November 5, 2024 • 41 mins
Join us for an engaging conversation with Lea Thomas, a talented musician with a rich catalog spanning over a decade. Lea's musical journey began in her artistically vibrant family, where she first fell in love with the piano and guitar. She fondly recalls writing her first song, inspired by Alicia Keys, and shares the unique challenges she faced exploring her musical interests in a place where her preferred genres were not mainstream. Discover how setting up a home recording studio became a pivotal moment in her independent artistic development, allowing her to experiment and refine her sound.
As we explore Lea's transformative songwriting journey, she reveals how living in the city inspired a purpose-driven approach to her music, emphasizing a connection with nature as a source of healing and stability. Lea discusses the evolution of her music over the past decade, highlighting a shift from external influences to a more authentic expression of self. Her latest album, released in September, stands as a personal letter to the world, capturing her growth in confidence and communication, and showcasing the beauty of embracing individuality in artistic expression.
Lea also takes us on a journey through her process of creating vulnerable musical landscapes. She reflects on the evolution of her confidence and how setting energetic boundaries has transformed her approach to performing, turning music into an offering rather than a forced experience. Recorded in a serene, isolated environment, her latest album carries a minimal and introspective sound, influenced by the tranquility of its surroundings. Finally, Lea shares the joy of finally sharing this work, along with the poetic expressions of love and happiness that permeate her music, capturing the essence of emotional connections and the beauty of living in love.
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Episode Transcript
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Speaker 1 (00:15):
volumes.
I just recently got this wholemic thing.
Speaker 2 (00:20):
So it looks very official over there trying to
figure it out.
Speaker 1 (00:23):
I feel a little bit like a fish out of water, but
hopefully the sound quality isgood in the end.
All right, another episode, ifyou will, podcast.
I have Leah Thomas.
Leah, thanks so much for comingon here.
We had tried to have thispodcast a couple of times and
(00:46):
then things got moved around andI was trying to figure out my
calendar.
I apologize, and there's otherthings.
Anyway, let's focus in now.
This is a a beautiful friday wehave here and I'm reaching down
into New York state Is thatcorrect yeah.
And I am so happy to finally getto talk to you.
(01:09):
I mean, the one good thingabout all these delays is that I
got to listen to your musicmore and more and more and more.
So it's been a real treat doingthis deep dive into you and
your music.
It's quite a catalog you have.
This has been a decade worth, alittle over a decade worth of
albums and recordings under yourname, and I want to talk about
(01:33):
every single one of them.
But before we start that, Ilove to kind of get background
stories and this is one of thequestions I like to ask as a
starter.
A starter is at what point inin time in your in your life did
you start to realize that musichad to be a part of it?
Speaker 2 (01:54):
um, pretty much from the very beginning.
Um, yeah, I was really, I think, as blessed as be, you know, as
someone with an artistictendency, to have been born into
a family of very artisticpeople.
My dad was a guitar playersince he was a kid and my mom
(02:17):
just lives her life in an artfulway, I think.
And yeah, so, pretty much, Ithink maybe I started piano
lessons around four and that waskind of my first epiphany, like
I remember being at a pianorecital when I was like four or
five and a friend of my, one ofmy best friends at the time, was
also taking lessons from thesame teacher and we were in this
(02:39):
recital together and you know,it's like 20 parents or whatever
of like little kids.
But we finished my like dory, melittle solo and I like had that
first feeling of like I likeperforming.
I don't know what that was, butthat was kind of cool.
(02:59):
Let's do that again.
And it was so interestingbecause my best friend that at
the time hated it, like she wasso nervous, she was a wreck.
And it was like the firstmoment for me where I kind of
realized like, oh, I guess noteverybody likes to do this, so
that's kind of interesting.
Um, but yeah, that's where Ikind of started and you know, it
was just encouraged for me likeany.
(03:21):
I decided to play guitar when Iwas like 13 and my dad was
immediately went and went withme to go get a guitar.
Speaker 1 (03:27):
He's like, all right, we're doing this right on, and
was your dad um helpful in whenyou got that guitar and in
helping you learn it and stuff,or was it pretty much?
Speaker 2 (03:38):
I think the question is more does a 13 year old want
her dad to teach?
her guitar I didn't think abouther from that angle he would
have been as helpful as I wouldhave let him be.
No, he was really great withthis, like the basic kind of
music theory.
That was definitely something Iabsorbed from him.
Um, you know the like toneintervals and whatever, like
(04:04):
kind of more of the esotericaspects of the theory.
But when it came down to likeactually practicing and stuff, I
was like no, I'm gonna go likelisten to nirvana and read the
tabs because that's cool and I'mnot telling my friends.
Speaker 1 (04:21):
My dad taught me how to play guitar.
Right, exactly, not happening Idid this all of my own and what
was your first song?
Do you remember writing yourfirst song and and like what
that scenario was and the themethat you came up with to write
your first official song.
(04:41):
Do you remember?
Remember that song?
Speaker 2 (04:43):
I remember being like eight or nine and I was still
very much in piano, um, as mymain instrument until I was a
teenager.
But, um, I got really intoAlicia Keys.
I guess I would have maybe evenbeen had been later around
eight or nine.
I was really more into kind oflike instrumental piano pieces,
kind of more intricate,sprawling, like orchestral, I
(05:08):
don't know what.
I don't even, I barely evenplay piano now.
So it felt like I was in atotally different world.
But then later I remember myfirst song with lyrics like I
had no idea what I was writingabout.
I was writing like Alicia Keys,inspired, like love songs, when
I was like 11.
You know, I'd take it a littlebit of this, a little bit of
(05:30):
that, throw in the pot, stir itaround a bit.
Speaker 1 (05:36):
No, that's really cool.
And what propelled you, likeonce high school, going into you
know further studies?
Or after high school, like, didyou start to formal?
Did you play in other bands orother with other musicians when
you were first starting to kindof get into the music business?
Speaker 2 (05:57):
it was actually pretty.
I've always felt kind of likealone in my interests in music
growing up on maui.
It was like there's a reallyhealthy reggae scene, there's a
really healthy like blues kindof soul scene, um, but when it
just came to the kind of likemusic that I liked I I didn't
(06:18):
have a big community around itat all and it certainly didn't
feel like it was a place that Icould go and like see bands play
that I liked or like.
You know it wasn't, it was allthrough the internet for me.
I was just scouring theinternet for anything that um
resembled something that I mightlike, and so a lot of my own
exploration really came from umactually being being able to
(06:44):
sort of adopt a recording like ahome recording rig from a
friend, family friend who wasleaving, moving off island, and
so we got to buy it from him forreally cheap and and it like
totally changed my life, becauseI was 14 or 15 at the time and
I just spent the rest of my likehigh school years.
Just as soon as I got home I'dbe like back there and just
(07:07):
recording and sort of exploringand being able to understand all
of these production magicthings you know, layer yourself
and like hearing reverb on yourvoice and getting comfortable
like just hearing your own voiceand like harmonizing and you
know, exploring, like havingdrums.
I mean they're like little mididrums and stuff, but like you
know, exploring like havingdrums.
I mean they're like little MIDIdrums and stuff, but like you
know, like I didn't have like adrummer in my life really that,
(07:30):
um, I wanted to like be in aband with or anything.
So I kind of had to make my ownband and, uh, it was really
transformational and, um, I mean, you mentioned further studies
but I didn't.
I knew from like being kind ofin high school, I was a bit of a
rebel.
It was kind of easy for me, but, um, I just found it deeply
(07:51):
stifling.
Like I want to just go be anartist now.
So I think I'm done with thisand I chose not to go to college
.
Um, and I instead, I knew Ireally wanted to move to New
York City because that's where,that's where music happened.
That was my state of mind.
I was like you know, all theJoni Mitchells and everybody
(08:12):
kind of ends up in New York Cityand I had all these like the
lore of the Dylans and thewhatever, and I was obsessed.
Speaker 1 (08:18):
Chelsea Hoteau.
Speaker 2 (08:19):
Oh yeah, like fully obsessed.
And my brother is five yearsolder than me, so he he went to
school in NYU.
So I was like flying everysummer to go visit him and like
planting all the seeds of, like,my future fantasy.
And what eventually happened isthat I, instead of going to
like a regular college, I wentto an audio engineering trade
(08:40):
school for one year.
Um, and that was all inspiredfrom having this home recording
rig at home.
I just was so into it and Itotally thought I was going to,
you know, become more of an onthe recording side of the
industry, Um, but that reallywas like it gave me my foothold
and just having something to dowhen I moved to the city and I
(09:01):
met my partner, um, many yearsyears later, we're still
together making records today.
Speaker 1 (09:07):
so uh, yeah, is that John?
Speaker 2 (09:10):
that's John John Thayer.
Yeah, he's a musician on in hisown world too, but, um, it's
really fun to to still be ableto work together and like
explore sounds and he's he'sbecome more of an like a you
know professional in the fieldand I, I quickly realized after
working in a couple of studios Iwas like, hey, it's not.
(09:31):
It was too much for me to likework on other people's music and
then be able to have headspacefor myself.
Still, some people can do it,but I, I just don't nothing and,
like john's, helped you on.
Speaker 1 (09:45):
I mean, from what I've gleaned from just looking
at the liner notes, that he'shelped with most of these
records that you put out rightoh, yeah, yeah, yeah.
Speaker 2 (09:54):
I mean we met at this at the audio engineering school
and it was fully just like hey,you want to come over and work
on some songs there?
You go and we're still doingthat you know, it's all, it's
all working out.
Um, it takes some people like,ask me, like how do you so?
(10:15):
Because some people just reallycan't work with their partners
creatively, even though they'reboth creative people, that they
just can't do it together.
And, um, I think it took a lotof work for us to figure out
like what that looks like in away that complements each
other's strengths, um, but youknow, time, time can tell yeah,
well, yeah, I was gonna mentionI mean, that's a lot of uh,
(10:35):
together time, um in in intimatepersonal relationships.
Speaker 1 (10:41):
Right, I mean, music's very personal and
obviously a relationship is verypersonal.
Um, how do you guys, what's thesecret sauce Like?
How do you, how do you guys doit?
How do you maintain thatthrough all these years that you
guys have been recordingtogether, um and being together?
Speaker 2 (10:59):
I.
I think it's really about forus.
It's really about for us.
It's been about just listeningto where each of us is reaching
towards, like what is inspiringme now.
And it's about his record,cause I'm all.
I also sometimes, will you know, pitch in on production, on on
(11:19):
his music as well, and like it'sall.
It's always a conversation, aconversation.
It's never like if it's hisrecord, I'm gonna treat it like
it's his record and it's likewhat does he want to do?
You know, um, and and viceversa.
But I also think it's justabout being open and flexible to
grow.
It's like life would get boringif you weren't constantly
(11:43):
trying to, like you know, growinto new experiences of yourself
and of the world and, um, Ithink that we're both really
supportive of growth and we'rereally lucky that we just keep
growing in the same direction.
You know all you can hope fortoo.
Speaker 1 (12:00):
It's, I mean, it's, um, I work with my partner as
well.
She's actually my boss and, uh,yeah, I love her to pieces.
But, um, it can be challengingsometimes to keep those I
wouldn't say lines in the sand.
But yeah you know, just makingsure that you also maintain who
you are and kind of like whatyou were saying, which which is
(12:23):
very insightful for sure whatyour music has so much natural
connections to earth and theland.
How did Maui influence yougrowing up that you are still
taking those influences andincorporating them into your
songs nowadays?
Speaker 2 (12:45):
I think, growing up.
So I was born and raised onMaui and I lived there till I
was 17, until I moved to NewYork and it was like night and
day going from Maui to New York.
I mean, even though I was soexcited for it and I just have
been preparing myself for years,you know, visiting my brother
(13:08):
in college and whatnot, I itreally didn't strike me how
special it was to have grown uplike so intimately in relation
with the landscape until I movedto the city and I and I didn't
have that anymore.
And so I think for me a lot ofum, like a lot of my first
(13:30):
couple of records, like want fornothing and mirrors to the sun,
I had a lot of inner conflictabout living in the city and
really being like nature'sdaughter, you know.
Um but I think ultimately,living in the city also kind of
um, inspired in me this, likethis is kind of a purpose-driven
(13:52):
songwriting experience.
You know, like I, it's formyself, really like for a
healing practice to just be likethis everything is nature, you
are nature, like you can make itwork in the city.
You know um, and but also justhow important that was and how
special it was and and I just, I, just I, I never took it for
(14:13):
granted after that.
You know, like you really justget so used to it.
When you grow up in a beautifulplace I mean it doesn't have to
be Hawaii, it could be anywherebut when you leave that
environment, you're like I getit now.
There's nothing, truly nothing,more important to me, I think,
than encouraging in myself andencouraging in other people a
(14:37):
relationship with nature,because I feel like all of the
lessons are there.
You know what I mean, like allthe metaphors you could possibly
need, all of the teachings andthe wisdom are there and and I
think in a time where a lot ofus are feeling like is very
chaotic and we get a littleswept up in things, it's like,
(14:59):
if you can just remember toreturn to that relationship that
is always there for you.
I think it's really powerful.
Speaker 1 (15:08):
Yeah, so beautiful, so beautifully said.
Very very I mean veryinsightful, for sure.
Um, what do you find has beenthe biggest change in your music
over this last decade?
I mean, that's a huge question.
You can break it into littlepieces, but I mean listening to
your catalog from the earlierstuff and then this last record.
(15:34):
I find is just it.
I feel you in it, like there'sthis connection to it that is
very internal and natural.
I'll say the music itself.
How have you gotten to thisrecord that came out?
What was this in?
(15:54):
Uh, september, right, it justcame out last month.
This came out forever yeah,like, how, like, if this record
is, is is a, a letter from youto the world.
What did all those otherrecords bring you to get to that
point?
Speaker 2 (16:26):
I think that this record well, I'll say that the
first record that I ever madeWant For Nothing.
You know, I was in my mid-20swhen I wrote the songs.
It's just I'm turning 34 in acouple of weeks Like it's just a
very different time in yourlife.
You know, I had a lot of.
I think I was a bit moreinfluenced in a way, like just
by what was going on around mein my community and my music
(16:46):
scene in Brooklyn at the time.
Um, and I think that over theyears I've really kind of come
to understand what, what arelike really deep, true
inspirations for me, and I thinkthey're just like a little bit
different than they used to be.
Um, although I feel like movingforward from this point on,
(17:10):
like I I feel quite aware andconfident of what, what is like
at the core of my songwritingintentions, um, and so I think
that I think it's sort of amatter of coming into my own as
a person and the I would call itconfidence or just being more
(17:33):
comfortable.
You know, being who I am and andand learning a little bit more
about how to communicate.
That I think a lot of practicearound boundaries and figuring
out what's oversharing and maybewhat you don't need to say,
like maybe what you can let thelistener decide what it means
(17:55):
for them you know interestingyeah um yeah, yeah it's, it's a.
Speaker 1 (18:02):
It's a very personal thing, like I'm so fascinated by
musicians that, like you said,like when you first started that
first piano recital and youloved it you know, you just felt
like okay, what's next?
where's my next gig?
I mean to particularly withthis record.
I find it so delicate and likejust hangs in the air sometimes
(18:28):
the minimal sound and yourlyrics you've.
You've pulled back, it seems,or you just put the words in
that you wanted to, and maybe abit of it is like I'm going to
leave a little bit more up tothe imagination of the listener.
But to get to that stage youhad to be vulnerable.
Um, how do you find thatbalance of being vulnerable to
(18:52):
create the music you want tocreate, to then delivering it
and giving it to people andsaying, here, here's a piece of
my heart, and not having thatability to, okay, I'm taking it
back.
No, no, I don't.
You know like, because onceit's out there, you know like,
even performing live, like goingup in front of a crowd of
people and kind of opening yoursoul up, it takes a tremendous
(19:15):
amount of bravery.
How did you come to that?
Is it just through doing itLike?
Experience is what, what?
What allows you to get to thatpoint?
Speaker 2 (19:25):
Well, when it comes to the performance part of it,
um, I think so much of just like.
Yeah, I mean, I can think aboutthe arc of my life and my
relationship to performing andhow, when I was younger, I
really, um, didn't care at allwhat anybody thought about what
I was doing.
I just wanted to perform.
I wasn't self-conscious aboutit at all, it was just like
(19:48):
here's my chance, I'm gonna doit.
And then that kind of startedgoing down a little bit, that
confidence like in my early 20s,something about just being in a
big, big city and feeling quitesmall, um, and just, I think
it's just kind of like and thattranslates to in how you perform
.
You know that you might not beable to hold yourself with as
(20:09):
much space to really be able tojust be comfortable sharing the
music, but a lot of inner workhas taken place over the years
and and, um, I mean I reallythink a lot of it comes down to
(20:30):
for, for me, like being reallycomfortable with myself.
As I said before, it's kind ofan aspect of like setting
boundaries in a more energeticway, where it's like this is
something that I did and it'skind of it's the audience's
responsibility to take it inhowever they want to take it in.
(20:50):
You know, it's like totallydown to the individual and all I
can do as a performer is justoffer something and and that's.
It's just there in the air foryou to do what you will with and
to to be more comfortable.
Letting go of like theexpectation or what like trying
to force an experience ontopeople has been really impactful
(21:14):
for me as a performer over theyears, cause it's it kind of
allows you to step out of yourown head space and just let the
experience be an offering youknow, more than like something
you're trying to like force intoexistence.
Speaker 1 (21:28):
You all gather around me, nobody talking clock at the
end of the songs.
Speaker 2 (21:45):
See you interested.
Speaker 1 (21:46):
Yeah, like it it's.
It doesn't work that way.
You've had a bit of time withthis record out.
You know it's been out a monthor so.
Um, what do you get?
What are you getting from it?
Like you've put it out there,what has been the response?
Um, that you've been receiving,like, I've read some of the
(22:06):
reviews and they're very glowing, but you personally, like what?
what did you get out of doingthis record recording and
putting it out like goingthrough, you know, the
juggernaut of the music recordcycle, what do you?
Stand back and look at what yougot out of it as as a person?
Speaker 2 (22:26):
that's an interesting question.
I love it well.
Well, it's, it just came out,you know, quite recently, just a
couple of weeks ago.
So I think I'm just kind ofcoming out of this, honestly,
just relief and joy to finallybe able to share this record,
because we tracked it originallyin 2020, in the autumn 2020.
(22:53):
So it's been quite a quite awhile and it wasn't intentional.
There were just lots of lifethings happening and and I put
out another record in 2021 andwe, like we really tracked most
of it live, so there wasn't evenlike a lot of production that
happened after this um, weessentially went to a house at
the end of a road, like in amountain.
(23:14):
You're asking earlier, like youknow, how did you get to all of
the space and the music andstuff?
And I would really attribute alot of the um, the tendencies
towards quiet and slow in thisrecord, to just the state of the
world at the time, you know,and kind of a response to that,
but also just to be with my bandcompletely uninterrupted, for
(23:39):
four or five days in in thewoods, you know, like leaning
towards winter at that point,and, um, it just creeped in.
I mean, it was utterly silentfor most of the time.
Speaker 1 (23:52):
That's amazing.
Speaker 2 (23:54):
Yeah, and it was really special, um, and I think
right now, like in this postrelease phase, I suppose, I've I
really just been enjoying likebeing around, uh, the people
that I recorded the record with,um, four of the five, it was
five of us total and so, um,everyone except the original
(24:15):
bass player on the record isperforming a couple of album
release shows together, and sowe've just been getting together
and like resurfacing thesesongs and with our energy and
like it's been pretty awesomebecause I still get really
excited to play them.
Um, mostly because I still getreally excited to play them,
mostly because I can it's arecord that I kind of set up for
(24:36):
myself that I can just playreally simple parts and the band
can kind of create thisatmosphere around me, and so
it's quite a treat for myself tosort of just play the conductor
and I can sit back sometimesand just enjoy the worlds that's
that is being created, um, yeah, and you hit it on.
Speaker 1 (24:56):
I mean, that's exactly what they create, this
sonic background and your lyricsand your flow and the melody
just hangs on it sometimes andit like I think of rain,
sometimes I think of um, a wave,like the songs make me feel, of
, not like images come to myhead of natural things yeah and
(25:23):
I think the first lyric that youhave on the first song, let's
go for a walk, don't talk.
I mean it sums up this beautifulrecord in in a way that that's
that, that silence sometimes,and just this non-verbal
communication that we can haveand it almost puts you in this
(25:45):
trance at the same time, becauseof well, that, that song in
particular too, because it hasthis repetitive line that you,
that you go through.
But I love how you've pulledback on the lyrics and let that
sonic landscape fill in some ofthose words, um, or that space
that you've allowed it to takeover.
It's not easy doing that.
(26:07):
Now people think, oh, you playslow, easy, no problem.
I think it's the most difficultthing to do to to restrain
yourself yes I mean instruments.
You you want to thrash.
You know like you startthinking about all the great
bands you love.
You know your nirvana's in hereand you know we're gonna play
some, some, and this is justthis.
(26:29):
Slow core times, reflective,sadcore, folk, indie.
I mean it's just like it's hardto describe because there's
nothing else out there like thisand I really like I listen to a
ton of music and I haven't runinto a record like this that's
had this influence in quite someyears.
(26:50):
Um, so I, I I want to thank youfor putting it out, first of
all because it's thank you it'sa great collection of songs and
I find too how you've turned itinto this book.
You know the chapters.
If you saw, each song is achapter.
They perfectly kind of fold oneinto the next, um, and the
first song, the second song,just kind of like.
Speaker 2 (27:13):
The placing is really really well done oh, thank you,
a lot of thought went into that, so yeah, oh you can tell.
Speaker 1 (27:21):
I mean and again it's that subtlety I mean, is that
easy to do?
I mean, am I like being crazyhere that having that kind of
subtle restraint is not an easything to come to?
I mean, the record before thatwas much more.
You know drums and you know,brings into more of a folkier um
(27:43):
, slow core, um, if I can usethat term, because it it's hard
to define it.
I don't want to define it, Ijust want to enjoy it.
But, um, was that a hard thingfor you to do?
(28:06):
To, to, to hold back almost alittle bit and let that sonic
landscape fill in a little bitmore.
Speaker 2 (28:14):
I think um it can be difficult, just from a more, you
know, utilitarian perspective,um, like especially performing
these songs live, because I amsinging really quietly and I
(28:34):
think that's a big part of justthe experience of the record and
I want to honor that when Iperform it live as well.
And just in terms of thetechnical aspects, it can be a
little difficult, certainly inthe breath control it can be.
It's like much more challengingfor me.
I find them singing just like akind of more like verse, chorus
, verse, chorus kind of song,because you really have to sit
(28:57):
with it.
And that I think was was kind ofthe intention to you know, with
the record was to to reallylike step into this trance
experience, um, with my band.
And it's just so when you, whenyou can touch that space with a
group of people and you're alljust giving your, your entire
(29:20):
presence and focus is in thisone moment, it's really really
special.
And so for me, like that waswhat I, that was what I wanted,
I wanted to be able toexperience that with a group of
people around the songs, thesongs were kind of like the
foundation.
You know, I'm like this is themood, this is the mood, this is
(29:40):
the.
This is a story, but, like Iwant everybody to be able to
just be there as themselves, um,and so in that way, it kind of
isn't also just a matter oftrust yeah, yeah um and I'm
lucky that I have a few peoplein my life that I play music
(30:01):
with that are that I can fullytrust in those moments and and
it's it allows me to be maybemore more vulnerable just cause
I know that they'll be there.
Speaker 1 (30:12):
You know, great, great, great.
Well, I want to congratulateyou again, cause it's just
people go and buy this record.
It's really um amazing, um,what?
What's coming down the pipe foryou in 2020, the rest of this
year, in the next year, withyour music?
Speaker 2 (30:31):
well, we have a few um album release shows, uh, just
around new york state and inthe city, um, and then we're
going to be playing a few showsin japan in november.
My folks moved from japan, orfrom hawaii to japan, years ago
now, which is crazy, but um,it's been really cool to to go
(30:52):
there every year and play someshows, um.
So that's kind of the rest ofthe year for us and we have um a
new duo project that's in theworks.
Me and John.
We released an album calledBlue of Distance a couple of
years ago.
That was very much like a blendof both of our worlds.
(31:13):
It was written on an artistresidency, so it was kind of
lo-fi because we were at thislike remote cabin in the totally
like back country and that waslike a whole story in and of
itself.
But, um, we're kind of, we werejust craving like doing
something like that, um, but inour home studio rather than out
(31:35):
of nowhere.
Speaker 1 (31:36):
So yeah, it sounded like a lot of fuel recordings um
yeah that, that duo that youguys did well.
That's awesome and and you'llboth equally add to the
songwriting and the productionas well, like you'll collaborate
through the whole thing, asyou've always done yeah, I'm
kind of like the lyrics andmelody girl um.
Speaker 2 (31:54):
and then john is kind of the world builder on these
projects and sometimes, whenit's just a collaboration with
the two of us, we really kind ofmeet in the middle, where he
works a lot in the electronicand ambient world and he's a
drummer and percussionist sincehe was a kid.
So there's like certain elementsthat he brings in and then I'll
(32:15):
bring in, like melody and, youknow, guitar and the instruments
that I play with, but it's verymuch like a blend of our two
worlds, for sure, that I playwith, but it's very much like a
blend of our two worlds, forsure.
So I'm excited because italways kind of feels like a
refresh for me.
You know, I step into making mynext record, which I'm also
very eager to get ready on,probably later this winter.
(32:35):
Yeah, Awesome.
Speaker 1 (32:37):
I imagine you have a a quell of a queue of songs that
you've been working on andplugging away at.
Speaker 2 (32:45):
Always do Amazing.
Sometimes it takes time forthem to really find their
partners.
You know, and I had a verystrong vision of what this next
record was going to be, andsometimes things shift.
Speaker 1 (33:04):
Well, this has been really fun.
Thanks so much for hopping onhere and sharing your your
timeline a little bit and somesuper insightful words that you
shared with us today.
So thank you.
And again, such a great record,cosmos Forever.
I'm loving it forever.
I'm going to listen to it.
(33:26):
After this.
I need to hear it one more timetoday.
Um, but thank you and I wishyou all the best with um the
future and um new music comingout and everything else that
that falls into your world.
Um, and thank you for forputting this out for us to
listen to.
Speaker 2 (33:43):
Thank you so much, it was really fun chatting.
Speaker 1 (33:46):
Cool Take care.
Speaker 3 (34:42):
Thank you.
Guitar solo.
Let yourself be happy, be happywhen you look at me With that
(35:16):
look in your eyes.
All that surrounds me, becauseLove, we must be, we must be In
(36:03):
love, we must be, we must be inlove.
Hold your hand, your hand, inmine.
(36:41):
Oh, that surrounds us, becauseLove, in my sleep, in my sleep,
(37:24):
in my, in my sleep, in my sleep,we must be in love, thank you.
(38:20):
We must live, we must be Inlove, thank you.
(39:26):
I'm not sure, I'm not sure, I'mnot sure, I'm not sure, I'm not
sure, I'm not sure, I'm notsure, I'm not sure, I'm not sure
, I'm not sure, I'm not sure,I'm not sure, I'm not sure.
We must be in love, we must bein love, in love.
Thank you you.
volumes.
I just recently got this wholemic thing.
Speaker 2 (00:20):
So it looks very official over there trying to
figure it out.
Speaker 1 (00:23):
I feel a little bit like a fish out of water, but
hopefully the sound quality isgood in the end.
All right, another episode, ifyou will, podcast.
I have Leah Thomas.
Leah, thanks so much for comingon here.
We had tried to have thispodcast a couple of times and
(00:46):
then things got moved around andI was trying to figure out my
calendar.
I apologize, and there's otherthings.
Anyway, let's focus in now.
This is a a beautiful friday wehave here and I'm reaching down
into New York state Is thatcorrect yeah.
And I am so happy to finally getto talk to you.
(01:09):
I mean, the one good thingabout all these delays is that I
got to listen to your musicmore and more and more and more.
So it's been a real treat doingthis deep dive into you and
your music.
It's quite a catalog you have.
This has been a decade worth, alittle over a decade worth of
albums and recordings under yourname, and I want to talk about
(01:33):
every single one of them.
But before we start that, Ilove to kind of get background
stories and this is one of thequestions I like to ask as a
starter.
A starter is at what point inin time in your in your life did
you start to realize that musichad to be a part of it?
Speaker 2 (01:54):
um, pretty much from the very beginning.
Um, yeah, I was really, I think, as blessed as be, you know, as
someone with an artistictendency, to have been born into
a family of very artisticpeople.
My dad was a guitar playersince he was a kid and my mom
(02:17):
just lives her life in an artfulway, I think.
And yeah, so, pretty much, Ithink maybe I started piano
lessons around four and that waskind of my first epiphany, like
I remember being at a pianorecital when I was like four or
five and a friend of my, one ofmy best friends at the time, was
also taking lessons from thesame teacher and we were in this
(02:39):
recital together and you know,it's like 20 parents or whatever
of like little kids.
But we finished my like dory, melittle solo and I like had that
first feeling of like I likeperforming.
I don't know what that was, butthat was kind of cool.
(02:59):
Let's do that again.
And it was so interestingbecause my best friend that at
the time hated it, like she wasso nervous, she was a wreck.
And it was like the firstmoment for me where I kind of
realized like, oh, I guess noteverybody likes to do this, so
that's kind of interesting.
Um, but yeah, that's where Ikind of started and you know, it
was just encouraged for me likeany.
(03:21):
I decided to play guitar when Iwas like 13 and my dad was
immediately went and went withme to go get a guitar.
Speaker 1 (03:27):
He's like, all right, we're doing this right on, and
was your dad um helpful in whenyou got that guitar and in
helping you learn it and stuff,or was it pretty much?
Speaker 2 (03:38):
I think the question is more does a 13 year old want
her dad to teach?
her guitar I didn't think abouther from that angle he would
have been as helpful as I wouldhave let him be.
No, he was really great withthis, like the basic kind of
music theory.
That was definitely something Iabsorbed from him.
Um, you know the like toneintervals and whatever, like
(04:04):
kind of more of the esotericaspects of the theory.
But when it came down to likeactually practicing and stuff, I
was like no, I'm gonna go likelisten to nirvana and read the
tabs because that's cool and I'mnot telling my friends.
Speaker 1 (04:21):
My dad taught me how to play guitar.
Right, exactly, not happening Idid this all of my own and what
was your first song?
Do you remember writing yourfirst song and and like what
that scenario was and the themethat you came up with to write
your first official song.
(04:41):
Do you remember?
Remember that song?
Speaker 2 (04:43):
I remember being like eight or nine and I was still
very much in piano, um, as mymain instrument until I was a
teenager.
But, um, I got really intoAlicia Keys.
I guess I would have maybe evenbeen had been later around
eight or nine.
I was really more into kind oflike instrumental piano pieces,
kind of more intricate,sprawling, like orchestral, I
(05:08):
don't know what.
I don't even, I barely evenplay piano now.
So it felt like I was in atotally different world.
But then later I remember myfirst song with lyrics like I
had no idea what I was writingabout.
I was writing like Alicia Keys,inspired, like love songs, when
I was like 11.
You know, I'd take it a littlebit of this, a little bit of
(05:30):
that, throw in the pot, stir itaround a bit.
Speaker 1 (05:36):
No, that's really cool.
And what propelled you, likeonce high school, going into you
know further studies?
Or after high school, like, didyou start to formal?
Did you play in other bands orother with other musicians when
you were first starting to kindof get into the music business?
Speaker 2 (05:57):
it was actually pretty.
I've always felt kind of likealone in my interests in music
growing up on maui.
It was like there's a reallyhealthy reggae scene, there's a
really healthy like blues kindof soul scene, um, but when it
just came to the kind of likemusic that I liked I I didn't
(06:18):
have a big community around itat all and it certainly didn't
feel like it was a place that Icould go and like see bands play
that I liked or like.
You know it wasn't, it was allthrough the internet for me.
I was just scouring theinternet for anything that um
resembled something that I mightlike, and so a lot of my own
exploration really came from umactually being being able to
(06:44):
sort of adopt a recording like ahome recording rig from a
friend, family friend who wasleaving, moving off island, and
so we got to buy it from him forreally cheap and and it like
totally changed my life, becauseI was 14 or 15 at the time and
I just spent the rest of my likehigh school years.
Just as soon as I got home I'dbe like back there and just
(07:07):
recording and sort of exploringand being able to understand all
of these production magicthings you know, layer yourself
and like hearing reverb on yourvoice and getting comfortable
like just hearing your own voiceand like harmonizing and you
know, exploring, like havingdrums.
I mean they're like little mididrums and stuff, but like you
know, exploring like havingdrums.
I mean they're like little MIDIdrums and stuff, but like you
know, like I didn't have like adrummer in my life really that,
(07:30):
um, I wanted to like be in aband with or anything.
So I kind of had to make my ownband and, uh, it was really
transformational and, um, I mean, you mentioned further studies
but I didn't.
I knew from like being kind ofin high school, I was a bit of a
rebel.
It was kind of easy for me, but, um, I just found it deeply
(07:51):
stifling.
Like I want to just go be anartist now.
So I think I'm done with thisand I chose not to go to college
.
Um, and I instead, I knew Ireally wanted to move to New
York City because that's where,that's where music happened.
That was my state of mind.
I was like you know, all theJoni Mitchells and everybody
(08:12):
kind of ends up in New York Cityand I had all these like the
lore of the Dylans and thewhatever, and I was obsessed.
Speaker 1 (08:18):
Chelsea Hoteau.
Speaker 2 (08:19):
Oh yeah, like fully obsessed.
And my brother is five yearsolder than me, so he he went to
school in NYU.
So I was like flying everysummer to go visit him and like
planting all the seeds of, like,my future fantasy.
And what eventually happened isthat I, instead of going to
like a regular college, I wentto an audio engineering trade
(08:40):
school for one year.
Um, and that was all inspiredfrom having this home recording
rig at home.
I just was so into it and Itotally thought I was going to,
you know, become more of an onthe recording side of the
industry, Um, but that reallywas like it gave me my foothold
and just having something to dowhen I moved to the city and I
(09:01):
met my partner, um, many yearsyears later, we're still
together making records today.
Speaker 1 (09:07):
so uh, yeah, is that John?
Speaker 2 (09:10):
that's John John Thayer.
Yeah, he's a musician on in hisown world too, but, um, it's
really fun to to still be ableto work together and like
explore sounds and he's he'sbecome more of an like a you
know professional in the fieldand I, I quickly realized after
working in a couple of studios Iwas like, hey, it's not.
(09:31):
It was too much for me to likework on other people's music and
then be able to have headspacefor myself.
Still, some people can do it,but I, I just don't nothing and,
like john's, helped you on.
Speaker 1 (09:45):
I mean, from what I've gleaned from just looking
at the liner notes, that he'shelped with most of these
records that you put out rightoh, yeah, yeah, yeah.
Speaker 2 (09:54):
I mean we met at this at the audio engineering school
and it was fully just like hey,you want to come over and work
on some songs there?
You go and we're still doingthat you know, it's all, it's
all working out.
Um, it takes some people like,ask me, like how do you so?
(10:15):
Because some people just reallycan't work with their partners
creatively, even though they'reboth creative people, that they
just can't do it together.
And, um, I think it took a lotof work for us to figure out
like what that looks like in away that complements each
other's strengths, um, but youknow, time, time can tell yeah,
well, yeah, I was gonna mentionI mean, that's a lot of uh,
(10:35):
together time, um in in intimatepersonal relationships.
Speaker 1 (10:41):
Right, I mean, music's very personal and
obviously a relationship is verypersonal.
Um, how do you guys, what's thesecret sauce Like?
How do you, how do you guys doit?
How do you maintain thatthrough all these years that you
guys have been recordingtogether, um and being together?
Speaker 2 (10:59):
I.
I think it's really about forus.
It's really about for us.
It's been about just listeningto where each of us is reaching
towards, like what is inspiringme now.
And it's about his record,cause I'm all.
I also sometimes, will you know, pitch in on production, on on
(11:19):
his music as well, and like it'sall.
It's always a conversation, aconversation.
It's never like if it's hisrecord, I'm gonna treat it like
it's his record and it's likewhat does he want to do?
You know, um, and and viceversa.
But I also think it's justabout being open and flexible to
grow.
It's like life would get boringif you weren't constantly
(11:43):
trying to, like you know, growinto new experiences of yourself
and of the world and, um, Ithink that we're both really
supportive of growth and we'rereally lucky that we just keep
growing in the same direction.
You know all you can hope fortoo.
Speaker 1 (12:00):
It's, I mean, it's, um, I work with my partner as
well.
She's actually my boss and, uh,yeah, I love her to pieces.
But, um, it can be challengingsometimes to keep those I
wouldn't say lines in the sand.
But yeah you know, just makingsure that you also maintain who
you are and kind of like whatyou were saying, which which is
(12:23):
very insightful for sure whatyour music has so much natural
connections to earth and theland.
How did Maui influence yougrowing up that you are still
taking those influences andincorporating them into your
songs nowadays?
Speaker 2 (12:45):
I think, growing up.
So I was born and raised onMaui and I lived there till I
was 17, until I moved to NewYork and it was like night and
day going from Maui to New York.
I mean, even though I was soexcited for it and I just have
been preparing myself for years,you know, visiting my brother
(13:08):
in college and whatnot, I itreally didn't strike me how
special it was to have grown uplike so intimately in relation
with the landscape until I movedto the city and I and I didn't
have that anymore.
And so I think for me a lot ofum, like a lot of my first
(13:30):
couple of records, like want fornothing and mirrors to the sun,
I had a lot of inner conflictabout living in the city and
really being like nature'sdaughter, you know.
Um but I think ultimately,living in the city also kind of
um, inspired in me this, likethis is kind of a purpose-driven
(13:52):
songwriting experience.
You know, like I, it's formyself, really like for a
healing practice to just be likethis everything is nature, you
are nature, like you can make itwork in the city.
You know um, and but also justhow important that was and how
special it was and and I just, I, just I, I never took it for
(14:13):
granted after that.
You know, like you really justget so used to it.
When you grow up in a beautifulplace I mean it doesn't have to
be Hawaii, it could be anywherebut when you leave that
environment, you're like I getit now.
There's nothing, truly nothing,more important to me, I think,
than encouraging in myself andencouraging in other people a
(14:37):
relationship with nature,because I feel like all of the
lessons are there.
You know what I mean, like allthe metaphors you could possibly
need, all of the teachings andthe wisdom are there and and I
think in a time where a lot ofus are feeling like is very
chaotic and we get a littleswept up in things, it's like,
(14:59):
if you can just remember toreturn to that relationship that
is always there for you.
I think it's really powerful.
Speaker 1 (15:08):
Yeah, so beautiful, so beautifully said.
Very very I mean veryinsightful, for sure.
Um, what do you find has beenthe biggest change in your music
over this last decade?
I mean, that's a huge question.
You can break it into littlepieces, but I mean listening to
your catalog from the earlierstuff and then this last record.
(15:34):
I find is just it.
I feel you in it, like there'sthis connection to it that is
very internal and natural.
I'll say the music itself.
How have you gotten to thisrecord that came out?
What was this in?
(15:54):
Uh, september, right, it justcame out last month.
This came out forever yeah,like, how, like, if this record
is, is is a, a letter from youto the world.
What did all those otherrecords bring you to get to that
point?
Speaker 2 (16:26):
I think that this record well, I'll say that the
first record that I ever madeWant For Nothing.
You know, I was in my mid-20swhen I wrote the songs.
It's just I'm turning 34 in acouple of weeks Like it's just a
very different time in yourlife.
You know, I had a lot of.
I think I was a bit moreinfluenced in a way, like just
by what was going on around mein my community and my music
(16:46):
scene in Brooklyn at the time.
Um, and I think that over theyears I've really kind of come
to understand what, what arelike really deep, true
inspirations for me, and I thinkthey're just like a little bit
different than they used to be.
Um, although I feel like movingforward from this point on,
(17:10):
like I I feel quite aware andconfident of what, what is like
at the core of my songwritingintentions, um, and so I think
that I think it's sort of amatter of coming into my own as
a person and the I would call itconfidence or just being more
(17:33):
comfortable.
You know, being who I am and andand learning a little bit more
about how to communicate.
That I think a lot of practicearound boundaries and figuring
out what's oversharing and maybewhat you don't need to say,
like maybe what you can let thelistener decide what it means
(17:55):
for them you know interestingyeah um yeah, yeah it's, it's a.
Speaker 1 (18:02):
It's a very personal thing, like I'm so fascinated by
musicians that, like you said,like when you first started that
first piano recital and youloved it you know, you just felt
like okay, what's next?
where's my next gig?
I mean to particularly withthis record.
I find it so delicate and likejust hangs in the air sometimes
(18:28):
the minimal sound and yourlyrics you've.
You've pulled back, it seems,or you just put the words in
that you wanted to, and maybe abit of it is like I'm going to
leave a little bit more up tothe imagination of the listener.
But to get to that stage youhad to be vulnerable.
Um, how do you find thatbalance of being vulnerable to
(18:52):
create the music you want tocreate, to then delivering it
and giving it to people andsaying, here, here's a piece of
my heart, and not having thatability to, okay, I'm taking it
back.
No, no, I don't.
You know like, because onceit's out there, you know like,
even performing live, like goingup in front of a crowd of
people and kind of opening yoursoul up, it takes a tremendous
(19:15):
amount of bravery.
How did you come to that?
Is it just through doing itLike?
Experience is what, what?
What allows you to get to thatpoint?
Speaker 2 (19:25):
Well, when it comes to the performance part of it,
um, I think so much of just like.
Yeah, I mean, I can think aboutthe arc of my life and my
relationship to performing andhow, when I was younger, I
really, um, didn't care at allwhat anybody thought about what
I was doing.
I just wanted to perform.
I wasn't self-conscious aboutit at all, it was just like
(19:48):
here's my chance, I'm gonna doit.
And then that kind of startedgoing down a little bit, that
confidence like in my early 20s,something about just being in a
big, big city and feeling quitesmall, um, and just, I think
it's just kind of like and thattranslates to in how you perform
.
You know that you might not beable to hold yourself with as
(20:09):
much space to really be able tojust be comfortable sharing the
music, but a lot of inner workhas taken place over the years
and and, um, I mean I reallythink a lot of it comes down to
(20:30):
for, for me, like being reallycomfortable with myself.
As I said before, it's kind ofan aspect of like setting
boundaries in a more energeticway, where it's like this is
something that I did and it'skind of it's the audience's
responsibility to take it inhowever they want to take it in.
(20:50):
You know, it's like totallydown to the individual and all I
can do as a performer is justoffer something and and that's.
It's just there in the air foryou to do what you will with and
to to be more comfortable.
Letting go of like theexpectation or what like trying
to force an experience ontopeople has been really impactful
(21:14):
for me as a performer over theyears, cause it's it kind of
allows you to step out of yourown head space and just let the
experience be an offering youknow, more than like something
you're trying to like force intoexistence.
Speaker 1 (21:28):
You all gather around me, nobody talking clock at the
end of the songs.
Speaker 2 (21:45):
See you interested.
Speaker 1 (21:46):
Yeah, like it it's.
It doesn't work that way.
You've had a bit of time withthis record out.
You know it's been out a monthor so.
Um, what do you get?
What are you getting from it?
Like you've put it out there,what has been the response?
Um, that you've been receiving,like, I've read some of the
(22:06):
reviews and they're very glowing, but you personally, like what?
what did you get out of doingthis record recording and
putting it out like goingthrough, you know, the
juggernaut of the music recordcycle, what do you?
Stand back and look at what yougot out of it as as a person?
Speaker 2 (22:26):
that's an interesting question.
I love it well.
Well, it's, it just came out,you know, quite recently, just a
couple of weeks ago.
So I think I'm just kind ofcoming out of this, honestly,
just relief and joy to finallybe able to share this record,
because we tracked it originallyin 2020, in the autumn 2020.
(22:53):
So it's been quite a quite awhile and it wasn't intentional.
There were just lots of lifethings happening and and I put
out another record in 2021 andwe, like we really tracked most
of it live, so there wasn't evenlike a lot of production that
happened after this um, weessentially went to a house at
the end of a road, like in amountain.
(23:14):
You're asking earlier, like youknow, how did you get to all of
the space and the music andstuff?
And I would really attribute alot of the um, the tendencies
towards quiet and slow in thisrecord, to just the state of the
world at the time, you know,and kind of a response to that,
but also just to be with my bandcompletely uninterrupted, for
(23:39):
four or five days in in thewoods, you know, like leaning
towards winter at that point,and, um, it just creeped in.
I mean, it was utterly silentfor most of the time.
Speaker 1 (23:52):
That's amazing.
Speaker 2 (23:54):
Yeah, and it was really special, um, and I think
right now, like in this postrelease phase, I suppose, I've I
really just been enjoying likebeing around, uh, the people
that I recorded the record with,um, four of the five, it was
five of us total and so, um,everyone except the original
(24:15):
bass player on the record isperforming a couple of album
release shows together, and sowe've just been getting together
and like resurfacing thesesongs and with our energy and
like it's been pretty awesomebecause I still get really
excited to play them.
Um, mostly because I still getreally excited to play them,
mostly because I can it's arecord that I kind of set up for
(24:36):
myself that I can just playreally simple parts and the band
can kind of create thisatmosphere around me, and so
it's quite a treat for myself tosort of just play the conductor
and I can sit back sometimesand just enjoy the worlds that's
that is being created, um, yeah, and you hit it on.
Speaker 1 (24:56):
I mean, that's exactly what they create, this
sonic background and your lyricsand your flow and the melody
just hangs on it sometimes andit like I think of rain,
sometimes I think of um, a wave,like the songs make me feel, of
, not like images come to myhead of natural things yeah and
(25:23):
I think the first lyric that youhave on the first song, let's
go for a walk, don't talk.
I mean it sums up this beautifulrecord in in a way that that's
that, that silence sometimes,and just this non-verbal
communication that we can haveand it almost puts you in this
(25:45):
trance at the same time, becauseof well, that, that song in
particular too, because it hasthis repetitive line that you,
that you go through.
But I love how you've pulledback on the lyrics and let that
sonic landscape fill in some ofthose words, um, or that space
that you've allowed it to takeover.
It's not easy doing that.
(26:07):
Now people think, oh, you playslow, easy, no problem.
I think it's the most difficultthing to do to to restrain
yourself yes I mean instruments.
You you want to thrash.
You know like you startthinking about all the great
bands you love.
You know your nirvana's in hereand you know we're gonna play
some, some, and this is justthis.
(26:29):
Slow core times, reflective,sadcore, folk, indie.
I mean it's just like it's hardto describe because there's
nothing else out there like thisand I really like I listen to a
ton of music and I haven't runinto a record like this that's
had this influence in quite someyears.
(26:50):
Um, so I, I I want to thank youfor putting it out, first of
all because it's thank you it'sa great collection of songs and
I find too how you've turned itinto this book.
You know the chapters.
If you saw, each song is achapter.
They perfectly kind of fold oneinto the next, um, and the
first song, the second song,just kind of like.
Speaker 2 (27:13):
The placing is really really well done oh, thank you,
a lot of thought went into that, so yeah, oh you can tell.
Speaker 1 (27:21):
I mean and again it's that subtlety I mean, is that
easy to do?
I mean, am I like being crazyhere that having that kind of
subtle restraint is not an easything to come to?
I mean, the record before thatwas much more.
You know drums and you know,brings into more of a folkier um
(27:43):
, slow core, um, if I can usethat term, because it it's hard
to define it.
I don't want to define it, Ijust want to enjoy it.
But, um, was that a hard thingfor you to do?
(28:06):
To, to, to hold back almost alittle bit and let that sonic
landscape fill in a little bitmore.
Speaker 2 (28:14):
I think um it can be difficult, just from a more, you
know, utilitarian perspective,um, like especially performing
these songs live, because I amsinging really quietly and I
(28:34):
think that's a big part of justthe experience of the record and
I want to honor that when Iperform it live as well.
And just in terms of thetechnical aspects, it can be a
little difficult, certainly inthe breath control it can be.
It's like much more challengingfor me.
I find them singing just like akind of more like verse, chorus
, verse, chorus kind of song,because you really have to sit
(28:57):
with it.
And that I think was was kind ofthe intention to you know, with
the record was to to reallylike step into this trance
experience, um, with my band.
And it's just so when you, whenyou can touch that space with a
group of people and you're alljust giving your, your entire
(29:20):
presence and focus is in thisone moment, it's really really
special.
And so for me, like that waswhat I, that was what I wanted,
I wanted to be able toexperience that with a group of
people around the songs, thesongs were kind of like the
foundation.
You know, I'm like this is themood, this is the mood, this is
(29:40):
the.
This is a story, but, like Iwant everybody to be able to
just be there as themselves, um,and so in that way, it kind of
isn't also just a matter oftrust yeah, yeah um and I'm
lucky that I have a few peoplein my life that I play music
(30:01):
with that are that I can fullytrust in those moments and and
it's it allows me to be maybemore more vulnerable just cause
I know that they'll be there.
Speaker 1 (30:12):
You know, great, great, great.
Well, I want to congratulateyou again, cause it's just
people go and buy this record.
It's really um amazing, um,what?
What's coming down the pipe foryou in 2020, the rest of this
year, in the next year, withyour music?
Speaker 2 (30:31):
well, we have a few um album release shows, uh, just
around new york state and inthe city, um, and then we're
going to be playing a few showsin japan in november.
My folks moved from japan, orfrom hawaii to japan, years ago
now, which is crazy, but um,it's been really cool to to go
(30:52):
there every year and play someshows, um.
So that's kind of the rest ofthe year for us and we have um a
new duo project that's in theworks.
Me and John.
We released an album calledBlue of Distance a couple of
years ago.
That was very much like a blendof both of our worlds.
(31:13):
It was written on an artistresidency, so it was kind of
lo-fi because we were at thislike remote cabin in the totally
like back country and that waslike a whole story in and of
itself.
But, um, we're kind of, we werejust craving like doing
something like that, um, but inour home studio rather than out
(31:35):
of nowhere.
Speaker 1 (31:36):
So yeah, it sounded like a lot of fuel recordings um
yeah that, that duo that youguys did well.
That's awesome and and you'llboth equally add to the
songwriting and the productionas well, like you'll collaborate
through the whole thing, asyou've always done yeah, I'm
kind of like the lyrics andmelody girl um.
Speaker 2 (31:54):
and then john is kind of the world builder on these
projects and sometimes, whenit's just a collaboration with
the two of us, we really kind ofmeet in the middle, where he
works a lot in the electronicand ambient world and he's a
drummer and percussionist sincehe was a kid.
So there's like certain elementsthat he brings in and then I'll
(32:15):
bring in, like melody and, youknow, guitar and the instruments
that I play with, but it's verymuch like a blend of our two
worlds, for sure, that I playwith, but it's very much like a
blend of our two worlds, forsure.
So I'm excited because italways kind of feels like a
refresh for me.
You know, I step into making mynext record, which I'm also
very eager to get ready on,probably later this winter.
(32:35):
Yeah, Awesome.
Speaker 1 (32:37):
I imagine you have a a quell of a queue of songs that
you've been working on andplugging away at.
Speaker 2 (32:45):
Always do Amazing.
Sometimes it takes time forthem to really find their
partners.
You know, and I had a verystrong vision of what this next
record was going to be, andsometimes things shift.
Speaker 1 (33:04):
Well, this has been really fun.
Thanks so much for hopping onhere and sharing your your
timeline a little bit and somesuper insightful words that you
shared with us today.
So thank you.
And again, such a great record,cosmos Forever.
I'm loving it forever.
I'm going to listen to it.
(33:26):
After this.
I need to hear it one more timetoday.
Um, but thank you and I wishyou all the best with um the
future and um new music comingout and everything else that
that falls into your world.
Um, and thank you for forputting this out for us to
listen to.
Speaker 2 (33:43):
Thank you so much, it was really fun chatting.
Speaker 1 (33:46):
Cool Take care.
Speaker 3 (34:42):
Thank you.
Guitar solo.
Let yourself be happy, be happywhen you look at me With that
(35:16):
look in your eyes.
All that surrounds me, becauseLove, we must be, we must be In
(36:03):
love, we must be, we must be inlove.
Hold your hand, your hand, inmine.
(36:41):
Oh, that surrounds us, becauseLove, in my sleep, in my sleep,
(37:24):
in my, in my sleep, in my sleep,we must be in love, thank you.
(38:20):
We must live, we must be Inlove, thank you.
(39:26):
I'm not sure, I'm not sure, I'mnot sure, I'm not sure, I'm not
sure, I'm not sure, I'm notsure, I'm not sure, I'm not sure
, I'm not sure, I'm not sure,I'm not sure, I'm not sure.
We must be in love, we must bein love, in love.
Thank you you.
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