Take my car, combine between, I was in senior year.
Here's a few Matthew harmonies left on the record.
Very few and only low ones that were like too low for me.
I think like every song on the record started with kind of just like the themes that I wanted to talk about on the record and starting to like hash out what those were and what I was like comfortable to talk about and obviously we could push those boundaries between the two of us and then figure out if it's like something we're sharing with the world or not. But the track stuff is like all you.
I don't make any beats. I just... You make all the beats. I'm a bossy... I'm a beat hater. Like I just have a lot of opinions about the way the beat sounds until it sounds right. The great thing about being married to this guy is that he can speak the language that I speak when I'm like, I don't know what that is. What is that horrible sound? I like to edit, edit, edit, edit, and he just has to keep building, building, building until I'm like, mhm.
Just service job.
I love working with you.
I love working with him, too. Really, it's not such a like juicy topic because we work really well together and we had like zero arguments and I think...
We had one argument early on because he was like big timing me with his like...
studio lingo and I was trying to explain something that I like imagined for it and he was like, well, people don't do that. And I was like, well, I want to. And he was like, I'm just... I'm not clear on what you're wanting and how do you... like he just kind of like went in on me and I was like, okay, I just want to let you know that I haven't done this in 12 years. And I need you to like tone it down. You do this every single day. I know what I want. I just can't explain it to you, and I need you to help me like get there. And that was our one run. Then you called and apologized before I even got home.
I've always like described it as like you're an interior designer. You like know if you walk into a room if it's right or if it's not right, and what it means or what it doesn't need. And I think you have a really quick and good instinct on if something feels like it resonates with you or it's just not the thing.
I wanted to make this record with him, who knows all of my stories and all of my history.
Like you would come with ideas and you'd come with the big themes and I'd kind of audition ideas...
Like how do we fit that into a box that maybe makes sense for you to sing? And I feel like that was our process was you sort of being like, I want to talk about this thing. Or I had a lyric idea, or I thought about a way to frame this feeling. And then I would kind of cook something rough to say like, what about this? And you would very quickly know whether or not it was something we're pursuing.
The first thing you hear is this drum thing.
And I've gotten super into, I don't know why, I just really like the movement of like having a delay on a drum. So I'll do drum loops a lot and just kind of track really super organic sounds and then something about just like throwing on a little saturation, a little bit of a delay just makes it feel like it has some life and movement. I think honestly this song's production was so heavily inspired by Brandon Flowers' record called The Desired Effect. It felt so spacious and I just loved that record. I feel like that was a big reference point.
It's pretty much one key thing from I think it's that super six just through... I want to say it's a Chroma Console, I think is what we used.
It's pretty boring, but it does the job. It's the driver. It's sort of the main theme.
There's two basses going on. There's a normal old root note bass, and then there's a fretless bass.
So this is a fretless is over just over here, which is weird. It's like we wouldn't necessarily put two or three basses at the same time, but it just sort of worked on this thing.
This stuff doesn't do anything for me. I'm like a lyric melody girl. I don't... I like the feeling that it evokes, but like I love like strings and stuff like that. That kind of is something that I'm like paying attention to.
Strings don't really happen until chorus two.
I get really stressed that Matt like sits and does this all day, or he'll be like comping vocals, and he's just like slowly like hunching over more and more.
Yeah, my posture just gets terrible.
There you go. Listen to strings.
Cynthia Tolson, she's a rad string arranger and player, and typically we'll have Cynthia come in and track live strings over it, and it just kind of does the thing. But it's funny. Sometimes like the idea of organic strings just... it doesn't... Sometimes it's really beautiful for a ballad, but for something like this, it...
It's like not... It's like too serious?
Yeah, it's like there's something about the cool cheesy strings from a bad plug-in that just like did a thing.
They're happening in the chorus, and then they come in again in the bridge, and then it gets like a little full spectrum messy.
It starts to get like pretty stacked is what I mean. Like by the time the last chorus is happening,
These weird trumpets come in for the last chorus. It's not happening the rest of the chorus.
Who names them all this? Is this like you're like shopping? Are you like shopping in the app and then you're like dirty guitar, buzzy.
