July 22, 2026 • 38 mins
This week on What Are We Even Doing?, Kyle is joined by Grammy-nominated electro-pop duo Sylvan Esso—Amelia Meath and Nick Sanborn—for a conversation about creativity, collaboration, and why the best performances happen when there's a real chance everything could fall apart. The pair reflect on over a decade of making music together (and being married), what they've learned from workshopping unfinished songs in front of live audiences and the inspiration behind their new music, including their latest single, "Hot Slob." Along the way, they swap stories about disastrous brunch shifts, Garfield, Yoko Ono, Wisconsin, and the surprising importance of staying present before Kyle puts their partnership to the test in a game of Duet Dynamics.
Tune in every Wednesday for new episodes of What Are We Even Doing?
Executive Producers: iHeart Media, Elvis Duran Podcast Network & Full Picture Productions
Executive Produced for Full Picture Productions by Desiree Gruber & Anne Walls Gordon
Produced by Ben Fingeret, Nora Faber & Maia Mizrahi
Editing by Mikey Harmon, Nicholas Giuricich & Cosmo Salovaara
Research by Kimberly Walls
Music by Yatta
Art by Danica Robinson
Additional GFX by Chris Olfers/The Southern Influence
Styling by Dot Bass
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Episode Transcript
Available transcripts are automatically generated. Complete accuracy is not guaranteed.
Speaker 1 (00:00):
I have this rule that, like I think a thirty
(00:01):
percent chance of complete failure is where the perfect show
can happen, you know, because it's like you don't want
too much, right, but you want to really have to
be on your toes in order to actually really be
there with each other.
Speaker 2 (00:12):
Exactly what are we even to do? What are we
even doing? Welcome now I can welcome you to what
are we even doing? This is a podcast where I
Kyle your host, sit down with wonderfully creative people and
we talk about their process. And today we have a
(00:34):
special well, we have a duo. This is our first duo.
Please welcome the voices behind sylvan ESSO. This is Amelia
Meath and Nick Sanborn and I am absolutely thrilled that
you're here. I started my acting career in North Carolina
in a little town of Wealth near Hendersonville. Flat Rock,
(00:57):
the Flat Rock Playhouse, which is up in the hills,
North Carolina, is your home base. I mean that's we've.
Speaker 1 (01:03):
Been there a long time. We grew up somewhere else,
but we've been a youth giver a long time.
Speaker 3 (01:07):
What drew you there was anything particular or strange serendipity.
Nick had just joined a band called MegaFon and they
lived there.
Speaker 1 (01:17):
Which is all guys from Wisconsin who I knew since
I was eighteen. Weirdly, I was thinking about this extra
layer of serendipity is that they moved to the Triangle
almost at random. They each put names of a city
in a hat that they thought they could move.
Speaker 2 (01:31):
To as a band.
Speaker 1 (01:32):
Yeah, none of them had ever been there, and they
picked the Triangle, and so even their moved to North
Carolina was serendipis then I kind of followed them there.
Speaker 3 (01:40):
Yeah. And I had just made a day rate for
the first time in my life singing back up in
the band Feist, and I was living in Brooklyn, Nick
and I had just started the project via email, and
I realized that if I moved to North Carolina, I
could live off of the money that I had made
for a year as opposed to two months.
Speaker 2 (02:01):
Yeah, yeah, in Brooklyn, Yeah exactly. Oh that's fantastic. And
that was in Durham, Is that right? Is that first? Yeah? Yes, yeah,
which is strangely, I've never been to Durham. It's weird
because I've been all over North Carolina, Wilmington. We shot
Blue Velvet in Wilmington.
Speaker 1 (02:14):
We also lost the film tax benefits like ten years
ago now, and it's like we have friends who work
in film, and it's like, you know, not completely shut
it down, but come very close.
Speaker 3 (02:24):
Yeah, most of them are moving to Atlanta now.
Speaker 4 (02:26):
Yeah.
Speaker 2 (02:26):
Yeah, that's where it's happening. I'm sorry to hear that thing,
because that was the big reason that we were there,
I think for Blue Velvet.
Speaker 1 (02:30):
Yeah, I mean they had a whole industry there for decades.
Speaker 4 (02:34):
Yeah, because of that.
Speaker 2 (02:35):
Yeah, it was really strong. So and acting is something
that you yes, Okay, so I'm curious about that. I
see a relation between that and what you do now
when I watch you work.
Speaker 3 (02:45):
Oh yeah, that acting was the first, my first hope
to get towards performing, right, That's what I studied in college,
but very avant garde, more like physical theater and performance.
A lot of viewpoints, a lot of like responsive movement.
Speaker 2 (03:04):
Yeah, not dance necessarily, but not.
Speaker 3 (03:07):
Dance necessarily, but I was doing both in tandem. And
then once I started a band, I was like, oh,
this is the way, this is the this is the
door that's opening. I'm going to run right through it.
Speaker 2 (03:18):
Yeah. That's so it's wonderful that you found.
Speaker 3 (03:20):
That.
Speaker 2 (03:21):
Was that up in Brooklyn area?
Speaker 3 (03:23):
Is that where you know? I was in Vermont?
Speaker 2 (03:25):
Oh, in Vermont.
Speaker 3 (03:26):
Yeah, I was in Bennington, Vermont. Oh my god, studying.
Speaker 2 (03:29):
I went back and I watched some one of my
tiny desk concerts.
Speaker 3 (03:34):
Oh yeah, when we were babies.
Speaker 4 (03:35):
Yeah.
Speaker 2 (03:36):
The intimacy of the performance was so apparent. It obviously
it's a very small space and it's intimate anyway, but
the connection between the two of you, and people have
talked about that obviously was so obvious, and it was
such a It was such a creative, special, intense, playful
(04:00):
that you had. And I know you said one thing
that resonated with me, and I wrote it down. I
don't know if if I can find it, but something
about the childlike place that you have to be for
creative process, something to that effect, and I'll find it.
As you began another song, just just prior to before
you started the song, there was like this this connection
(04:24):
and then you transformed something inside which was I was like, Oh,
she's stepping into a is it a character, is it
a place? Is it? I don't know what it was,
but I was like, oh, that's so. And then you
were off on that journey. Does that resonate with you.
Speaker 3 (04:40):
Or yeah, it does. I find that if when you're
performing a song, my hope in my dream as we
step into creating a song together is to be able
to bring the audience into the world of the song
that we've created. And the easiest route in for me
(05:03):
of that is to go right into the vulnerability of
the thing. Okay, so maybe that was them.
Speaker 2 (05:10):
That's what I'm seeing, that's the.
Speaker 3 (05:11):
Transition is like, Okay, we're going on. I like to
think of each song as like a little tiny roller coaster.
Speaker 2 (05:19):
I like that because you need to.
Speaker 3 (05:20):
You carry everyone through the energetic field of the song
and the story that you're trying to tell.
Speaker 2 (05:28):
Yes.
Speaker 1 (05:29):
Yes, I also feel like there's there's something I was
thinking about this last night at the show, and like that.
I think the thing you're seeing in that old tiny
desk video kind of does the same thing. And but
like in the link to theater, I think that there's
a thing that I really admire in you where you
can use your ability to act and be theatrical and
(05:50):
and and the performance of it, which I think'll other
artists for other reasons use as like much more theatrically
as more of a mask. Thing that I love about
it and about that and what was happening last night
is that you're able to use the mask and the
feeling of theatricality and performance of and acting of it
as a way to open something up rather than like
(06:13):
mask it off, you know what I mean. I think
that that's like, I think that's something that's I feel
like is there are definitely other like singers who I
think do it, but I think that that's something that
is unique to you, is that you're you're able to
do the like heightened performance thing, but not have it
be something that like distances you from the person listening,
(06:35):
you know what I mean, Which is kind of a
that's kind of a tight rope to do, I think
in any perf I think it's rare.
Speaker 2 (06:40):
I think it's rare, and I agree with you. I
think that's what we're seeing. How do you nick? How
do you so there's forgive my lack of words to
describe what what you're what you're working with and how
you're doing it. But you're creating the sound, the music,
everything in the moment.
Speaker 4 (06:55):
Sure.
Speaker 2 (06:56):
Yeah, And I was reading interviews with people talking about
how challenging, how different that is to actually you're playing.
You know, you're working, you're working a device, you know
what I mean. But you're you're playing this and you're responding,
which is one of the beautiful things about the work together,
which is why I think seeing you in live is
(07:17):
so essential.
Speaker 4 (07:18):
Well for both of us.
Speaker 1 (07:18):
We talk about this a lot, but it's just how
are we how can we continue to do this end
age and distance between the selves that wrote these songs
and the selves that are performing them, you know what
I mean, and still have it feel engaging in the
present moment to us, you know. So, and so I
(07:39):
think for Amelia that I think that's well, I think
it's tough for anybody. But I think we each have
our own struggle with that, you know, trying to design
the structure of the show such that we are each
able to be like very tied to the present moment
and pushing the thing around, you know, because I think
(08:00):
that feels really special to both of us, or it
feels crucial to what makes us special, I think. And
so from like a technical standpoint, it's just kind of
always been this iterative process of like I will redesign
the way it works, and then and then I will
slowly get too good at that, and then I will
get into a patterns and then I'll be.
Speaker 4 (08:21):
Like, well now I'm just all that. Now I'm like
not here anymore. So I have to. I have to.
Speaker 1 (08:26):
I always feel like I have this rule that, like, I
think a thirty percent chance of complete failure is where
the perfect chow can happen, you know, because it's like
you don't want too much, right, but you want to
really have to be on your toes in order to
actually really be there with each other exactly.
Speaker 4 (08:40):
And so it's always been changing.
Speaker 1 (08:41):
So like right now it's like the most live it's
ever been a live quote unquote that it's ever been,
because we have a band out now and so I'm
doing more. I have this big console where I'm doing
all these live effects and playing this big modular synthesizer
and guitar and stuff. But from that down to when
it's just me and a laptop and a controller, the
whole thing is about how can I like make the
world around her voice and kind of lift it up
(09:03):
and be responding to just how everybody feels in the
room and making it smaller or bigger.
Speaker 3 (09:09):
Yeah, yeah, exactly, and that translates. That is so helpful
for me because it's so easy, you know how like
when you're doing a play or when you're doing a scene,
where like it's really easy to just get in a
rut where you move through the same you know what
you liked at one point, and so you like you're
reaching for control as opposed to responding in the moment.
(09:34):
And so as we designed this band and as we
like have been making new music, we've been just generally
trying to deeply embrace risk.
Speaker 1 (09:44):
Which is great because that's the thing. I think that
if we weren't doing that, we would stop being a band.
Speaker 3 (09:48):
Yeah, we get bored. Like if you get bored, then
then it's boring, you know, or like yeah, and it
loses it becomes all performance as opposed to the chewy
and delic a six static magic of of searching and
trying the moment.
Speaker 2 (10:04):
I know exactly what you mean. It's it's it's funny
because working on stage, right, if you're done, it's repetitious, right.
But the goal is each performance is to obviously tweet
it as if it's the first time you're going through,
and to respond exactly to Usually it's feeling from the audience.
(10:27):
Of course you get that, but it's also the other performers.
And if you're working with good people, then it happens. Yeah,
you want that. And then and you can tell when
you're working with someone who's like no, he wants to
or they want to yeah, and I'm like, it's.
Speaker 4 (10:41):
Harder, you know, resists.
Speaker 2 (10:43):
Yeah, Yeah, the change to let it. Maybe it's gonna
be it's gonna be different, maybe it's gonna better, Maybe
it's gonna be word who knows, yes, but it's gonna
be something else. Yeah, And you get to experience that.
And I feel like that in your in what I
when I see you, I'm like, it's just yeah, it's
just it's on the.
Speaker 1 (11:00):
I'm really jealous of stand up comedians for this. Yes,
you know, there's usually kind of a script like we're
we're putting an hour together, we're doing what you know,
they're they're trying to work and we're friends with a
few like Rory Scovel is like a friend of ours
and I just think he's a genius. But like watching
him work out an hour is really fascinating because like
there's he wants to hit beats he's trying. It's the
same as it's you know, it's very much like a play,
(11:23):
but energetically whether or not a joke works has to
do with so much more about who's in the room
and what the day felt like and all this other
shit then like whether or not he told it the
same way he did last night, you know what I mean.
And so I feel like they are the most if
it's going good. That's like feels like the avenue of
performance where they're the most in tune with this this
like friction point.
Speaker 3 (11:44):
Yes, you know, yes, what are you jealous of?
Speaker 1 (11:47):
Here's the thing I think musicians can get away with
a lot well naturally, because it's like, well if we
play the song you love.
Speaker 4 (11:54):
We played the song you love, and.
Speaker 1 (11:57):
It's like that's you know, Stevie Nace can get up
there and play Lance every night and that's We're going
to cry our eyes out every time because it's really
we love you. Yes, But like, yeah, I just I
think stand up has that there's like.
Speaker 3 (12:10):
A it's the inherent risk.
Speaker 1 (12:13):
Yes, it's like tied into the moment whether they want
it or not.
Speaker 3 (12:18):
You know what, It's not something they have to design
for themselves.
Speaker 4 (12:22):
Yeah, like we have to.
Speaker 1 (12:23):
I feel like, for all, I think this happens in
theater two.
Speaker 4 (12:25):
I've also been in a few plays.
Speaker 1 (12:27):
But like it's like I think that there's a thing
of like it starts and you're like, oh, this is terrifying,
Like why is this going.
Speaker 4 (12:32):
To work at all?
Speaker 1 (12:33):
And then it's like gets good, and then it gets stale,
and then you have to actively choose to break the
stale and make it risky and good again. And then
there's kind of this tidal flow that you have to
be palpating all of the time, and if you're not
actively doing it, you just stay in that stale face forever. Right,
whereas comedy they don't there's not even a choice.
Speaker 2 (12:54):
That is another level of putting yourself right at the
edge talking about that failure, because it's every night, it's right,
you're on the edge of that.
Speaker 3 (13:04):
Ye.
Speaker 2 (13:04):
I don't know if I can know if my heart
could survive that.
Speaker 3 (13:07):
No, I know, you really have to. Yeah. The only
thing that I have comparable in life experience is my
very brief period of being the world's worst brunch waitress,
in which oh it was horrible, Yeah, and I would
I would mess up and there would be no one
to commiserate with in my messing up other than the
(13:31):
other than the customer page. It was just humiliating. They
were interesting, that was really messing up.
Speaker 2 (13:36):
All yeah, hot slob right now, yes, awesome. How infinity
do you or do you just sort of I mean
it's ol with the infinity, so right, okay infinity O infinity.
You're speaking about the work process, the creative process, which
is never.
Speaker 3 (13:56):
Ending garanteutin Yeah, it's never end.
Speaker 2 (14:01):
Or the kids say clip that, yeah, clip.
Speaker 3 (14:04):
That yeah, or they do say that like that, that's good.
When we were coming up with titles for this record,
al Infinity appeared in like a big long list of
titles that I had written, where like I would just
get up every day while we were mixing and just
like write as many different weird titles as possible. And
(14:26):
al Infinity is a commitment to continue participating in the
world even though you know that it is going to
continue hurting to be alive perfect.
Speaker 2 (14:39):
That's exactly right.
Speaker 1 (14:40):
Artists, I think about is in terms of longevity and
just this kind of thing a lot, or like I
think about like Yoko Ono all the time, just because
I remember early on reading some interview with her, Where
did you I think you sent me? This is that
my mister Isi. I'm gonna misquote her here and I apologize.
(15:02):
But the thing I took away from it where she
was just like, oh yeah, like all of this crazy
stuff happened and at the end of the day, like
this is just about the work. Like the work is
about the work. I'm I'm waking up and I'm making
work and then what I will die and that is
what is That's what I'm doing. Like Yela Tango, as
(15:23):
you listen to them at all, I will. There's this,
I mean, there's this spectacular band that's been around since
the eighties from Hoboca, New Jersey that we are both
I think I can safely say we're both very into.
They just make great records and write great songs, you know,
year after year after they've been doing this for forty
years now, right, and like they're not massive.
Speaker 3 (15:46):
Phoenix, Thanks everybody, I'm good, clean sneeze.
Speaker 1 (15:51):
Just I don't know that thing of the like the
the the longevity of a creative life in all the
ways that that can look. Yeah, maybe it's maybe it's
the gray infiltrating myth that's starting to make me.
Speaker 3 (16:05):
Lynch too.
Speaker 2 (16:06):
Well, thank you. I was going to say, it's speaking
about a dear friend of mine. But he would do
the same thing every day. He was creating. I visited
him frequently because we were kind of neighbors. It's sort
of strange. We were like we lived very close to
each other. Not on purpose, not on purpose. No, Yeah,
he had at the house and and then I was
(16:26):
looking and I didn't know that he had the house there.
And I bought my house, and I was like, well
right there, Oh my god. So something drew us there.
But that was his thing, and I was always I
was always inspired by the fact that he'd be up,
whether it was sculpting or music or painting or sound.
He was always creating something, to the point where we
(16:48):
went when when he passed and we went in and
I was They brought everyone to stand and said this
is the archives. I was like, what the hell I mean,
there was so much, I said, I had no idea.
And this was his life, the art life, he called it.
And he created every day. He created something every day,
and it's all been preserved, and so I have a
(17:08):
home someday going back to Hoslap again, is it seems
like it's you're moving into a not a new direction necessarily,
but it's very it's very intense. Can you talk a
little bit about that single and the album and.
Speaker 3 (17:26):
The Yeah, hot Slob in general was born the song itself,
I wrote all in one go. I write outside, usually
without any instruments. Yeah, Nick and I arrive at the studio.
He goes into our little room where like where we
kind of like muck around in sound, and I go
(17:49):
to the back porch and stare at the trees and
right there's like a clearing where my voice sounds really
good in it, and they likely just sing and let
it bounce off the trees until I like find find
something in there. And Hot Slab appeared there, and it
was born out of like just really intense personal turmoil
(18:13):
as you can hear. But it's mostly like trying to
find the fun and sunny side of being an absolute mess,
which in general is what all infinity is about. Is
essentially me just screaming about unrest and feeling uncomfortable and
(18:33):
committing to continuing. Hot Slab is something that our dear
friend Jen, who plays guitar in our band, called me
during the pandemic where I was saying like we were
having each different Yeah, but we were having like one
of those casual conversations that you have with your close
(18:54):
friends where you're like, boy, I just really this body
of mine, what what do I even do? And Jen
immediately it was like, Oh, you're just a hot slob.
Like it's great, Like you don't care how you look,
and you're very attractive because of it, and so it
became like kind of a genre. Yeah, it became like
a like a dream in the clouds for me of
(19:15):
bringing everybody into hot slob world.
Speaker 2 (19:18):
Yeah. Yeah, we're happy to be there. But you have
to tell me more about the Garfield cake. What is it?
Speaker 3 (19:24):
Oh, the Garfield cake. It just felt very hot slob
to me. I'd made it for my friend Molly for
her birthday. She loves Garfield. Also like Garfield's totally a
hot slop.
Speaker 2 (19:34):
Yeah, absolutely, you said that, and I went, of course,
after your explanation about where it came from.
Speaker 1 (19:39):
The minute you described the type, you start being like, oh,
I know like five of.
Speaker 3 (19:43):
These yes, yes, yes, exactly.
Speaker 1 (19:45):
That's perfect well from my perspective, as it was one
of those amazing moments where me Jen was there when
Amelia wrote this song and walked in and me and
Jen were messing around with the guitars or something, and
she just walked in and said it was like literally
the verses were the conversation we had and having on
the drive to the studio.
Speaker 4 (20:01):
It felt like even.
Speaker 1 (20:02):
Just like perfectly been like this is exactly what this
is how I feel right in this moment, and it's
all we like the three of us finished the music
part in like no time, say.
Speaker 2 (20:11):
Like you so then you dig in and you're like,
okay that it speaks to you.
Speaker 1 (20:15):
She'll be working on something outside, I'll be working on
something inside and we get together and it's like, oh
this on this it's just you know that happens like
eighty percent that's happened.
Speaker 2 (20:24):
That's amazing.
Speaker 3 (20:24):
And this one's strange connection.
Speaker 1 (20:27):
Kind of wild because like Jen happened to be staying
that time, like it was like right when it was
like the day she got there, right, yeah, I remember this.
Speaker 3 (20:35):
Right, I think, so something like that. Well, I'll usually
I'll get the acapella, the lyrics and the melody, then
i'll record it to to like maybe a click maybe
not right, we'll listen to it, and I'll say, like,
and here it goes like.
Speaker 2 (20:51):
Right right right right, so you hear yeah in your head,
what yeah yeah.
Speaker 3 (20:56):
Are here? Like I'll I'll say kind of what direction
I wanted to be, and I'll either sing it or
do some movement to show him what I think it
should be. And the nick response. And luckily Jen was
there and.
Speaker 1 (21:10):
She she's like an excellent guitar.
Speaker 3 (21:12):
Play yeah, And I was like, we should have a
big guitar line here. This is like kind of bratty
and messed up. And Jen picked up the guitar and
was looking for the note to start, and that's how
that's how she wrote. The riff, was just her trying
to find the right note, like no.
Speaker 2 (21:31):
No, just keep doing that yeah yeah yah yeah yeah
yeah yeah.
Speaker 1 (21:33):
And then there's other times where like I'll make something
that she then responds to, or like we try to
kind of like surprise the other one. I think that's
like a big thing, especially with our earlier stuff, is
like trying to I would always try to like recontextualize
what she had done in a way that I thought
she might not expect, as a way to kind of
have it already feel like a like a duality, you know.
Speaker 2 (21:56):
Each bringing something different. Yeah, do you have sounds that
you turn to that you like.
Speaker 1 (22:00):
Or there's any things that's another thing I feel like
I try to get out of all the time.
Speaker 2 (22:04):
Mmmmmm.
Speaker 3 (22:06):
He loves the juno.
Speaker 1 (22:07):
Oh yeah, there's a sense that I've been using since
I was a kid that I will never like it.
Speaker 3 (22:12):
Love that.
Speaker 4 (22:13):
I do love it so much.
Speaker 2 (22:15):
Oh, how do you feel about that? I love?
Speaker 3 (22:18):
I love the juno. But I'm also like, when you're
dealing with electronics, there's so many different sets. There's almost
like it's completely overwhelming. If you actually think about it,
it's like looking into a black hole. Every option is available.
So I do like when Nick likes something. It's nice
because I can because he'll like write a musical part
(22:39):
on it, and I can be like, this is it,
but it's not the voicing right, And then we'll go
on a tone quest. Love a tone Quest's really fun?
Speaker 2 (22:46):
Who doesn't love a tone quest?
Speaker 3 (22:47):
I have?
Speaker 2 (22:48):
What is it?
Speaker 4 (22:49):
You always win?
Speaker 2 (22:50):
Was just finding the key?
Speaker 3 (22:56):
Yeah, he'll have written something and then we're like, no,
it has to sound more like Metallica.
Speaker 1 (23:02):
Were like, no, this has to be fluffy, it has
to be less mature. It has to feel like eighth grade.
It's like this trying to find Okay, well, what verbalize?
Speaker 4 (23:14):
How is this not doing that?
Speaker 3 (23:15):
Yeah?
Speaker 2 (23:16):
Yeah, I remember working with David Lynch and he would
direct and I've spoken about this with words that were
not actor words, you know, but but more sensory. So
it'd be like kale, he said it needs more wind,
(23:40):
and he would make a little more wind and I'm like,
And when I first started, I was like, right, wind,
very here, right, I'm like, okay, you know. But then
I would say, okay, let's let's let's let that filter down.
What does that feel like? What is that? How does
that inhabit my body? Again, it's the same kind of thing,
the care and I'm like, okay, I get this. How
(24:02):
about this? You know? And then you try it physically
and in the lines and in the behavior. Right, I'd
never thought I never made the connection and maybe I'm
not making the right connection, but that it was more musical.
There was a more sense of because Dave was credibly
sound oriented and amazing sound and music, and he was
giving me actually, strangely I think musical, Yeah, sure, interpreted
(24:27):
interpretive words somehow.
Speaker 1 (24:28):
Well, I think in both media, both what you know,
in film and in music, the thing that's happening is
impossible to describe, you know, like the thing that, like
the thing that makes Lynch's movies good, you can't write
down really what it is, you know what I mean,
It's it's a feeling that you have that is all
(24:49):
of the in between things about the energy of the
scene and the shot and the way it's putting. You
know that all of these things coming together, that's what
actually makes it feel like his work, you know. And
I think that's true for everyone who's great. But like
none of that stuff is able to actually be described
in a way that somebody could take that description and
then replicate it, you know. And so there I think
(25:10):
with all this, Amelia is so good at this is
like finding that interstitial language that allows you to like
bridge the gap between two people where you both can
understand the unspeakable thing you're trying to get to. You know,
Like she's really good and that it's like a windy
she's so good at the windy thing, or it'll be like,
(25:31):
you know, it'll be like no, that's too thick, that's
too you know what it's she always has like you
You're so good, so much better than me at like
being able to describe the quality that needs to change,
rather than because like I'm I'm an electronics nerd. I'm
more like, oh, well, it's too much of you know,
(25:51):
I'll think I'll get technical, and you're you always bring
us back up to like what's the point, Like Wandy
is the point work?
Speaker 2 (25:58):
And I see you watching Amelia and I'm like, oh,
he's he you are performing with her. It's magical, it's magical.
Speaker 1 (26:08):
One of the problem we just put together this new show,
right because we have a band and all this stuff,
and a problem that we are both having, but that
we were talking about this morning was that like I'm
thinking too much about what I'm doing and I'm not
looking up enough because I'm still too tied in the
anxiousness of like, okay, I mean to hit the transition
of thing. I want to make sure that the thing
(26:28):
moves the thing, And like I was talking about how
like that. We have three more shows coming up, and
I'm like, I wanted those to get my eyes from
down here to here so I can get back to
that space because it's it's it's hard to do.
Speaker 2 (26:39):
I can keep talking forever and never. But let's let's
let's go to the game. It's a deranged game. Most
of our games are, which is good, that's wonderful, it's
whis One we designed just for you is called Duet Dynamics,
so with an exclamation point duet and it's also like italics,
so it's dynamics. And just like that, we're back and
(27:05):
we're not going to play ping pong, although it does
look like we're gonna pay ping pong. It's a segment
that we designed, as I said before, just for you,
called Duet Dynamics. Now, to honor your incredible relationship that
spans through marriage and career, I'm going to ask you
a series of questions in a who is most likely
to style? I will ask the question, then give my
(27:28):
prediction of who I think fits the prompt best with
these extra special.
Speaker 1 (27:32):
Paddles, and we will flash up the side of.
Speaker 2 (27:36):
The person that you think is the person. So number
one who gets control of the ox aux in the car?
Speaker 3 (27:47):
Three?
Speaker 4 (27:47):
Two? One?
Speaker 2 (27:50):
Oh, I'm wrong? Wow?
Speaker 3 (27:54):
Is it true?
Speaker 4 (27:57):
She sang less and less, less and less?
Speaker 3 (28:01):
Actually I like I never like what he picks and
usually and usually I get mad.
Speaker 1 (28:07):
Well, I think this is mostly hang on, this is
mostly about dinner.
Speaker 3 (28:13):
Well, there's now hold on a second. There's the car
in the morning, yes, where Nick really likes to choose
the most aggressive and annoying music to play.
Speaker 1 (28:21):
Okay, well aggressive, yes, annoying, subjective.
Speaker 3 (28:24):
Annoying, subjective. And then there's dinner when we have people
over for dinner, Okay, the playlist and he thinks that
he's playing.
Speaker 1 (28:32):
I've built this beautiful record station for a living room
to turn tables and a mixer and all our records,
and I'm thinking what would be perfect to have queued
up for this group of people? Yes, and put it on.
It's more, it's more of a feeling. No, it never
matches the inevitably.
Speaker 3 (28:54):
Ever matches the fruit. And it's always it's always like
three decibels too loud.
Speaker 2 (29:00):
Yeah, well yeah music, that's yeah, yeah.
Speaker 3 (29:03):
Yeah, and I love it. At this point, you're but
you're right, You're right, you are right?
Speaker 2 (29:08):
Are good?
Speaker 4 (29:08):
All right?
Speaker 2 (29:09):
Well, you are both correct. I was wrong.
Speaker 4 (29:11):
Here's the thing. You you should be right. I think
that's what len. I actually think that we're correct. That's
the right answer.
Speaker 2 (29:17):
In what I in the interview process.
Speaker 4 (29:19):
Clearly, what we're doing is not working.
Speaker 2 (29:23):
But it had to do with it had to do
with buttons and knobs, and I should have done Okay,
okay two who is more likely to start a project
at ten pm? Gave me a clue. You gave me
a clue. But now I had to be just said,
I cheated on that one. Thank you for the help you.
Speaker 3 (29:44):
We're welcome.
Speaker 2 (29:44):
Yes, yeah, I.
Speaker 4 (29:46):
Could see severe adhd.
Speaker 2 (29:48):
Oh interesting, yeah.
Speaker 3 (29:50):
Adhd, I didn't know that. I've always thought that the
h wasn't there.
Speaker 1 (29:55):
I mean, they told me, h.
Speaker 4 (29:58):
I don't know what.
Speaker 1 (29:58):
I'll be honest, I don't He didn't tell me what
the difference was. You just talked that new version.
Speaker 3 (30:03):
Yeah, the updated model.
Speaker 4 (30:04):
Yeah, it is the focus.
Speaker 3 (30:07):
Oh, the hyper focused. Same is great at hyper focused,
it's incredible.
Speaker 4 (30:11):
Yeah, think about hyper focusing.
Speaker 1 (30:12):
When you're doing that, you are really not hearing anything
else that's happening sometimes at ten pm, and then you
just have to do it.
Speaker 2 (30:19):
But somehow the channeling, there's a channeling that goes on
there between here and and that. The focus is actually here,
but this is this is actually there. But you're also
you're doing both, which is multitasking.
Speaker 4 (30:31):
It is a superpower. But it is also comes with
some yeah yeah, yeah, there's.
Speaker 3 (30:36):
Levels of the divine in there.
Speaker 2 (30:38):
There is definitely divine. Okay, who is more likely to
say this will only take five minutes then it becomes
a three hour ordeal.
Speaker 3 (30:48):
I will guess first.
Speaker 2 (30:49):
Okay, I guess first. I guess okay. Yeah, we're oh,
interest we have a disagreement ladies and gentlemen when.
Speaker 4 (31:00):
We are walking to breakfast.
Speaker 3 (31:03):
Ready, Oh my god. Yeah, no, it is true.
Speaker 4 (31:07):
I do it in different ways.
Speaker 3 (31:08):
I really love to take a really long time walking
to breakfast.
Speaker 1 (31:12):
But you'll always say it's going to be like we're like, oh,
we're like point two miles away, it's like seven minutes.
Speaker 3 (31:17):
Well it is point two miles away.
Speaker 2 (31:20):
It's funny.
Speaker 3 (31:21):
It does take a long time.
Speaker 2 (31:22):
A long time.
Speaker 1 (31:23):
Really. Once led Marty and I on a three hour
walk through se I warned you, I did.
Speaker 3 (31:32):
I did.
Speaker 2 (31:32):
San Francisco's confusing city. Yeah, it happened, it just other things.
Speaker 3 (31:37):
Oh no, I was fully committed to walking for three
hours and they were like, we don't like it.
Speaker 2 (31:42):
You needed steps and you didn't like this. It's not
there's a disagreement.
Speaker 4 (31:49):
Here, have a microphone.
Speaker 2 (31:51):
I'm throwing but I'm wondering, is it a thing where
there's it's at the beginning, you know it's going to
take that long, or are you distracted along the way
of the things that come that interest you that.
Speaker 3 (32:01):
Do you get Oh no, no, it's usually just that
I've just I've committed us to walking for three miles.
Speaker 2 (32:05):
Three miles, and that's it, even though you said, oh,
it's just just a few minutes.
Speaker 1 (32:08):
Yeah, there is a there's an optimistic underselling at the beginning.
Speaker 3 (32:12):
I've gotten better, Yes, you have, you really have, I've
gotten better. This was more Amelia seven years ago.
Speaker 2 (32:17):
Okay, okay, don't change too much. Who is more likely
to forget something extremely important while packing?
Speaker 3 (32:27):
Hmm?
Speaker 2 (32:29):
I was gonna do it. Oh yeah, I was gonna
do this. What are you going to do?
Speaker 4 (32:31):
You were doing me?
Speaker 3 (32:32):
I was doing you?
Speaker 4 (32:33):
Okay?
Speaker 3 (32:34):
Is it me? I think I forget my passport all
the time.
Speaker 2 (32:40):
We see I feel like because I think of the
you're both creative, but you're sort of creative, you know
what I mean, in a other worldly way, and I
think sometimes, yeah, the world doesn't.
Speaker 3 (32:53):
Maybe that's true. What do you think? Is it really mean?
Speaker 4 (32:56):
I do think we both do this?
Speaker 3 (32:58):
I do, uh, and you Usually the thing is that
Sandy usually has to have like important things that we
need to actually play right.
Speaker 4 (33:07):
And that is what I will forget.
Speaker 3 (33:09):
Yeah, and that is what Nicole forget.
Speaker 1 (33:10):
I will forget something that sends me into an absolute panic.
Speaker 2 (33:12):
Yeah yeah, and also like an essential thing like how
can I possibly forget right?
Speaker 3 (33:16):
Yes? Okay, yeah, but I do love to leave my passport.
But also like very strange places.
Speaker 1 (33:22):
Like dop Kit, you'll just got to be like, oh
I brought no socks. Oh yeah, yeah, okay, your things
are less. Your yours are solvable problems.
Speaker 3 (33:31):
Mind are more philosophically.
Speaker 1 (33:34):
Except the time you left your passport at the Bowery
Ballroom and then we had to get the cleaning gout
a lot of.
Speaker 3 (33:39):
Oh and I was so hungover. It was amazing.
Speaker 2 (33:42):
How did you with the Bowery Ballroom?
Speaker 3 (33:44):
I have no idea. Maybe was it in my coat?
Was it in my coat?
Speaker 1 (33:47):
Maybe we had played there the night before and then
gotten very good.
Speaker 2 (33:51):
Okay, it happens ballroom.
Speaker 1 (33:54):
Yeah, the show and then DJ and the bar downstairs. Afterwards,
you're not just leave. Afterwards, we're in the bar and.
Speaker 2 (34:02):
Happening, and then it's fun and yeah.
Speaker 4 (34:04):
And we were younger. We were younger than we are
right now.
Speaker 3 (34:10):
Yeah, it was a five gin situation.
Speaker 2 (34:13):
Understand the five gin situation. That's a tricky one. Who
is more likely to turn a minor errand into an
entire side quest? Okay, we're in agreement. But but you
you share, you share the story of San Francisco, and
that's how we come up with that.
Speaker 1 (34:32):
Okay, but you also, I think this is just your
constant openness to adventure.
Speaker 3 (34:37):
Thank you. I appreciate that.
Speaker 2 (34:39):
Well said, It's true, well said? All right, who is
more likely to keep a tiny mysterious object because it
might be useful one day? I know this, I'm going
to say this. I sorry, that's okay, No, I had
already committed. H yes. I just feel like somehow there's
(35:04):
you would curate something and say, oh, this is You're
gonna inspire me or I'm inspired by this or something,
and it's who knows where it. I'm thinking it's something
more like.
Speaker 3 (35:11):
A stone, you know, or a plant phone or I
have a lot of those.
Speaker 4 (35:16):
Mine is like a small piece of wood.
Speaker 2 (35:18):
Oh interesting, Like yeah, like we could use this as
a doorstop thing that could be more practical yeah, yours is.
Speaker 3 (35:24):
Sort of more whimsical.
Speaker 2 (35:27):
Whimsical Yeah, okay.
Speaker 3 (35:28):
Tokens, yeah, many many, I still have. I still we
still have the drink tokens from when we first sold
out the Mercury Lounge, which.
Speaker 4 (35:37):
Is like, yeah, like the day we walked to two A.
Speaker 3 (35:41):
Yeah, the bar that you play at when you're when
you're a little baby band.
Speaker 4 (35:46):
Yeah, yeah, Okay.
Speaker 2 (35:47):
Last question, who is the first to know when a
song is not working? Oh, I'm gonna say, but this
is really a guess.
Speaker 4 (36:00):
I think I agree with you.
Speaker 2 (36:01):
Okay, yeah, but I would say could could could go
either way? Maybe or I think takes maybe? Or are
you really more like like when you say no, I.
Speaker 3 (36:15):
Say no no? Or what is it? Why? Why?
Speaker 1 (36:19):
You're very emotionally intuitive. You you just tell when the
thing's not working correctly. But I also think there's something
about Emilia's from Massachusetts and I'm from Wisconsin.
Speaker 3 (36:29):
I am from Massachusetts.
Speaker 1 (36:31):
I think I think you are very from Massachusetts, and
I think I'm very from Wisconsin.
Speaker 4 (36:36):
And I think part of that is.
Speaker 2 (36:37):
That I'm having thoughts about that.
Speaker 4 (36:39):
Oh yeah, I'm a natural pair.
Speaker 1 (36:43):
But I think that a part of that is I
think we tend to fall into the roles in a relationship.
Is Amelia is very confrontational, and I'm very like, let's
wait and see what happens.
Speaker 3 (36:54):
You know.
Speaker 1 (36:54):
And you notice how I didn't say non confrontational, let's happened.
Speaker 3 (37:00):
Yeah, we are similar to that way.
Speaker 1 (37:03):
Yeah, so you're probably you're usually the first to say
that it's not working, whereas I'm kind of still negotiating.
Speaker 2 (37:08):
Well, that was fun. Tell tell us, tell tell our audience.
What if you won? Uh? We have what's happening?
Speaker 1 (37:16):
Yeah, a record comes out in September. It does owl
Infinity by saying that, Yeah.
Speaker 2 (37:23):
Wow, Infinity.
Speaker 3 (37:25):
Oh that's nice.
Speaker 2 (37:28):
You know, stay follows night or night follows day exactly.
Speaker 3 (37:33):
Yeah, our record comes out in September. We're going on
tour in October. We have shows all over the East
Coast and the Midwest and a little a little.
Speaker 4 (37:44):
And then and then in February back here on the
West coast.
Speaker 2 (37:46):
Yeah, and then Yeah, I'm honored you came. I mean,
I just think what you do is amazing. So thank
you for sharing and thank you for the stories and
for the fun. Thank you and also just the candor
the candor the thing. Then you know, What's happening here
is really beautiful, So thank you very much, Thank.
Speaker 4 (38:04):
You, bye everybody.
Speaker 2 (38:08):
What Are We Even Doing is a production of iHeartMedia
and the Elvis Duran podcast Network, hosted by me Kyle
McLachlin and created and produced by Full Picture Productions Hey,
featuring music by Yata and artwork by Danica Robinson. For
more information about the podcast, please visit our Instagram and
(38:28):
TikTok at wawed with Kyle. Please rate, review, and subscribe
to What Are We Even Doing on Apple, Spotify, YouTube,
or anywhere you get your podcasts. Exclamation PointCast
I have this rule that, like I think a thirty
(00:01):
percent chance of complete failure is where the perfect show
can happen, you know, because it's like you don't want
too much, right, but you want to really have to
be on your toes in order to actually really be
there with each other.
Speaker 2 (00:12):
Exactly what are we even to do? What are we
even doing? Welcome now I can welcome you to what
are we even doing? This is a podcast where I
Kyle your host, sit down with wonderfully creative people and
we talk about their process. And today we have a
(00:34):
special well, we have a duo. This is our first duo.
Please welcome the voices behind sylvan ESSO. This is Amelia
Meath and Nick Sanborn and I am absolutely thrilled that
you're here. I started my acting career in North Carolina
in a little town of Wealth near Hendersonville. Flat Rock,
(00:57):
the Flat Rock Playhouse, which is up in the hills,
North Carolina, is your home base. I mean that's we've.
Speaker 1 (01:03):
Been there a long time. We grew up somewhere else,
but we've been a youth giver a long time.
Speaker 3 (01:07):
What drew you there was anything particular or strange serendipity.
Nick had just joined a band called MegaFon and they
lived there.
Speaker 1 (01:17):
Which is all guys from Wisconsin who I knew since
I was eighteen. Weirdly, I was thinking about this extra
layer of serendipity is that they moved to the Triangle
almost at random. They each put names of a city
in a hat that they thought they could move.
Speaker 2 (01:31):
To as a band.
Speaker 1 (01:32):
Yeah, none of them had ever been there, and they
picked the Triangle, and so even their moved to North
Carolina was serendipis then I kind of followed them there.
Speaker 3 (01:40):
Yeah. And I had just made a day rate for
the first time in my life singing back up in
the band Feist, and I was living in Brooklyn, Nick
and I had just started the project via email, and
I realized that if I moved to North Carolina, I
could live off of the money that I had made
for a year as opposed to two months.
Speaker 2 (02:01):
Yeah, yeah, in Brooklyn, Yeah exactly. Oh that's fantastic. And
that was in Durham, Is that right? Is that first? Yeah? Yes, yeah,
which is strangely, I've never been to Durham. It's weird
because I've been all over North Carolina, Wilmington. We shot
Blue Velvet in Wilmington.
Speaker 1 (02:14):
We also lost the film tax benefits like ten years
ago now, and it's like we have friends who work
in film, and it's like, you know, not completely shut
it down, but come very close.
Speaker 3 (02:24):
Yeah, most of them are moving to Atlanta now.
Speaker 4 (02:26):
Yeah.
Speaker 2 (02:26):
Yeah, that's where it's happening. I'm sorry to hear that thing,
because that was the big reason that we were there,
I think for Blue Velvet.
Speaker 1 (02:30):
Yeah, I mean they had a whole industry there for decades.
Speaker 4 (02:34):
Yeah, because of that.
Speaker 2 (02:35):
Yeah, it was really strong. So and acting is something
that you yes, Okay, so I'm curious about that. I
see a relation between that and what you do now
when I watch you work.
Speaker 3 (02:45):
Oh yeah, that acting was the first, my first hope
to get towards performing, right, That's what I studied in college,
but very avant garde, more like physical theater and performance.
A lot of viewpoints, a lot of like responsive movement.
Speaker 2 (03:04):
Yeah, not dance necessarily, but not.
Speaker 3 (03:07):
Dance necessarily, but I was doing both in tandem. And
then once I started a band, I was like, oh,
this is the way, this is the this is the
door that's opening. I'm going to run right through it.
Speaker 2 (03:18):
Yeah. That's so it's wonderful that you found.
Speaker 3 (03:20):
That.
Speaker 2 (03:21):
Was that up in Brooklyn area?
Speaker 3 (03:23):
Is that where you know? I was in Vermont?
Speaker 2 (03:25):
Oh, in Vermont.
Speaker 3 (03:26):
Yeah, I was in Bennington, Vermont. Oh my god, studying.
Speaker 2 (03:29):
I went back and I watched some one of my
tiny desk concerts.
Speaker 3 (03:34):
Oh yeah, when we were babies.
Speaker 4 (03:35):
Yeah.
Speaker 2 (03:36):
The intimacy of the performance was so apparent. It obviously
it's a very small space and it's intimate anyway, but
the connection between the two of you, and people have
talked about that obviously was so obvious, and it was
such a It was such a creative, special, intense, playful
(04:00):
that you had. And I know you said one thing
that resonated with me, and I wrote it down. I
don't know if if I can find it, but something
about the childlike place that you have to be for
creative process, something to that effect, and I'll find it.
As you began another song, just just prior to before
you started the song, there was like this this connection
(04:24):
and then you transformed something inside which was I was like, Oh,
she's stepping into a is it a character, is it
a place? Is it? I don't know what it was,
but I was like, oh, that's so. And then you
were off on that journey. Does that resonate with you.
Speaker 3 (04:40):
Or yeah, it does. I find that if when you're
performing a song, my hope in my dream as we
step into creating a song together is to be able
to bring the audience into the world of the song
that we've created. And the easiest route in for me
(05:03):
of that is to go right into the vulnerability of
the thing. Okay, so maybe that was them.
Speaker 2 (05:10):
That's what I'm seeing, that's the.
Speaker 3 (05:11):
Transition is like, Okay, we're going on. I like to
think of each song as like a little tiny roller coaster.
Speaker 2 (05:19):
I like that because you need to.
Speaker 3 (05:20):
You carry everyone through the energetic field of the song
and the story that you're trying to tell.
Speaker 2 (05:28):
Yes.
Speaker 1 (05:29):
Yes, I also feel like there's there's something I was
thinking about this last night at the show, and like that.
I think the thing you're seeing in that old tiny
desk video kind of does the same thing. And but
like in the link to theater, I think that there's
a thing that I really admire in you where you
can use your ability to act and be theatrical and
(05:50):
and and the performance of it, which I think'll other
artists for other reasons use as like much more theatrically
as more of a mask. Thing that I love about
it and about that and what was happening last night
is that you're able to use the mask and the
feeling of theatricality and performance of and acting of it
as a way to open something up rather than like
(06:13):
mask it off, you know what I mean. I think
that that's like, I think that's something that's I feel
like is there are definitely other like singers who I
think do it, but I think that that's something that
is unique to you, is that you're you're able to
do the like heightened performance thing, but not have it
be something that like distances you from the person listening,
(06:35):
you know what I mean, Which is kind of a
that's kind of a tight rope to do, I think
in any perf I think it's rare.
Speaker 2 (06:40):
I think it's rare, and I agree with you. I
think that's what we're seeing. How do you nick? How
do you so there's forgive my lack of words to
describe what what you're what you're working with and how
you're doing it. But you're creating the sound, the music,
everything in the moment.
Speaker 4 (06:55):
Sure.
Speaker 2 (06:56):
Yeah, And I was reading interviews with people talking about
how challenging, how different that is to actually you're playing.
You know, you're working, you're working a device, you know
what I mean. But you're you're playing this and you're responding,
which is one of the beautiful things about the work together,
which is why I think seeing you in live is
(07:17):
so essential.
Speaker 4 (07:18):
Well for both of us.
Speaker 1 (07:18):
We talk about this a lot, but it's just how
are we how can we continue to do this end
age and distance between the selves that wrote these songs
and the selves that are performing them, you know what
I mean, and still have it feel engaging in the
present moment to us, you know. So, and so I
(07:39):
think for Amelia that I think that's well, I think
it's tough for anybody. But I think we each have
our own struggle with that, you know, trying to design
the structure of the show such that we are each
able to be like very tied to the present moment
and pushing the thing around, you know, because I think
(08:00):
that feels really special to both of us, or it
feels crucial to what makes us special, I think. And
so from like a technical standpoint, it's just kind of
always been this iterative process of like I will redesign
the way it works, and then and then I will
slowly get too good at that, and then I will
get into a patterns and then I'll be.
Speaker 4 (08:21):
Like, well now I'm just all that. Now I'm like
not here anymore. So I have to. I have to.
Speaker 1 (08:26):
I always feel like I have this rule that, like, I
think a thirty percent chance of complete failure is where
the perfect chow can happen, you know, because it's like
you don't want too much, right, but you want to
really have to be on your toes in order to
actually really be there with each other exactly.
Speaker 4 (08:40):
And so it's always been changing.
Speaker 1 (08:41):
So like right now it's like the most live it's
ever been a live quote unquote that it's ever been,
because we have a band out now and so I'm
doing more. I have this big console where I'm doing
all these live effects and playing this big modular synthesizer
and guitar and stuff. But from that down to when
it's just me and a laptop and a controller, the
whole thing is about how can I like make the
world around her voice and kind of lift it up
(09:03):
and be responding to just how everybody feels in the
room and making it smaller or bigger.
Speaker 3 (09:09):
Yeah, yeah, exactly, and that translates. That is so helpful
for me because it's so easy, you know how like
when you're doing a play or when you're doing a scene,
where like it's really easy to just get in a
rut where you move through the same you know what
you liked at one point, and so you like you're
reaching for control as opposed to responding in the moment.
(09:34):
And so as we designed this band and as we
like have been making new music, we've been just generally
trying to deeply embrace risk.
Speaker 1 (09:44):
Which is great because that's the thing. I think that
if we weren't doing that, we would stop being a band.
Speaker 3 (09:48):
Yeah, we get bored. Like if you get bored, then
then it's boring, you know, or like yeah, and it
loses it becomes all performance as opposed to the chewy
and delic a six static magic of of searching and
trying the moment.
Speaker 2 (10:04):
I know exactly what you mean. It's it's it's funny
because working on stage, right, if you're done, it's repetitious, right.
But the goal is each performance is to obviously tweet
it as if it's the first time you're going through,
and to respond exactly to Usually it's feeling from the audience.
(10:27):
Of course you get that, but it's also the other performers.
And if you're working with good people, then it happens. Yeah,
you want that. And then and you can tell when
you're working with someone who's like no, he wants to
or they want to yeah, and I'm like, it's.
Speaker 4 (10:41):
Harder, you know, resists.
Speaker 2 (10:43):
Yeah, Yeah, the change to let it. Maybe it's gonna
be it's gonna be different, maybe it's gonna better, Maybe
it's gonna be word who knows, yes, but it's gonna
be something else. Yeah, And you get to experience that.
And I feel like that in your in what I
when I see you, I'm like, it's just yeah, it's
just it's on the.
Speaker 1 (11:00):
I'm really jealous of stand up comedians for this. Yes,
you know, there's usually kind of a script like we're
we're putting an hour together, we're doing what you know,
they're they're trying to work and we're friends with a
few like Rory Scovel is like a friend of ours
and I just think he's a genius. But like watching
him work out an hour is really fascinating because like
there's he wants to hit beats he's trying. It's the
same as it's you know, it's very much like a play,
(11:23):
but energetically whether or not a joke works has to
do with so much more about who's in the room
and what the day felt like and all this other
shit then like whether or not he told it the
same way he did last night, you know what I mean.
And so I feel like they are the most if
it's going good. That's like feels like the avenue of
performance where they're the most in tune with this this
like friction point.
Speaker 3 (11:44):
Yes, you know, yes, what are you jealous of?
Speaker 1 (11:47):
Here's the thing I think musicians can get away with
a lot well naturally, because it's like, well if we
play the song you love.
Speaker 4 (11:54):
We played the song you love, and.
Speaker 1 (11:57):
It's like that's you know, Stevie Nace can get up
there and play Lance every night and that's We're going
to cry our eyes out every time because it's really
we love you. Yes, But like, yeah, I just I
think stand up has that there's like.
Speaker 3 (12:10):
A it's the inherent risk.
Speaker 1 (12:13):
Yes, it's like tied into the moment whether they want
it or not.
Speaker 3 (12:18):
You know what, It's not something they have to design
for themselves.
Speaker 4 (12:22):
Yeah, like we have to.
Speaker 1 (12:23):
I feel like, for all, I think this happens in
theater two.
Speaker 4 (12:25):
I've also been in a few plays.
Speaker 1 (12:27):
But like it's like I think that there's a thing
of like it starts and you're like, oh, this is terrifying,
Like why is this going.
Speaker 4 (12:32):
To work at all?
Speaker 1 (12:33):
And then it's like gets good, and then it gets stale,
and then you have to actively choose to break the
stale and make it risky and good again. And then
there's kind of this tidal flow that you have to
be palpating all of the time, and if you're not
actively doing it, you just stay in that stale face forever. Right,
whereas comedy they don't there's not even a choice.
Speaker 2 (12:54):
That is another level of putting yourself right at the
edge talking about that failure, because it's every night, it's right,
you're on the edge of that.
Speaker 3 (13:04):
Ye.
Speaker 2 (13:04):
I don't know if I can know if my heart
could survive that.
Speaker 3 (13:07):
No, I know, you really have to. Yeah. The only
thing that I have comparable in life experience is my
very brief period of being the world's worst brunch waitress,
in which oh it was horrible, Yeah, and I would
I would mess up and there would be no one
to commiserate with in my messing up other than the
(13:31):
other than the customer page. It was just humiliating. They
were interesting, that was really messing up.
Speaker 2 (13:36):
All yeah, hot slob right now, yes, awesome. How infinity
do you or do you just sort of I mean
it's ol with the infinity, so right, okay infinity O infinity.
You're speaking about the work process, the creative process, which
is never.
Speaker 3 (13:56):
Ending garanteutin Yeah, it's never end.
Speaker 2 (14:01):
Or the kids say clip that, yeah, clip.
Speaker 3 (14:04):
That yeah, or they do say that like that, that's good.
When we were coming up with titles for this record,
al Infinity appeared in like a big long list of
titles that I had written, where like I would just
get up every day while we were mixing and just
like write as many different weird titles as possible. And
(14:26):
al Infinity is a commitment to continue participating in the
world even though you know that it is going to
continue hurting to be alive perfect.
Speaker 2 (14:39):
That's exactly right.
Speaker 1 (14:40):
Artists, I think about is in terms of longevity and
just this kind of thing a lot, or like I
think about like Yoko Ono all the time, just because
I remember early on reading some interview with her, Where
did you I think you sent me? This is that
my mister Isi. I'm gonna misquote her here and I apologize.
(15:02):
But the thing I took away from it where she
was just like, oh yeah, like all of this crazy
stuff happened and at the end of the day, like
this is just about the work. Like the work is
about the work. I'm I'm waking up and I'm making
work and then what I will die and that is
what is That's what I'm doing. Like Yela Tango, as
(15:23):
you listen to them at all, I will. There's this,
I mean, there's this spectacular band that's been around since
the eighties from Hoboca, New Jersey that we are both
I think I can safely say we're both very into.
They just make great records and write great songs, you know,
year after year after they've been doing this for forty
years now, right, and like they're not massive.
Speaker 3 (15:46):
Phoenix, Thanks everybody, I'm good, clean sneeze.
Speaker 1 (15:51):
Just I don't know that thing of the like the
the the longevity of a creative life in all the
ways that that can look. Yeah, maybe it's maybe it's
the gray infiltrating myth that's starting to make me.
Speaker 3 (16:05):
Lynch too.
Speaker 2 (16:06):
Well, thank you. I was going to say, it's speaking
about a dear friend of mine. But he would do
the same thing every day. He was creating. I visited
him frequently because we were kind of neighbors. It's sort
of strange. We were like we lived very close to
each other. Not on purpose, not on purpose. No, Yeah,
he had at the house and and then I was
(16:26):
looking and I didn't know that he had the house there.
And I bought my house, and I was like, well
right there, Oh my god. So something drew us there.
But that was his thing, and I was always I
was always inspired by the fact that he'd be up,
whether it was sculpting or music or painting or sound.
He was always creating something, to the point where we
(16:48):
went when when he passed and we went in and
I was They brought everyone to stand and said this
is the archives. I was like, what the hell I mean,
there was so much, I said, I had no idea.
And this was his life, the art life, he called it.
And he created every day. He created something every day,
and it's all been preserved, and so I have a
(17:08):
home someday going back to Hoslap again, is it seems
like it's you're moving into a not a new direction necessarily,
but it's very it's very intense. Can you talk a
little bit about that single and the album and.
Speaker 3 (17:26):
The Yeah, hot Slob in general was born the song itself,
I wrote all in one go. I write outside, usually
without any instruments. Yeah, Nick and I arrive at the studio.
He goes into our little room where like where we
kind of like muck around in sound, and I go
(17:49):
to the back porch and stare at the trees and
right there's like a clearing where my voice sounds really
good in it, and they likely just sing and let
it bounce off the trees until I like find find
something in there. And Hot Slab appeared there, and it
was born out of like just really intense personal turmoil
(18:13):
as you can hear. But it's mostly like trying to
find the fun and sunny side of being an absolute mess,
which in general is what all infinity is about. Is
essentially me just screaming about unrest and feeling uncomfortable and
(18:33):
committing to continuing. Hot Slab is something that our dear
friend Jen, who plays guitar in our band, called me
during the pandemic where I was saying like we were
having each different Yeah, but we were having like one
of those casual conversations that you have with your close
(18:54):
friends where you're like, boy, I just really this body
of mine, what what do I even do? And Jen
immediately it was like, Oh, you're just a hot slob.
Like it's great, Like you don't care how you look,
and you're very attractive because of it, and so it
became like kind of a genre. Yeah, it became like
a like a dream in the clouds for me of
(19:15):
bringing everybody into hot slob world.
Speaker 2 (19:18):
Yeah. Yeah, we're happy to be there. But you have
to tell me more about the Garfield cake. What is it?
Speaker 3 (19:24):
Oh, the Garfield cake. It just felt very hot slob
to me. I'd made it for my friend Molly for
her birthday. She loves Garfield. Also like Garfield's totally a
hot slop.
Speaker 2 (19:34):
Yeah, absolutely, you said that, and I went, of course,
after your explanation about where it came from.
Speaker 1 (19:39):
The minute you described the type, you start being like, oh,
I know like five of.
Speaker 3 (19:43):
These yes, yes, yes, exactly.
Speaker 1 (19:45):
That's perfect well from my perspective, as it was one
of those amazing moments where me Jen was there when
Amelia wrote this song and walked in and me and
Jen were messing around with the guitars or something, and
she just walked in and said it was like literally
the verses were the conversation we had and having on
the drive to the studio.
Speaker 4 (20:01):
It felt like even.
Speaker 1 (20:02):
Just like perfectly been like this is exactly what this
is how I feel right in this moment, and it's
all we like the three of us finished the music
part in like no time, say.
Speaker 2 (20:11):
Like you so then you dig in and you're like,
okay that it speaks to you.
Speaker 1 (20:15):
She'll be working on something outside, I'll be working on
something inside and we get together and it's like, oh
this on this it's just you know that happens like
eighty percent that's happened.
Speaker 2 (20:24):
That's amazing.
Speaker 3 (20:24):
And this one's strange connection.
Speaker 1 (20:27):
Kind of wild because like Jen happened to be staying
that time, like it was like right when it was
like the day she got there, right, yeah, I remember this.
Speaker 3 (20:35):
Right, I think, so something like that. Well, I'll usually
I'll get the acapella, the lyrics and the melody, then
i'll record it to to like maybe a click maybe
not right, we'll listen to it, and I'll say, like,
and here it goes like.
Speaker 2 (20:51):
Right right right right, so you hear yeah in your head,
what yeah yeah.
Speaker 3 (20:56):
Are here? Like I'll I'll say kind of what direction
I wanted to be, and I'll either sing it or
do some movement to show him what I think it
should be. And the nick response. And luckily Jen was
there and.
Speaker 1 (21:10):
She she's like an excellent guitar.
Speaker 3 (21:12):
Play yeah, And I was like, we should have a
big guitar line here. This is like kind of bratty
and messed up. And Jen picked up the guitar and
was looking for the note to start, and that's how
that's how she wrote. The riff, was just her trying
to find the right note, like no.
Speaker 2 (21:31):
No, just keep doing that yeah yeah yah yeah yeah
yeah yeah.
Speaker 1 (21:33):
And then there's other times where like I'll make something
that she then responds to, or like we try to
kind of like surprise the other one. I think that's
like a big thing, especially with our earlier stuff, is
like trying to I would always try to like recontextualize
what she had done in a way that I thought
she might not expect, as a way to kind of
have it already feel like a like a duality, you know.
Speaker 2 (21:56):
Each bringing something different. Yeah, do you have sounds that
you turn to that you like.
Speaker 1 (22:00):
Or there's any things that's another thing I feel like
I try to get out of all the time.
Speaker 2 (22:04):
Mmmmmm.
Speaker 3 (22:06):
He loves the juno.
Speaker 1 (22:07):
Oh yeah, there's a sense that I've been using since
I was a kid that I will never like it.
Speaker 3 (22:12):
Love that.
Speaker 4 (22:13):
I do love it so much.
Speaker 2 (22:15):
Oh, how do you feel about that? I love?
Speaker 3 (22:18):
I love the juno. But I'm also like, when you're
dealing with electronics, there's so many different sets. There's almost
like it's completely overwhelming. If you actually think about it,
it's like looking into a black hole. Every option is available.
So I do like when Nick likes something. It's nice
because I can because he'll like write a musical part
(22:39):
on it, and I can be like, this is it,
but it's not the voicing right, And then we'll go
on a tone quest. Love a tone Quest's really fun?
Speaker 2 (22:46):
Who doesn't love a tone quest?
Speaker 3 (22:47):
I have?
Speaker 2 (22:48):
What is it?
Speaker 4 (22:49):
You always win?
Speaker 2 (22:50):
Was just finding the key?
Speaker 3 (22:56):
Yeah, he'll have written something and then we're like, no,
it has to sound more like Metallica.
Speaker 1 (23:02):
Were like, no, this has to be fluffy, it has
to be less mature. It has to feel like eighth grade.
It's like this trying to find Okay, well, what verbalize?
Speaker 4 (23:14):
How is this not doing that?
Speaker 3 (23:15):
Yeah?
Speaker 2 (23:16):
Yeah, I remember working with David Lynch and he would
direct and I've spoken about this with words that were
not actor words, you know, but but more sensory. So
it'd be like kale, he said it needs more wind,
(23:40):
and he would make a little more wind and I'm like,
And when I first started, I was like, right, wind,
very here, right, I'm like, okay, you know. But then
I would say, okay, let's let's let's let that filter down.
What does that feel like? What is that? How does
that inhabit my body? Again, it's the same kind of thing,
the care and I'm like, okay, I get this. How
(24:02):
about this? You know? And then you try it physically
and in the lines and in the behavior. Right, I'd
never thought I never made the connection and maybe I'm
not making the right connection, but that it was more musical.
There was a more sense of because Dave was credibly
sound oriented and amazing sound and music, and he was
giving me actually, strangely I think musical, Yeah, sure, interpreted
(24:27):
interpretive words somehow.
Speaker 1 (24:28):
Well, I think in both media, both what you know,
in film and in music, the thing that's happening is
impossible to describe, you know, like the thing that, like
the thing that makes Lynch's movies good, you can't write
down really what it is, you know what I mean,
It's it's a feeling that you have that is all
(24:49):
of the in between things about the energy of the
scene and the shot and the way it's putting. You
know that all of these things coming together, that's what
actually makes it feel like his work, you know. And
I think that's true for everyone who's great. But like
none of that stuff is able to actually be described
in a way that somebody could take that description and
then replicate it, you know. And so there I think
(25:10):
with all this, Amelia is so good at this is
like finding that interstitial language that allows you to like
bridge the gap between two people where you both can
understand the unspeakable thing you're trying to get to. You know,
Like she's really good and that it's like a windy
she's so good at the windy thing, or it'll be like,
(25:31):
you know, it'll be like no, that's too thick, that's
too you know what it's she always has like you
You're so good, so much better than me at like
being able to describe the quality that needs to change,
rather than because like I'm I'm an electronics nerd. I'm
more like, oh, well, it's too much of you know,
(25:51):
I'll think I'll get technical, and you're you always bring
us back up to like what's the point, Like Wandy
is the point work?
Speaker 2 (25:58):
And I see you watching Amelia and I'm like, oh,
he's he you are performing with her. It's magical, it's magical.
Speaker 1 (26:08):
One of the problem we just put together this new show,
right because we have a band and all this stuff,
and a problem that we are both having, but that
we were talking about this morning was that like I'm
thinking too much about what I'm doing and I'm not
looking up enough because I'm still too tied in the
anxiousness of like, okay, I mean to hit the transition
of thing. I want to make sure that the thing
(26:28):
moves the thing, And like I was talking about how
like that. We have three more shows coming up, and
I'm like, I wanted those to get my eyes from
down here to here so I can get back to
that space because it's it's it's hard to do.
Speaker 2 (26:39):
I can keep talking forever and never. But let's let's
let's go to the game. It's a deranged game. Most
of our games are, which is good, that's wonderful, it's
whis One we designed just for you is called Duet Dynamics,
so with an exclamation point duet and it's also like italics,
so it's dynamics. And just like that, we're back and
(27:05):
we're not going to play ping pong, although it does
look like we're gonna pay ping pong. It's a segment
that we designed, as I said before, just for you,
called Duet Dynamics. Now, to honor your incredible relationship that
spans through marriage and career, I'm going to ask you
a series of questions in a who is most likely
to style? I will ask the question, then give my
(27:28):
prediction of who I think fits the prompt best with
these extra special.
Speaker 1 (27:32):
Paddles, and we will flash up the side of.
Speaker 2 (27:36):
The person that you think is the person. So number
one who gets control of the ox aux in the car?
Speaker 3 (27:47):
Three?
Speaker 4 (27:47):
Two? One?
Speaker 2 (27:50):
Oh, I'm wrong? Wow?
Speaker 3 (27:54):
Is it true?
Speaker 4 (27:57):
She sang less and less, less and less?
Speaker 3 (28:01):
Actually I like I never like what he picks and
usually and usually I get mad.
Speaker 1 (28:07):
Well, I think this is mostly hang on, this is
mostly about dinner.
Speaker 3 (28:13):
Well, there's now hold on a second. There's the car
in the morning, yes, where Nick really likes to choose
the most aggressive and annoying music to play.
Speaker 1 (28:21):
Okay, well aggressive, yes, annoying, subjective.
Speaker 3 (28:24):
Annoying, subjective. And then there's dinner when we have people
over for dinner, Okay, the playlist and he thinks that
he's playing.
Speaker 1 (28:32):
I've built this beautiful record station for a living room
to turn tables and a mixer and all our records,
and I'm thinking what would be perfect to have queued
up for this group of people? Yes, and put it on.
It's more, it's more of a feeling. No, it never
matches the inevitably.
Speaker 3 (28:54):
Ever matches the fruit. And it's always it's always like
three decibels too loud.
Speaker 2 (29:00):
Yeah, well yeah music, that's yeah, yeah.
Speaker 3 (29:03):
Yeah, and I love it. At this point, you're but
you're right, You're right, you are right?
Speaker 2 (29:08):
Are good?
Speaker 4 (29:08):
All right?
Speaker 2 (29:09):
Well, you are both correct. I was wrong.
Speaker 4 (29:11):
Here's the thing. You you should be right. I think
that's what len. I actually think that we're correct. That's
the right answer.
Speaker 2 (29:17):
In what I in the interview process.
Speaker 4 (29:19):
Clearly, what we're doing is not working.
Speaker 2 (29:23):
But it had to do with it had to do
with buttons and knobs, and I should have done Okay,
okay two who is more likely to start a project
at ten pm? Gave me a clue. You gave me
a clue. But now I had to be just said,
I cheated on that one. Thank you for the help you.
Speaker 3 (29:44):
We're welcome.
Speaker 2 (29:44):
Yes, yeah, I.
Speaker 4 (29:46):
Could see severe adhd.
Speaker 2 (29:48):
Oh interesting, yeah.
Speaker 3 (29:50):
Adhd, I didn't know that. I've always thought that the
h wasn't there.
Speaker 1 (29:55):
I mean, they told me, h.
Speaker 4 (29:58):
I don't know what.
Speaker 1 (29:58):
I'll be honest, I don't He didn't tell me what
the difference was. You just talked that new version.
Speaker 3 (30:03):
Yeah, the updated model.
Speaker 4 (30:04):
Yeah, it is the focus.
Speaker 3 (30:07):
Oh, the hyper focused. Same is great at hyper focused,
it's incredible.
Speaker 4 (30:11):
Yeah, think about hyper focusing.
Speaker 1 (30:12):
When you're doing that, you are really not hearing anything
else that's happening sometimes at ten pm, and then you
just have to do it.
Speaker 2 (30:19):
But somehow the channeling, there's a channeling that goes on
there between here and and that. The focus is actually here,
but this is this is actually there. But you're also
you're doing both, which is multitasking.
Speaker 4 (30:31):
It is a superpower. But it is also comes with
some yeah yeah, yeah, there's.
Speaker 3 (30:36):
Levels of the divine in there.
Speaker 2 (30:38):
There is definitely divine. Okay, who is more likely to
say this will only take five minutes then it becomes
a three hour ordeal.
Speaker 3 (30:48):
I will guess first.
Speaker 2 (30:49):
Okay, I guess first. I guess okay. Yeah, we're oh,
interest we have a disagreement ladies and gentlemen when.
Speaker 4 (31:00):
We are walking to breakfast.
Speaker 3 (31:03):
Ready, Oh my god. Yeah, no, it is true.
Speaker 4 (31:07):
I do it in different ways.
Speaker 3 (31:08):
I really love to take a really long time walking
to breakfast.
Speaker 1 (31:12):
But you'll always say it's going to be like we're like, oh,
we're like point two miles away, it's like seven minutes.
Speaker 3 (31:17):
Well it is point two miles away.
Speaker 2 (31:20):
It's funny.
Speaker 3 (31:21):
It does take a long time.
Speaker 2 (31:22):
A long time.
Speaker 1 (31:23):
Really. Once led Marty and I on a three hour
walk through se I warned you, I did.
Speaker 3 (31:32):
I did.
Speaker 2 (31:32):
San Francisco's confusing city. Yeah, it happened, it just other things.
Speaker 3 (31:37):
Oh no, I was fully committed to walking for three
hours and they were like, we don't like it.
Speaker 2 (31:42):
You needed steps and you didn't like this. It's not
there's a disagreement.
Speaker 4 (31:49):
Here, have a microphone.
Speaker 2 (31:51):
I'm throwing but I'm wondering, is it a thing where
there's it's at the beginning, you know it's going to
take that long, or are you distracted along the way
of the things that come that interest you that.
Speaker 3 (32:01):
Do you get Oh no, no, it's usually just that
I've just I've committed us to walking for three miles.
Speaker 2 (32:05):
Three miles, and that's it, even though you said, oh,
it's just just a few minutes.
Speaker 1 (32:08):
Yeah, there is a there's an optimistic underselling at the beginning.
Speaker 3 (32:12):
I've gotten better, Yes, you have, you really have, I've
gotten better. This was more Amelia seven years ago.
Speaker 2 (32:17):
Okay, okay, don't change too much. Who is more likely
to forget something extremely important while packing?
Speaker 3 (32:27):
Hmm?
Speaker 2 (32:29):
I was gonna do it. Oh yeah, I was gonna
do this. What are you going to do?
Speaker 4 (32:31):
You were doing me?
Speaker 3 (32:32):
I was doing you?
Speaker 4 (32:33):
Okay?
Speaker 3 (32:34):
Is it me? I think I forget my passport all
the time.
Speaker 2 (32:40):
We see I feel like because I think of the
you're both creative, but you're sort of creative, you know
what I mean, in a other worldly way, and I
think sometimes, yeah, the world doesn't.
Speaker 3 (32:53):
Maybe that's true. What do you think? Is it really mean?
Speaker 4 (32:56):
I do think we both do this?
Speaker 3 (32:58):
I do, uh, and you Usually the thing is that
Sandy usually has to have like important things that we
need to actually play right.
Speaker 4 (33:07):
And that is what I will forget.
Speaker 3 (33:09):
Yeah, and that is what Nicole forget.
Speaker 1 (33:10):
I will forget something that sends me into an absolute panic.
Speaker 2 (33:12):
Yeah yeah, and also like an essential thing like how
can I possibly forget right?
Speaker 3 (33:16):
Yes? Okay, yeah, but I do love to leave my passport.
But also like very strange places.
Speaker 1 (33:22):
Like dop Kit, you'll just got to be like, oh
I brought no socks. Oh yeah, yeah, okay, your things
are less. Your yours are solvable problems.
Speaker 3 (33:31):
Mind are more philosophically.
Speaker 1 (33:34):
Except the time you left your passport at the Bowery
Ballroom and then we had to get the cleaning gout
a lot of.
Speaker 3 (33:39):
Oh and I was so hungover. It was amazing.
Speaker 2 (33:42):
How did you with the Bowery Ballroom?
Speaker 3 (33:44):
I have no idea. Maybe was it in my coat?
Was it in my coat?
Speaker 1 (33:47):
Maybe we had played there the night before and then
gotten very good.
Speaker 2 (33:51):
Okay, it happens ballroom.
Speaker 1 (33:54):
Yeah, the show and then DJ and the bar downstairs. Afterwards,
you're not just leave. Afterwards, we're in the bar and.
Speaker 2 (34:02):
Happening, and then it's fun and yeah.
Speaker 4 (34:04):
And we were younger. We were younger than we are
right now.
Speaker 3 (34:10):
Yeah, it was a five gin situation.
Speaker 2 (34:13):
Understand the five gin situation. That's a tricky one. Who
is more likely to turn a minor errand into an
entire side quest? Okay, we're in agreement. But but you
you share, you share the story of San Francisco, and
that's how we come up with that.
Speaker 1 (34:32):
Okay, but you also, I think this is just your
constant openness to adventure.
Speaker 3 (34:37):
Thank you. I appreciate that.
Speaker 2 (34:39):
Well said, It's true, well said? All right, who is
more likely to keep a tiny mysterious object because it
might be useful one day? I know this, I'm going
to say this. I sorry, that's okay, No, I had
already committed. H yes. I just feel like somehow there's
(35:04):
you would curate something and say, oh, this is You're
gonna inspire me or I'm inspired by this or something,
and it's who knows where it. I'm thinking it's something
more like.
Speaker 3 (35:11):
A stone, you know, or a plant phone or I
have a lot of those.
Speaker 4 (35:16):
Mine is like a small piece of wood.
Speaker 2 (35:18):
Oh interesting, Like yeah, like we could use this as
a doorstop thing that could be more practical yeah, yours is.
Speaker 3 (35:24):
Sort of more whimsical.
Speaker 2 (35:27):
Whimsical Yeah, okay.
Speaker 3 (35:28):
Tokens, yeah, many many, I still have. I still we
still have the drink tokens from when we first sold
out the Mercury Lounge, which.
Speaker 4 (35:37):
Is like, yeah, like the day we walked to two A.
Speaker 3 (35:41):
Yeah, the bar that you play at when you're when
you're a little baby band.
Speaker 4 (35:46):
Yeah, yeah, Okay.
Speaker 2 (35:47):
Last question, who is the first to know when a
song is not working? Oh, I'm gonna say, but this
is really a guess.
Speaker 4 (36:00):
I think I agree with you.
Speaker 2 (36:01):
Okay, yeah, but I would say could could could go
either way? Maybe or I think takes maybe? Or are
you really more like like when you say no, I.
Speaker 3 (36:15):
Say no no? Or what is it? Why? Why?
Speaker 1 (36:19):
You're very emotionally intuitive. You you just tell when the
thing's not working correctly. But I also think there's something
about Emilia's from Massachusetts and I'm from Wisconsin.
Speaker 3 (36:29):
I am from Massachusetts.
Speaker 1 (36:31):
I think I think you are very from Massachusetts, and
I think I'm very from Wisconsin.
Speaker 4 (36:36):
And I think part of that is.
Speaker 2 (36:37):
That I'm having thoughts about that.
Speaker 4 (36:39):
Oh yeah, I'm a natural pair.
Speaker 1 (36:43):
But I think that a part of that is I
think we tend to fall into the roles in a relationship.
Is Amelia is very confrontational, and I'm very like, let's
wait and see what happens.
Speaker 3 (36:54):
You know.
Speaker 1 (36:54):
And you notice how I didn't say non confrontational, let's happened.
Speaker 3 (37:00):
Yeah, we are similar to that way.
Speaker 1 (37:03):
Yeah, so you're probably you're usually the first to say
that it's not working, whereas I'm kind of still negotiating.
Speaker 2 (37:08):
Well, that was fun. Tell tell us, tell tell our audience.
What if you won? Uh? We have what's happening?
Speaker 1 (37:16):
Yeah, a record comes out in September. It does owl
Infinity by saying that, Yeah.
Speaker 2 (37:23):
Wow, Infinity.
Speaker 3 (37:25):
Oh that's nice.
Speaker 2 (37:28):
You know, stay follows night or night follows day exactly.
Speaker 3 (37:33):
Yeah, our record comes out in September. We're going on
tour in October. We have shows all over the East
Coast and the Midwest and a little a little.
Speaker 4 (37:44):
And then and then in February back here on the
West coast.
Speaker 2 (37:46):
Yeah, and then Yeah, I'm honored you came. I mean,
I just think what you do is amazing. So thank
you for sharing and thank you for the stories and
for the fun. Thank you and also just the candor
the candor the thing. Then you know, What's happening here
is really beautiful, So thank you very much, Thank.
Speaker 4 (38:04):
You, bye everybody.
Speaker 2 (38:08):
What Are We Even Doing is a production of iHeartMedia
and the Elvis Duran podcast Network, hosted by me Kyle
McLachlin and created and produced by Full Picture Productions Hey,
featuring music by Yata and artwork by Danica Robinson. For
more information about the podcast, please visit our Instagram and
(38:28):
TikTok at wawed with Kyle. Please rate, review, and subscribe
to What Are We Even Doing on Apple, Spotify, YouTube,
or anywhere you get your podcasts. Exclamation PointCast
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