040
Speaker 1: you needed to do. I think so too. Yeah, I

199
00:11:32,040 --> 00:11:34,080
Speaker 1: think a lot of things had been preparing me for

200
00:11:34,840 --> 00:11:38,200
Speaker 1: this record. I lived in records when I was a kid,

201
00:11:38,520 --> 00:11:40,480
Speaker 1: just I didn't realize that it was like kind of

202
00:11:40,480 --> 00:11:43,679
Speaker 1: a producer mindset. But I would pick apart different frequencies

203
00:11:43,720 --> 00:11:45,520
Speaker 1: and Okay, these are the highs and these are the

204
00:11:45,559 --> 00:11:47,040
Speaker 1: lows of the song, and I would try to imagine

205
00:11:47,040 --> 00:11:50,880
Speaker 1: how they would get those sounds. And so, yeah, it

206
00:11:50,880 --> 00:11:54,360
Speaker 1: feels like I was preparing myself my whole life, but

207
00:11:54,440 --> 00:11:56,800
Speaker 1: just didn't know it. Well, yeah, maybe you didn't have

208
00:11:56,800 --> 00:11:59,880
Speaker 1: the language for it yet exactly the intention and you

209
00:12:00,120 --> 00:12:05,400
Speaker 1: had the interest really Yeah, totally. On Lights Out the song,

210
00:12:05,720 --> 00:12:08,800
Speaker 1: I was just curious from a producers standpoint, there's a

211
00:12:08,880 --> 00:12:11,800
Speaker 1: little what sounds like a little vocal sample at the

212
00:12:11,800 --> 00:12:13,680
Speaker 1: beginning of the song, and then the whole you know,

213
00:12:13,720 --> 00:12:16,280
Speaker 1: the beat drops and it sort of disappears from that moment.

214
00:12:16,920 --> 00:12:19,920
Speaker 1: What was the thinking behind that? The one that says

215
00:12:19,960 --> 00:12:23,480
Speaker 1: hot Mike? Oh, is that what it says? Yeah, And

216
00:12:23,600 --> 00:12:26,680
Speaker 1: I don't know why I said hot Mike, but there's

217
00:12:27,000 --> 00:12:29,880
Speaker 1: we're always trying to like keep spirits light in the studio.

218
00:12:30,200 --> 00:12:33,199
Speaker 1: But that's actually interesting that you asked me this question,

219
00:12:33,280 --> 00:12:37,800
Speaker 1: because I wanted moments on this record that brought you

220
00:12:38,400 --> 00:12:40,880
Speaker 1: into a different world and then also back, and then

221
00:12:40,960 --> 00:12:42,840
Speaker 1: I wanted you to be able to feel like you're

222
00:12:42,840 --> 00:12:45,400
Speaker 1: in the studio with us too. Yeah, it's cool. It's

223
00:12:45,400 --> 00:12:48,480
Speaker 1: almost like you're there right before the song starts totally

224
00:12:48,679 --> 00:12:51,720
Speaker 1: and hearing you know, two or three seconds before the

225
00:12:51,760 --> 00:12:54,720
Speaker 1: band starts playing, you feel the power of the band

226
00:12:54,720 --> 00:12:57,720
Speaker 1: in a new way. Yeah. Absolutely, I think there's a

227
00:12:57,760 --> 00:13:02,079
Speaker 1: lot of moments like that on like Broken Social Scene records.

228
00:13:02,760 --> 00:13:04,640
Speaker 1: You hear that and a lot of hip hop records

229
00:13:04,640 --> 00:13:07,080
Speaker 1: actually too. I mean I'm sure you know, yes, yeah,

230
00:13:07,080 --> 00:13:10,520
Speaker 1: that's what it reminded me of. Yeah, I specially love

231
00:13:11,040 --> 00:13:13,840
Speaker 1: kind of especially those reprises like that Kendrick Lamar does

232
00:13:14,400 --> 00:13:19,360
Speaker 1: and they're thematic and like it feels like he's talking

233
00:13:19,600 --> 00:13:23,400
Speaker 1: directly to you, and so yeah, I'm a big fan

234
00:13:23,480 --> 00:13:27,040
Speaker 1: of that. Very cool. That song is just undeniable. I mean,

235
00:13:27,080 --> 00:13:29,400
Speaker 1: that's one of the real one of the songs that

236
00:13:29,480 --> 00:13:32,560
Speaker 1: really like hooked its claws and to me quick it

237
00:13:32,679 --> 00:13:35,000
Speaker 1: always kind of amazes me how short it is because

238
00:13:35,000 --> 00:13:37,520
Speaker 1: it seems like there's a lot packed into it. But

239
00:13:37,840 --> 00:13:41,199
Speaker 1: the songs on this record in general are shorter, and

240
00:13:41,360 --> 00:13:44,839
Speaker 1: I didn't try to do that, but somehow it came

241
00:13:44,840 --> 00:13:47,480
Speaker 1: out that way. But these little ones a little fireball

242
00:13:50,400 --> 00:13:53,880
Speaker 1: that's lights out from Deep Sea Diver's new album, Impossible Way.

243
00:13:54,200 --> 00:13:57,080
Speaker 1: We'll hear more from Leah Rose and Jessica Dobson after

244
00:13:57,120 --> 00:14:05,960
Speaker 1: a break. Here's more of Leo Rose's conversation with Jessica Dobson. So,

245
00:14:06,000 --> 00:14:08,439
Speaker 1: I'm curious about your thoughts about the music industry because

246
00:14:08,480 --> 00:14:12,560
Speaker 1: you've been in the music industry for a really long time. Yeah,

247
00:14:13,400 --> 00:14:17,600
Speaker 1: you were signed at nineteen with Atlantic. What type of

248
00:14:17,640 --> 00:14:19,680
Speaker 1: music were you making back then, and how did that

249
00:14:19,720 --> 00:14:24,200
Speaker 1: happen At that time? That was kind of like like

250
00:14:24,360 --> 00:14:27,600
Speaker 1: right before the Atlantic Records deal happened, I was playing

251
00:14:27,600 --> 00:14:31,080
Speaker 1: coffee shops around like I grew up in Lahabra Fullerton

252
00:14:31,160 --> 00:14:34,640
Speaker 1: area and was just kind of like just starting to

253
00:14:34,680 --> 00:14:37,720
Speaker 1: come onto the scene and meet new people. And one

254
00:14:37,760 --> 00:14:42,280
Speaker 1: of the first people I met was this guy Eli Thompson,

255
00:14:42,320 --> 00:14:47,000
Speaker 1: and he played with Richard Swift, who has since passed

256
00:14:47,040 --> 00:14:49,920
Speaker 1: and rest in peace, Richard. We played together in the Shins.

257
00:14:51,120 --> 00:14:52,840
Speaker 1: That's when I started buying a ton of records and

258
00:14:52,880 --> 00:14:57,360
Speaker 1: going omiba like every Sunday, and they were expanding my

259
00:14:57,760 --> 00:15:00,960
Speaker 1: little eighteen nineteen year old brain and they kind of

260
00:15:01,000 --> 00:15:03,520
Speaker 1: took me under their wing and we recorded my first demos.

261
00:15:04,240 --> 00:15:07,680
Speaker 1: So out of those demos, there was a song called

262
00:15:07,680 --> 00:15:09,920
Speaker 1: most Sundays that I kind of had this very like

263
00:15:10,440 --> 00:15:12,440
Speaker 1: I guess you could say rich just Swift an Elliott

264
00:15:12,520 --> 00:15:15,960
Speaker 1: Smith kind of swung beat, and that was the song

265
00:15:16,000 --> 00:15:18,640
Speaker 1: that kind of, I guess, put me on the map

266
00:15:18,680 --> 00:15:22,320
Speaker 1: in front of these major labeled types. My manager at

267
00:15:22,320 --> 00:15:24,880
Speaker 1: the time, I media showcases. I didn't know what I

268
00:15:24,920 --> 00:15:27,000
Speaker 1: was doing. I just showed up and played the songs

269
00:15:27,000 --> 00:15:30,800
Speaker 1: in my band, and then it seemed pretty crazy. All

270
00:15:30,800 --> 00:15:32,920
Speaker 1: of a sudden, there was a deal on the table

271
00:15:33,400 --> 00:15:35,600
Speaker 1: and I was super young, and I was like, oh,

272
00:15:35,640 --> 00:15:38,640
Speaker 1: if I don't take this, then I guess nothing will

273
00:15:38,720 --> 00:15:40,960
Speaker 1: like this will come again, so I should probably take

274
00:15:40,960 --> 00:15:44,440
Speaker 1: this deal. So once I signed the deal and kind

275
00:15:44,440 --> 00:15:47,200
Speaker 1: of felt like I was in this weird, faceless system,

276
00:15:47,240 --> 00:15:50,080
Speaker 1: like I think that's where I started getting anxiety, but

277
00:15:50,120 --> 00:15:51,920
Speaker 1: didn't know what that was either at the time. I

278
00:15:52,000 --> 00:15:54,600
Speaker 1: ended up like losing my voice for I think my

279
00:15:54,680 --> 00:15:57,560
Speaker 1: actual speaking voice and singing voice for five months. It

280
00:15:57,640 --> 00:16:01,440
Speaker 1: was the craziest experience that seems very and bolic, honestly,

281
00:16:01,680 --> 00:16:05,880
Speaker 1: like I wasn't lost on me. I know, it's super crazy.

282
00:16:06,360 --> 00:16:10,160
Speaker 1: I think you know, since that time, like as I've

283
00:16:10,200 --> 00:16:13,120
Speaker 1: reflected a lot more on it, I think I've been

284
00:16:13,120 --> 00:16:17,280
Speaker 1: searching for that for I'm always searching for like musical

285
00:16:17,320 --> 00:16:20,600
Speaker 1: community and more connection. Because that took me out of

286
00:16:20,600 --> 00:16:25,000
Speaker 1: it right away and control totally. Yeah. I heard Katy

287
00:16:25,080 --> 00:16:28,440
Speaker 1: Perry talking about this, and she because she was trying

288
00:16:28,480 --> 00:16:32,640
Speaker 1: to like make it and break through for so long,

289
00:16:32,720 --> 00:16:34,320
Speaker 1: and she was at it, and she was in that

290
00:16:34,400 --> 00:16:38,240
Speaker 1: Christian realm too, like Christian music realm, I think beginning

291
00:16:38,320 --> 00:16:42,040
Speaker 1: started out, yeah, which is a totally different scene, but yeah,

292
00:16:42,080 --> 00:16:44,080
Speaker 1: and I think she was at it for like ten years.

293
00:16:44,600 --> 00:16:48,440
Speaker 1: And then she made the most Unchristian song ever, right right,

294
00:16:48,440 --> 00:16:52,200
Speaker 1: it's a girl, and she like totally blew up. Yeah,

295
00:16:52,240 --> 00:16:55,520
Speaker 1: but I think even she was like totally surprised. But

296
00:16:55,600 --> 00:16:57,880
Speaker 1: I think that's the key, though. You never know when

297
00:16:57,920 --> 00:17:02,240
Speaker 1: something's gonna quote unquote work, whatever that means. And I

298
00:17:02,480 --> 00:17:05,480
Speaker 1: think I think that's a good example because she put

299
00:17:05,560 --> 00:17:08,200
Speaker 1: in the work like it didn't come out of nothing,

300
00:17:08,520 --> 00:17:11,320
Speaker 1: and whatever she thought was a failure like set her

301
00:17:11,400 --> 00:17:14,720
Speaker 1: up for that moment. And then you know, you could

302
00:17:14,720 --> 00:17:19,399
Speaker 1: flash forward today and you know, like it's like nobody

303
00:17:19,400 --> 00:17:22,080
Speaker 1: can recreate their successes, and you go through these valleys

304
00:17:22,080 --> 00:17:24,840
Speaker 1: and peaks of what success looks like to you as

305
00:17:24,880 --> 00:17:27,679
Speaker 1: an artist, and I don't know, it's just kind of

306
00:17:27,720 --> 00:17:30,639
Speaker 1: so much as right place, right time, and this weird

307
00:17:30,680 --> 00:17:34,720
Speaker 1: alchemy of a ton of things. Yeah, and then what

308
00:17:35,080 --> 00:17:39,360
Speaker 1: ended up happening to the deal, I was just so sad. Music,

309
00:17:39,440 --> 00:17:42,959
Speaker 1: the joy of it was absolutely squeezed out of it

310
00:17:43,000 --> 00:17:46,879
Speaker 1: for me, and just having experienced like different kinds of

311
00:17:46,880 --> 00:17:49,760
Speaker 1: rejection amidst what looked like a big quote unquote success,

312
00:17:49,800 --> 00:17:54,160
Speaker 1: it was a failure for me, and like I was embarrassed.

313
00:17:54,800 --> 00:17:56,760
Speaker 1: I didn't know what to do, and I ended up

314
00:17:56,760 --> 00:17:58,520
Speaker 1: just kind of putting my head in the sand and

315
00:17:59,240 --> 00:18:02,760
Speaker 1: stopped playing z for like a year and ran a

316
00:18:02,760 --> 00:18:05,320
Speaker 1: coffee shop, like I was like a partial investor and

317
00:18:05,440 --> 00:18:10,760
Speaker 1: just like totally doing Like Peter, who's now I'm married

318
00:18:10,760 --> 00:18:12,359
Speaker 1: to him and he's in the band, he plays drums.

319
00:18:12,560 --> 00:18:14,080
Speaker 1: He at the time, we were just best friends and

320
00:18:14,119 --> 00:18:15,960
Speaker 1: he came down and he was like, what the fuck

321
00:18:16,000 --> 00:18:18,520
Speaker 1: are you doing? Why are you running a coffee shop?

322
00:18:18,560 --> 00:18:22,720
Speaker 1: You should be playing music, And like totally helped me

323
00:18:22,760 --> 00:18:26,520
Speaker 1: out of and back into just playing again and find

324
00:18:26,600 --> 00:18:29,000
Speaker 1: being able to find joy in it. So that was

325
00:18:29,000 --> 00:18:32,000
Speaker 1: pretty sweet. You're like, I'm marrying you. Thank you, Yeah,

326
00:18:32,119 --> 00:18:38,040
Speaker 1: thank you? Yeah, good choice. Yeah totally. And what's it

327
00:18:38,160 --> 00:18:41,159
Speaker 1: like collaborating with your husband? How does that change the

328
00:18:41,680 --> 00:18:45,800
Speaker 1: dynamic of your relationship? Are you always talking about music

329
00:18:45,840 --> 00:18:47,879
Speaker 1: at home or are you able to sort of like

330
00:18:48,040 --> 00:18:55,359
Speaker 1: compartmentalize those conversations it's tricky to compartmentalize the conversations. We

331
00:18:55,560 --> 00:18:57,720
Speaker 1: definitely both have the brains that don't know how to

332
00:18:57,720 --> 00:19:03,160
Speaker 1: shut things we're passionate about off. But I am so

333
00:19:03,240 --> 00:19:06,879
Speaker 1: grateful for Peter. I mean just personally as my partner,

334
00:19:06,880 --> 00:19:11,440
Speaker 1: but then in a musical setting we couldn't be any different. Um.

335
00:19:12,280 --> 00:19:16,200
Speaker 1: He is, like I love how just kind of eighty

336
00:19:16,640 --> 00:19:19,240
Speaker 1: with his ideas and he doesn't give a shit about

337
00:19:19,280 --> 00:19:23,160
Speaker 1: looking foolish. He'll throw like a thousand ideas out into

338
00:19:23,160 --> 00:19:27,280
Speaker 1: the room and you know, he himself will say like, yeah,

339
00:19:27,320 --> 00:19:30,679
Speaker 1: like nine nine of these are probably not good or

340
00:19:30,720 --> 00:19:32,439
Speaker 1: not good, and but the one that makes it's like

341
00:19:32,480 --> 00:19:34,800
Speaker 1: he's like this burst of energy and these little sports

342
00:19:34,840 --> 00:19:38,199
Speaker 1: and he's the sparker in the band. Totally. Yeah. I

343
00:19:38,240 --> 00:19:40,080
Speaker 1: was gonna say, sometimes you need that to get just

344
00:19:40,119 --> 00:19:43,400
Speaker 1: the ideas flowing and the energy going. Someone just needs

345
00:19:43,440 --> 00:19:46,879
Speaker 1: to say something and then it'll turn into something totally

346
00:19:46,880 --> 00:19:49,120
Speaker 1: And I think that like he got that a lot

347
00:19:49,200 --> 00:19:53,760
Speaker 1: from like, uh like improv kind of yeah, improv. Yes,

348
00:19:53,840 --> 00:19:57,080
Speaker 1: So he's a yes n a person. There's no like, hey,

349
00:19:57,080 --> 00:19:58,560
Speaker 1: I don't want to do this thing that you just

350
00:19:58,600 --> 00:20:01,320
Speaker 1: started us on the path. It's just like, Okay, I'm

351
00:20:01,359 --> 00:20:02,840
Speaker 1: taking what you just said and then I have to

352
00:20:02,960 --> 00:20:05,600
Speaker 1: end it. Yes, And and so he's constantly getting on

353
00:20:05,680 --> 00:20:09,159
Speaker 1: me when I like am not being open to like,

354
00:20:09,240 --> 00:20:12,240
Speaker 1: let's say, he'll presents something like an idea, musical or

355
00:20:12,280 --> 00:20:17,479
Speaker 1: creative whatever, and if I like kind of rejected or

356
00:20:17,600 --> 00:20:19,800
Speaker 1: don't want to get into it, he gets upset. And

357
00:20:19,840 --> 00:20:23,240
Speaker 1: I totally get that. And that's where I need to

358
00:20:23,240 --> 00:20:25,680
Speaker 1: be pushed in is just being freer and not as

359
00:20:25,680 --> 00:20:30,080
Speaker 1: precious about things. So he's just wonderful like in that

360
00:20:30,400 --> 00:20:35,480
Speaker 1: arena and obviously fantastic drummer and just yeah, he's crazy.

361
00:20:35,560 --> 00:20:38,439
Speaker 1: He's just like so much energy, yeah, and live like

362
00:20:38,560 --> 00:20:41,480
Speaker 1: he's it's like so and it's really fun to see

363
00:20:41,640 --> 00:20:45,200
Speaker 1: like him in and Garrett who plays in the band.

364
00:20:45,240 --> 00:20:47,600
Speaker 1: He plays bass in the band. Like the way they

365
00:20:47,640 --> 00:20:50,520
Speaker 1: play off of each other, you know, Peter tends to

366
00:20:50,600 --> 00:20:52,520
Speaker 1: kind of be like slightly on top of the beat

367
00:20:52,560 --> 00:20:54,880
Speaker 1: and Gary tends to be just slightly behind, and it's

368
00:20:54,920 --> 00:20:58,240
Speaker 1: like it's perfect. I love it. And you guys really

369
00:20:58,320 --> 00:21:02,200
Speaker 1: jam out when you play live. Is that orchestrated ahead

370
00:21:02,240 --> 00:21:04,439
Speaker 1: of time or does that happen naturally? Is it like

371
00:21:04,920 --> 00:21:07,679
Speaker 1: a really an authentic jam or is that sort of

372
00:21:08,000 --> 00:21:12,199
Speaker 1: more pre planned typically. I don't know. It's just one

373
00:21:12,240 --> 00:21:15,600
Speaker 1: of those magic moments when we go into longer jams

374
00:21:15,600 --> 00:21:17,399
Speaker 1: and really stretch it out. There's a song on the

375
00:21:17,440 --> 00:21:20,200
Speaker 1: record called Eisa Red that has like a three minute

376
00:21:20,240 --> 00:21:23,440
Speaker 1: guitar solo on it, and it gets into this kind

377
00:21:23,480 --> 00:21:30,360
Speaker 1: of LCD sound system hypnotic groove for like three minutes,

378
00:21:30,480 --> 00:21:33,720
Speaker 1: and sometimes live we'll tease that out for like ten minutes,

379
00:21:34,160 --> 00:21:36,960
Speaker 1: and it just depends on what the mood is and

380
00:21:38,600 --> 00:21:41,879
Speaker 1: it's fun to, I don't know, feel the freedom in

381
00:21:42,000 --> 00:21:45,520
Speaker 1: terms of like guitar playing, of when you start finding

382
00:21:45,560 --> 00:21:49,240
Speaker 1: that you're playing things. What you're hearing in your head

383
00:21:49,440 --> 00:21:51,720
Speaker 1: at that moment in the middle of a live show

384
00:21:51,800 --> 00:21:54,639
Speaker 1: but you've not necessarily played is coming out on guitar

385
00:21:54,880 --> 00:21:59,040
Speaker 1: and that's just years of playing. But like, yeah, it's

386
00:21:59,119 --> 00:22:01,800
Speaker 1: kind of thrilling, and so it's one of my most

387
00:22:01,840 --> 00:22:04,359
Speaker 1: favorite moments when as a band you can get to

388
00:22:04,400 --> 00:22:13,440
Speaker 1: those places. We'll be back soon after a break. Before

389
00:22:13,480 --> 00:22:16,240
Speaker 1: we get into the rest of Leah's conversation with Jessica Dobson.

390
00:22:16,680 --> 00:22:19,240
Speaker 1: Here's some of the title track off Deep Sea Diver's

391
00:22:19,320 --> 00:22:25,000
Speaker 1: new album, which features Sharon Vannett. When this song was

392
00:22:25,080 --> 00:22:29,160
Speaker 1: first written, it was the last song the album was done,

393
00:22:29,480 --> 00:22:31,840
Speaker 1: and then I asked, like my managers one day, I

394
00:22:31,880 --> 00:22:34,600
Speaker 1: was like, do you think this record needs another song?

395
00:22:34,680 --> 00:22:36,360
Speaker 1: And they're like, it wouldn't I mean, it wouldn't hurt

396
00:22:36,400 --> 00:22:37,960
Speaker 1: to try. Do you want to try to co write?

397
00:22:38,160 --> 00:22:41,800
Speaker 1: And I was like yeah, And so I went down

398
00:22:41,840 --> 00:22:45,800
Speaker 1: to California with this woman named Jendas Silvio and Peter

399
00:22:45,920 --> 00:22:47,959
Speaker 1: came with me too, and I try to show up

400
00:22:48,000 --> 00:22:55,280
Speaker 1: to this session without any preconceived melodic, lyrical anything, just

401
00:22:55,359 --> 00:22:58,679
Speaker 1: try to keep my head super clear. But then my

402
00:22:58,840 --> 00:23:01,560
Speaker 1: personality really came out, like of just like the poh shit,

403
00:23:01,600 --> 00:23:04,480
Speaker 1: I don't have a plant B and so the without

404
00:23:04,600 --> 00:23:08,000
Speaker 1: me trying, this lyric just came out in my head.

405
00:23:08,040 --> 00:23:09,439
Speaker 1: I was like in the shower before we got there,

406
00:23:09,480 --> 00:23:11,280
Speaker 1: and I was like, but that was then and this

407
00:23:11,440 --> 00:23:13,840
Speaker 1: is now. And I just kept hearing that lyric over

408
00:23:13,880 --> 00:23:17,240
Speaker 1: and over. And then when I got to the Jen's studio,

409
00:23:17,640 --> 00:23:20,680
Speaker 1: we hopped into it pretty pretty much right away, and

410
00:23:20,800 --> 00:23:22,680
Speaker 1: she was playing this thing on piano, and I think,

411
00:23:22,680 --> 00:23:26,480
Speaker 1: out of nervousness, I started playing my guitar and that's

412
00:23:26,480 --> 00:23:31,280
Speaker 1: where the dun in it, d do do da And

413
00:23:31,400 --> 00:23:33,119
Speaker 1: she looked at me and she pointed, and she was like,

414
00:23:33,160 --> 00:23:36,240
Speaker 1: get there, just because she was writing something totally different.

415
00:23:37,000 --> 00:23:40,440
Speaker 1: And then I mean, that's the gifting of a songwriter.

416
00:23:40,480 --> 00:23:41,919
Speaker 1: I guess when you're in that world is just you

417
00:23:42,040 --> 00:23:45,600
Speaker 1: know where to point the energy. And she just totally

418
00:23:45,640 --> 00:23:48,040
Speaker 1: hound in and she's like, what is that? And I

419
00:23:48,119 --> 00:23:50,520
Speaker 1: was like, I don't know, I've never played this before ever.

420
00:23:51,240 --> 00:23:53,879
Speaker 1: Also the gift of collaboration, because if you were alone,

421
00:23:53,920 --> 00:23:55,800
Speaker 1: you might not have that could have been totally a

422
00:23:55,840 --> 00:24:00,960
Speaker 1: throwaway one hundred percent. I just was. So it was

423
00:24:00,960 --> 00:24:03,679
Speaker 1: one of those just magic moments of like being in

424
00:24:03,680 --> 00:24:07,200
Speaker 1: the room seeing this song come out in like two hours,

425
00:24:07,440 --> 00:24:10,800
Speaker 1: not a thing was changed after the fact. And then

426
00:24:10,840 --> 00:24:15,840
Speaker 1: how did Sharon Vanetton get on it? Oh? I love Shan. Yeah,

427
00:24:15,880 --> 00:24:20,879
Speaker 1: she's one of my favorites. She really is. And so Okay,

428
00:24:20,920 --> 00:24:23,720
Speaker 1: So her brothers were fans of Deep Sea Diver for

429
00:24:23,800 --> 00:24:25,520
Speaker 1: like the last three or four years, I think, And

430
00:24:25,560 --> 00:24:28,240
Speaker 1: I remember, like a long time ago, being tagged by

431
00:24:28,359 --> 00:24:31,040
Speaker 1: one of her brothers and seeing this thing on Facebook

432
00:24:31,080 --> 00:24:32,520
Speaker 1: as I'm like, hey, Sharon, this is the band I

433
00:24:32,520 --> 00:24:34,040
Speaker 1: was telling you about, and I was like, is that

434
00:24:34,200 --> 00:24:38,760
Speaker 1: Sharon van Etton, Like holy shit, Okay, And then then,

435
00:24:38,880 --> 00:24:40,960
Speaker 1: you know, I didn't think about that for a while,

436
00:24:41,080 --> 00:24:45,040
Speaker 1: and then she had this record coming out which was

437
00:24:45,040 --> 00:24:49,520
Speaker 1: to remind me tomorrow, and I heard the first I

438
00:24:49,520 --> 00:24:51,920
Speaker 1: think it was the first single, Jupiter four, and I

439
00:24:51,960 --> 00:24:55,520
Speaker 1: was just like, holy shit, I love this song. And

440
00:24:55,600 --> 00:24:57,119
Speaker 1: I don't know what compelled me. I just wrote her

441
00:24:57,160 --> 00:25:01,800
Speaker 1: on Instagram and I just told her how much I

442
00:25:01,840 --> 00:25:04,480
Speaker 1: respected I so kind of like in the same vein

443
00:25:04,520 --> 00:25:09,400
Speaker 1: of like Feist, Patti Smith, Cat Power, Nico Case. There's

444
00:25:09,440 --> 00:25:11,600
Speaker 1: so many like women that I love in respect that

445
00:25:11,680 --> 00:25:14,399
Speaker 1: create their own timelines for how they want to do things,

446
00:25:15,080 --> 00:25:18,440
Speaker 1: and there is a total similar thread between all of them,

447
00:25:18,440 --> 00:25:21,560
Speaker 1: and they're they're people of like great substance. She's one

448
00:25:21,600 --> 00:25:23,919
Speaker 1: of those women. Yeah, And I said thank you, like,

449
00:25:24,000 --> 00:25:26,720
Speaker 1: you know, because she stepped away for a second to

450
00:25:26,920 --> 00:25:29,360
Speaker 1: go to school, she had a kid. It's like all

451
00:25:29,359 --> 00:25:32,000
Speaker 1: these things that are like in terms of industry standards

452
00:25:32,040 --> 00:25:33,840
Speaker 1: and how you do things and really sur record every

453
00:25:33,840 --> 00:25:36,080
Speaker 1: two years and come back, okay, write, start writing and

454
00:25:36,119 --> 00:25:39,119
Speaker 1: do it again. Like that's a huge finger in the

455
00:25:39,119 --> 00:25:42,280
Speaker 1: face and I want to be that example too, of

456
00:25:42,440 --> 00:25:44,399
Speaker 1: just like, now you don't have to follow those rules.

457
00:25:45,240 --> 00:25:47,080
Speaker 1: And so I saw that in her and I just

458
00:25:47,080 --> 00:25:49,359
Speaker 1: said thank you. So then a couple months later, she

459
00:25:49,480 --> 00:25:53,920
Speaker 1: was coming through to the Neptune in Seattle, and I

460
00:25:54,920 --> 00:25:57,040
Speaker 1: went to that show and then I think I like

461
00:25:57,119 --> 00:25:59,800
Speaker 1: tagged her on Instagram and in a story and I

462
00:25:59,840 --> 00:26:03,520
Speaker 1: was just like, there's nowhere else I'd rather be besides here.

463
00:26:03,800 --> 00:26:06,560
Speaker 1: The night before we finished our record and then the

464
00:26:06,640 --> 00:26:09,120
Speaker 1: next day we went to the studio to record Impossible Wait.

465
00:26:09,840 --> 00:26:13,120
Speaker 1: And as we were recording it, I was I asked myself.

466
00:26:13,200 --> 00:26:15,320
Speaker 1: I think it was internally At first I was like, man,

467
00:26:15,359 --> 00:26:17,280
Speaker 1: it would be so cool if Sharon sang on this.

468
00:26:17,480 --> 00:26:20,560
Speaker 1: And then I was in the bathroom and Peter, you

469
00:26:20,640 --> 00:26:24,280
Speaker 1: just yelled, it's like Sharon messaged you. I was like what,

470
00:26:25,040 --> 00:26:27,639
Speaker 1: and so I I just went out there and she

471
00:26:27,800 --> 00:26:33,240
Speaker 1: said the most the most kind words, and eventually I asked,

472
00:26:33,320 --> 00:26:36,720
Speaker 1: I was like, hey, like, I have this song, do

473
00:26:36,760 --> 00:26:38,840
Speaker 1: you want to hear it? If you wanted to sing

474
00:26:38,840 --> 00:26:41,600
Speaker 1: on it, let me know, like here, like I'm totally

475
00:26:41,680 --> 00:26:43,639
Speaker 1: totally up for whatever. Just like and if it doesn't

476
00:26:43,640 --> 00:26:46,520
Speaker 1: speak to you, forget, I asked. I find it was

477
00:26:46,560 --> 00:26:49,760
Speaker 1: like midnight like one night months like a few months later,

478
00:26:49,960 --> 00:26:52,200
Speaker 1: and a little message came through and it was like,

479
00:26:52,720 --> 00:26:55,000
Speaker 1: I can do this, and I'm super stoked, and I

480
00:26:55,520 --> 00:26:58,159
Speaker 1: was just so excited that it worked out. All right,

481
00:26:58,240 --> 00:27:01,359
Speaker 1: let's talk about Switchblade a little bit. Yeah, it's written

482
00:27:01,359 --> 00:27:04,439
Speaker 1: in third person. Who who are you talking about? I

483
00:27:04,480 --> 00:27:06,320
Speaker 1: think it's kind of like a mixture of a lot

484
00:27:06,359 --> 00:27:10,280
Speaker 1: of stories that I heard firsthand at the Commons with

485
00:27:10,320 --> 00:27:13,840
Speaker 1: the women I was spending time with. So this organization

486
00:27:13,880 --> 00:27:16,800
Speaker 1: that I started volunteering at, it's called the Aurora Commons,

487
00:27:16,960 --> 00:27:21,240
Speaker 1: and it's a safe place for our unhoused neighbors, those

488
00:27:21,240 --> 00:27:24,000
Speaker 1: that are drug dependent, involved in sex based work on

489
00:27:24,040 --> 00:27:28,400
Speaker 1: the street, and it's a place where you can come.

490
00:27:28,880 --> 00:27:32,200
Speaker 1: You don't have to be free of drugs, and there's

491
00:27:32,320 --> 00:27:34,520
Speaker 1: your treaty with dignity and respect. And I was so

492
00:27:34,640 --> 00:27:37,000
Speaker 1: drawn to this place because I hadn't found anything like it.

493
00:27:37,800 --> 00:27:41,560
Speaker 1: And I live off of Aurora, which is like a

494
00:27:41,640 --> 00:27:45,480
Speaker 1: highway kind of that runs parallel to the five Freeway

495
00:27:45,880 --> 00:27:48,359
Speaker 1: in Seattle, and a lot of the women, you know,

496
00:27:48,400 --> 00:27:51,639
Speaker 1: work on the streets by where I live, and you

497
00:27:51,720 --> 00:27:55,760
Speaker 1: walk I walk by them every day, and you know,

498
00:27:55,760 --> 00:27:58,119
Speaker 1: we're constantly passing people every day and we have no

499
00:27:58,200 --> 00:28:00,639
Speaker 1: idea what their stories are, and we make a sumptions

500
00:28:00,880 --> 00:28:05,919
Speaker 1: and put labels on people, and it's just it's such

501
00:28:05,960 --> 00:28:09,600
Speaker 1: a disservice to to ourselves and others. But we do

502
00:28:09,680 --> 00:28:12,239
Speaker 1: have that kind of commentary like that it's harder than

503
00:28:12,280 --> 00:28:15,720
Speaker 1: you think line, like it's hard to receive. It's hard

504
00:28:15,720 --> 00:28:18,560
Speaker 1: to receive other people's help. I need other people's help.

505
00:28:18,640 --> 00:28:20,560
Speaker 1: Like we're all in the same boat. We all carry,

506
00:28:20,600 --> 00:28:22,479
Speaker 1: like I said, like these little traumas around with us

507
00:28:22,560 --> 00:28:26,600
Speaker 1: or large traumas, and that can feel so suffocating. And

508
00:28:27,200 --> 00:28:29,040
Speaker 1: I wanted to write a song just like I hear

509
00:28:29,080 --> 00:28:32,760
Speaker 1: you and you are important and you belong here. At

510
00:28:32,760 --> 00:28:34,959
Speaker 1: the beginning of the record, it seems like you are

511
00:28:34,960 --> 00:28:38,680
Speaker 1: in a really low place. Yes, and then you must

512
00:28:38,720 --> 00:28:40,720
Speaker 1: be able to build up your confidence. If this is

513
00:28:40,760 --> 00:28:43,200
Speaker 1: the first time you're producing an album, you have to

514
00:28:43,240 --> 00:28:46,200
Speaker 1: write all these songs, I imaginetally you write a lot

515
00:28:46,200 --> 00:28:49,640
Speaker 1: of the instrumental parts as well. Yeah, so that's a

516
00:28:49,880 --> 00:28:53,560
Speaker 1: huge accomplishment, thank you. And so I'm just wondering, like

517
00:28:53,600 --> 00:28:56,480
Speaker 1: coming out the other side of that, has that actually

518
00:28:56,520 --> 00:29:02,480
Speaker 1: helped how you're feeling? Yeah? It did, And like it's

519
00:29:02,520 --> 00:29:06,240
Speaker 1: just that, you know, the paradox of like you think

520
00:29:06,280 --> 00:29:10,040
Speaker 1: if you dismantle things and kind of like strip everything away,

521
00:29:10,080 --> 00:29:13,000
Speaker 1: that it's going to be this naked, crazy place where

522
00:29:14,160 --> 00:29:16,120
Speaker 1: you might not push through and then you're left looking

523
00:29:16,360 --> 00:29:20,840
Speaker 1: kind of foolish. But I think that by kind of dismantling,

524
00:29:20,880 --> 00:29:25,240
Speaker 1: meaning like getting lower, getting into the dirt, like allowing

525
00:29:26,280 --> 00:29:30,200
Speaker 1: myself to be more compassionate to myself and others and vulnerable,

526
00:29:30,320 --> 00:29:34,520
Speaker 1: like in that process, like it felt really joyous instead

527
00:29:34,520 --> 00:29:38,640
Speaker 1: of scary as it was happening. And I think right

528
00:29:38,680 --> 00:29:41,600
Speaker 1: now I'm just like reveling in the joy of what

529
00:29:41,640 --> 00:29:45,520
Speaker 1: we created and just being thankful for that. Well, thank

530
00:29:45,560 --> 00:29:47,560
Speaker 1: you for being so gracious with your time, and thank

531
00:29:47,560 --> 00:29:51,120
Speaker 1: you for sitting down and talking so much fun. Oh

532
00:29:51,160 --> 00:29:53,440
Speaker 1: my gosh, the feeling is mutual, and I really appreciate

533
00:29:53,680 --> 00:29:58,680
Speaker 1: you asking me to be on the show. Thanks to

534
00:29:58,760 --> 00:30:02,280
Speaker 1: Jessica Dobson for opening up about her creative process with Leah.

535
00:30:02,640 --> 00:30:05,560
Speaker 1: You can hear Deepsea divers new album Impossible Wait, along

536
00:30:05,600 --> 00:30:07,560
Speaker 1: with some of our other favorite Deep Sea Diver tracks,

537
00:30:07,760 --> 00:30:11,160
Speaker 1: on a playlist at Broken record podcast dot com, and

538
00:30:11,320 --> 00:30:13,560
Speaker 1: be sure to subscribe to our YouTube channel at YouTube

539
00:30:13,560 --> 00:30:16,600
Speaker 1: dot com slash Broken Record podcast. There you can find

540
00:30:16,600 --> 00:30:20,200
Speaker 1: extended cuts of new and old episodes. Broken Record is

541
00:30:20,240 --> 00:30:24,840
Speaker 1: produced with helpful Leah Rose, Jason Gambrel, Martin Gonzalez, Eric Sandler,

542
00:30:25,080 --> 00:30:28,720
Speaker 1: and its executive produced by Mio Lovell. Broken Record is

543
00:30:28,760 --> 00:30:31,720
Speaker 1: a production of Pushkin Industries and if you like Broken Record,

544
00:30:31,840 --> 00:30:34,200
Speaker 1: please remember to share, rate, and review our show on

545
00:30:34,240 --> 00:30:37,120
Speaker 1: your podcast. Act A theme music is by Kenny Beats.

546
00:30:37,360 --> 00:30:39,000
Speaker 1: I'm Justin Richard bass