Snakes of Russia - Emotion Over Perfection - Music Production Podcast #414

podcast
Written By Brian Funk

Joseph Holiday, who releases music as Snakes of Russia, returns to the podcast to talk about his latest album, Swallowed Whole Through the Mouth of Eternity. Joseph’s music blends modular textures to create dark, moody, cinematic soundscapes. 

In this episode, we talk about how Joseph’s approach has evolved since our last conversation, why limitations fuel his creativity, and how visual storytelling influences his sound design. We get into his production workflow, how he finishes music quickly without overthinking, and why his favorite creative moments often come from accidents. We also touch on how the music industry’s changing landscape impacts independent artists and why Joseph is focusing more on physical formats and direct fan connection.

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Episode Transcript:

Brian Funk (00:01.196)

Here we are. Welcome back. It's good to see you, Joseph.

Joseph (00:02.586)

Hey, hey man, good to be back. Absolutely. Yeah, likewise, man. Likewise. I keep him busy. I see the show has been pretty pretty awesome. Yeah, yeah, you I'm talking about you. Yeah, I see the show. Yeah, the show has been has just been great. It's been consistent. I've been listening along and everything. Yeah. It's awesome. Yeah, yeah.

Brian Funk (00:10.252)

Yeah, I can tell.

Brian Funk (00:14.447)

Brian Funk (00:20.713)

thanks man. Yeah, it's fun because I get to talk to people like you. You know? Like a little secret trick.

Joseph (00:24.86)

Yeah, you had a good friend of mine on, Evan Frankfurt. Yeah, Evan was... He's like as close as I come to like a mentor as possible. Like when I first moved to LA, I was working with his wife and I was introduced to him and he really...

Brian Funk (00:34.997)

yeah, cool, cool. he was fun. was very excited and passionate.

Joseph (00:52.688)

was a big part in helping me get set up with Pro Tools and everything. And he taught me a lot about Pro Tools when I had just started recording myself and everything. Yeah, he's a really amazing guy and a big part of me getting to this point, for sure. So it was just cool when I saw that episode pop up. Yeah.

Brian Funk (01:10.466)

Yeah. Yeah, it's awesome when worlds collide like that. You know, we said before we hit record what people in here is we said, well, you should probably just hit record and get going because sometimes you start talking and catching up. And then we realized we should have been recording all that. And Evan was kind of like that. And I just met him as we were talking. But right away, his excitement, his energy was showing me stuff around his studio. I'm like, OK, we got to start this right now.

Joseph (01:14.628)

I know, it's cool.

Joseph (01:26.587)

Yeah.

Joseph (01:39.502)

Yeah, yeah, exactly. I would think that you, yeah, it's just kind of like, you know, when you're writing or sketching, you know, you want to just keep a chord as soon as possible and, you know, just kind of get everything and then just edit it later, you know. But yeah, I guess the same holds true with podcasts. Yeah. Interviews, you know.

Brian Funk (01:59.586)

Yeah, that's right. I remember you talking about that last time, how you like to get sort of like a something almost every day and hit record and then come back to it so that you almost aren't conscious that you're recording. Because if you wait until like, OK, OK, we've been working and now we're going to hit the button, then you know, you're under like your own observation.

Joseph (02:02.396)

Mm-hmm.

Joseph (02:14.757)

Yeah.

Joseph (02:20.6)

Yeah, yeah, especially with sound design. Yeah, with sound design stuff, it's kind of like, you know, just hit record early and then, you know, as soon as you get something dialed in, right, like a little bit, like, and then then hit record and then just take it from there. And then I find that it helps to have a like either go back right away and edit that. But it's more fun to just keep going and move on to another thing. And like.

maybe take those two sessions and break them up. Because I'm not gonna lie, going through an hour's worth of stuff, it feels a little tedious after you've just had the fun of jamming through it. So sometimes when you break that up into two separate days, it's actually more fun, I feel. For me, it works because then you get to kind of revisit it and go back. So I just like to compartmentalize those two processes.

Brian Funk (03:16.418)

I do too. I often do that second session in the car with just like a notepad and I just write down the times, you know, like if I was, you know, this way, you know, cause I have a pretty good commute each day. So I've got the time and it's, it's a fun way to feel like I'm still being productive and you know, writing down a number real quick isn't too difficult.

Joseph (03:24.464)

That's cool. I like that idea. That's... Yeah, that's a really cool idea.

Joseph (03:36.41)

Mm-hmm. Mm-hmm.

Joseph (03:41.776)

That's super cool. you just, that's cool. So you just sketch real quick and then you just record everything and then bounce the whole thing and listen to that in the car. That's a great idea. I love that, man. That's really cool. Yeah.

Brian Funk (03:51.662)

Yeah. Yeah, sometimes whether it's like sound design stuff or just jamming, you know, those like long winded jams where 14 minutes into it something cool happens.

Joseph (04:00.272)

Yeah.

Joseph (04:06.332)

Yeah, yeah, but sometimes that's something cool even if it's only like 15 seconds It's certainly worth the whole entire thing and it could just spark an idea for a song or a record or a new project or something like that Yeah, so there's really no discounting it like it's really important, but that's a really cool way because it's it's almost like if I'm being completely honest like I have like I have a harder time with that editing process because it's

Obviously not as fun as it was when you're sitting there and messing around and making stuff that I'm talking about the editing process. So the idea of doing it as something like that secondary. That's a great idea. Or like maybe like just putting it on the headphones when you're cleaning your house or something like that. Like that is also probably a good idea. Yeah, because you just sit here and to think about editing, you know, 40 kick samples is just like it's a totally different.

Brian Funk (04:55.073)

Yeah.

Joseph (05:04.398)

way of thinking than it is to make 40 kick samples, you know, so, you know, with hardware or if you have a process that, you know, that you can just kind of flow creatively. Yeah, that's great, man. I'm going to steal that idea. I think that's awesome. Yeah. Yeah.

Brian Funk (05:08.737)

Mm-hmm.

Brian Funk (05:21.025)

Nice. Yeah, like you said, like those kind of average mundane things you might be doing, cleaning the house, walking the dog or something.

Joseph (05:29.624)

Yeah. Yeah. Yeah, yeah, that's that's great, man. That's a really cool idea. I like that. But yeah, I'm all about, you know, trying to find ways to make the creative process. I don't know. It's already fun for me. don't, you know, like the whole part of the creative process is fun for me. But there's obviously parts that are a little more tedious than others, you know, and not being one of them. So.

That's great. I love that idea. That's cool. Yeah.

Brian Funk (06:02.359)

Yeah, so you've got some cool stuff going on. I think the most exciting thing probably that you're reaching out for and all is the new record.

Joseph (06:13.53)

Yeah, yeah, that's coming out. Depending on when this goes live, the date on that is November 21st. So let me just let me check that. So I'm not misquoting myself. It's the 24th now. The 21st, November 21st, it is indeed. Yeah, the Friday, the 21st. Yeah. So this whole new record.

Brian Funk (06:35.725)

21st.

Joseph (06:42.428)

I wrote it really fast. had a really, really busy year and it kind of came together super fast, like the fastest I've ever made a record. And maybe it was more like, there was probably a lot of reasons why it was that fast. There's a few and we can talk about them all, like, but it was such an experience doing something and literally setting.

I've we've talked before about how I'm a big fan of hard deadlines. This was like that on hyper speed. was like, you know, I just I just knew I mean, long story short, like I started the year more or less in February with a pretty lengthy tour that I was on that was about a month long. And and I came home from that tour so inspired and and I wanted to make I just wanted to make something reflective of of.

of my experiences of the more I play live, the more I want to play stuff that I think translates live. So it was a response to that. It was also a response to my last record. Unfortunately, I didn't have the best, I didn't have the most positive experience working with a label. So it's just kind of like one of those things that I wanted to make something just

I wanted to have something new. It was kind of a lot of disappointment and I didn't want that to just be the last thing that I had was this thing that, if that makes any sense at all, I didn't want them to have the last thing, if that makes sense. So it was a combination of that. And then I was just inspired, just really got back from these shows and

and just had an idea, knew exactly what I wanted to say and exactly what I wanted it to sound like and just started writing and it just came out really fast. And then once I had about 15 sketches or songs or some of them like came, some of them like formed structure wise really fast. And once I had about 15, then I literally just set a mastering date. I'm like, all right, here we go. And...

Joseph (09:05.646)

And it was pretty, it was pretty good. I had a pretty good lead on it. Like it was like, was about 12 weeks out. So it was, it wasn't like I was, you know, trying to be a hero and do something super fast, but I just knew that I wanted something out by the end of this year. And, here we are. My records will come on Monday. So it's, it's just, you know, I, I knew what those guidelines, what kind of schedule I would be looking at. And I kind of just kind of reverse engineered it and,

Brian Funk (09:29.613)

That's cool.

Joseph (09:35.736)

Yeah, I just, you know, for creative impulse or just I wanted to feel like I had something new and I don't know. And also it had been two years, I think, since my last one. And I'm just a big proponent and just keep pushing ahead. So and I had mentioned some troubles with the last records process. And part of that was just waiting forever for it to come out.

I don't want that again. I want to do everything completely opposite the way I did the last record and a big part of that was self-releasing it again myself. So yeah, mean I'm happy to report everything is perfectly on schedule and that will be available at that date. Both physical and digital will be available that day. There's no pre-orders. Everything is just ready to go. So that's the way I wanted to do it and

to make that happen, needed to hit those pretty hard deadlines. And I'm happy to say I did. And I don't think I really had to compromise anything. It was, you know, I didn't, I'm a big proponent of the deadlines because it gets you to make a decision and move on. And I definitely did that. You know, it was like, okay, this, you know, this needs to be done. And could I go back and make changes? Do I hear stuff now? Of course. But I think we all do that. I think that's gonna be the case.

forever with our recordings, you know, but it's just kind of it speaks more towards just make something new, you know, songs are not songs are, you know, it's not like they're a finite thing. Like we can make more. We could make more records. We can make more sound. We could do everything. So I'm a firm believer in just kind of like put it out, share it with the world and then just do the next thing, you know. So that's where we're at. That's that. Yeah. Yeah. Yeah. So.

Brian Funk (11:14.219)

Yeah.

Brian Funk (11:25.012)

I love that philosophy.

I've been born more by life. just keep drifting in that direction.

Joseph (11:30.79)

you

Brian Funk (11:33.931)

Because, yeah, like you too, I want the last thing I had, know, like the thing that's like at the top of the list of the things you've done, you want it to be something you're excited about. And I get bummed when I look and I'm like, man, it's been a while. And like that thing feels old now and people might check it out and hear that. like in such a different place. So coming out with a new thing and...

Being inspired like that, like going on tour, I get that a lot too. Sometimes we play shows with the band or something and I want to make a song that'll be good at this show again. know, like the crowd from last night will like this one and this will go over well and you get psyched on those types of things.

Joseph (12:03.142)

Yeah.

Joseph (12:13.732)

Yeah, exactly.

Joseph (12:18.684)

Exactly. Yeah. I mean, that's what it's all about, really. I feel, you know, and when we were growing up, like we didn't have that luxury, like making a recording and then putting it out for people to hear. was just like such a, a, like a, it was like a dream, you know, like to have someone, because there was so many people that needed to be involved. And now to think like I, could make something.

this morning and it could be out and millions of people could hear it by tonight is just great. So like I want to take advantage of that as much as I can, you know, with with a certain amount of obviously like quality control, you know, I'm just like I'm I'm a pretty, you know, I have a pretty rigorous like editing process for myself. And, you know, I I believe in just, you know, just hitting it every day and then and then kind of, you know, editing those pretty hard and be like, now this is this is not.

Yeah, this is it, but this is not it. And then, you know, put out. I just think that the key is putting out a good amount of good stuff, you know, like it's both quality and quantity. You know, it's instead of just, you know, releasing just put, you know, instead of just releasing a lot of things, this really is a good amount of quality stuff. I feel like that that's kind of like my way. You know, I like to kind of do it. So.

Yeah.

Brian Funk (13:43.564)

So you're like a top certain percentage of your stuff? Because you have a pretty, from what I remember you saying, like you like to do something almost every day. Put something, create some sort of sounds and.

Joseph (13:55.766)

Yeah, I mean, when I can, right? That's like, especially if I'm getting in a zone of, of like, making something like, fortunately, lately, especially this year, I've had, I've been involved in like quite a few different projects and they're all related to like what I do, but they're all, you know, be it, you know, music for film or video games or

a sound design project or a making of an instrument. I've been involved in a few of those this year, which I'm really thankful for and have made this year pretty awesome. But like what I do is like compartmentalize each of those processes. And then within that process, like if I'm just in record mode, sure, every day I want to make something for the record, be it a sketch, be it a sample or something like that. And then, and then just kind of give myself a certain amount of time to do that. Like for this record,

I got home from that tour and I just kind of went right into it. And then I said, okay, I'm going to spend the next, I'm going to spend the rest of this month. I think I got home in early March and I'm like, I'm just going to spend through April, just, just opening up Ableton every day and just sketching out a new idea. So, you know, I, what did I have like 20 ideas at the end of that month? And then I, and then that, you know, got worked down to like 15 and then there's 10 songs on the record. So that's pretty like, you know,

I'm pretty good at like, you know, if I know an idea is like, you know, I tried, but whatever, I'll just archive it because we save it and then just kind of start new. you know, I'm not that precious with something like I don't need to finish something fully, even though I started it, you know, like I'm. Yeah. So that's usually the process where it's like. So it's a pretty good. It's a good percentage at this point, you know, just but it's only because I've been just doing it for.

as long as I've been doing it. you know, my suggestion to know that people when they start is to just make stuff all the time and, you know, there'll always be good bits. And, you know, but until you show up and do it, you know, I feel like that number gets, you know, but still, I mean, I'm guilty of days that I'm just like, what am I doing here? Like, this is just, this is awful. This is terrible. I'm gonna quit and give up and...

Joseph (16:20.986)

I don't know, move to the desert. So it's, yeah, it still happens. It will happen, until the end of time for me. It'll always just, never, I think that's what makes us creative people, it's just the way we work. So yeah, but that's kinda, that's the idea.

Brian Funk (16:40.885)

Well, I like to believe that the duds make the other ones more special. If I showed up every time and just, you know, everything was amazing, I mean, that'd probably be fun for a long time.

Joseph (16:46.469)

Yeah.

Brian Funk (16:55.647)

but it would probably wear off too, right? Like there's something kind of exciting and thrilling that like, I don't know what I'm gonna get today. And a lot of times that's the thing that prevents me from getting started in the first place. But that thrill is kind of exciting. You're sort of driving the car when it's like you're turning too hard and the wheels are coming in the air. Like that's, I like that feeling.

Joseph (17:12.172)

man.

Joseph (17:17.722)

the best. It's the best. It's the best part of the process is that thing where like you say, I'm going to make a new blank, whether it be a record or or this or this, you know, this score or this project or this collection of sound design material. And and then it's just all about like and this is another reason why every day I do something different. Like and what I mean by that is like if I have a

like in March when I said I'm gonna just write every day. Let's say on Monday I wrote this thing and got it to like 60 % and it was great. Like I thought it was awesome. It's like, yes, this is what I wanna say. On Tuesday, wouldn't let myself go back to that one yet. I would start fresh. I would start fresh and write new because we don't get a, like I don't get a chance to do that very often. It's just in that small period when I'm starting something that I do and it makes every day,

awesome because I'm just like what's what are we gonna do today? What's gonna? What's gonna come out of this today, and it makes it so fun and creatively fulfilling And then there's plenty of time to go back and then okay and then like at the end of that period of time to go back and to re-re-revaluate all that stuff that we're doing and that's when we get our hands dirty and kind of like start replacing stuff and and and properly arranging and

Stuff but but yeah to have that period of every day waking up and just being like Today's a brand new day with a new and a lot of times what I do is I devote that day to like a piece of gear that I haven't used in a while You know, like I'm just like hey, I haven't I haven't messed with this synth in a long time Let's make today about writing something on that synth, you know some days it doesn't work Like we're saying it says some days. It's just it falls completely flat. But you know tomorrow, know, so

And you know, I made an instrument late last year, but it came out early this year for a company called Crow Hill. And it's a combination of drum and bass stuff. And the sessions going into that were super fun because it was exactly like what I was talking about. But I was just like, today I'm going to sample and work with the Moog. And then the next day I'm going to use the MS-20.

Joseph (19:39.322)

So to be able to just have a day where I go in on that one piece of gear and just have fun with it. And I'm like, I'm not even gonna edit this stuff. I'm just gonna go and just make sounds and just get it laid down. So, I don't know, it keeps it fun, it keeps it fresh. I love it.

Brian Funk (19:56.054)

Yes, you have a little bit of a project within these days of experimenting and writing and jamming. Yeah. I think it's a great way to work.

Joseph (20:01.774)

Yeah. Yeah, like it's organized. It's not, it's not like it's, yeah, it's where it works for me, you know, it works for me. And I, and I know there's people that will just start off on a, on a Monday, write something and want to finish that all the way through Friday. And I've worked that way before and that's fun too, you know, but for me, if I, if I have a, an idea, because I tend to go into things pretty

heavy concept, you know, like I know that I want this collection of songs to kind of all sound the same and have this vibe, whatever this vibe is. So for me to work that way, it really helps if I just brain dump on that idea. Same with sound design, same with making an instrument. Like I know that I want it to sound like this. And it's just, works better for me to do that. But someone else might be completely different.

And that's the beauty of what we do. like, it doesn't matter how we get there, you know, it's great. So yeah.

Brian Funk (21:05.651)

I enjoy that approach though of I'm going to try this thing or this plugin or these sounds or that guitar. I'm going to set up some kind of little playground for myself and see what comes out of that. Cause my biggest issue is always the paradox of choice that there's just so many options and directions to go. I really do need to.

Joseph (21:12.72)

Yeah.

Joseph (21:21.254)

Yeah.

Brian Funk (21:30.949)

say I can only go this far and that far within something and then how creative can I get in there

Joseph (21:36.121)

Yeah.

That's man, that's so important. I really think. I mean, I do it. I don't know if it's subconsciously or or. But I set those parameters for myself, like for that library I just talked about for Crow Hill. I said just as a as a as a guideline, as a limitation, I'm only going to use analog source. So all the sense in my studio and all the ones that I was able to borrow.

As long as it's an analog source, I could use it for this project. And it wasn't because I'm like some purist or anything. It's just because it created some kind of like, it created like a barrier, like a kind of creative limitation. And I fully believe in creative limitations. Like I think that's kind of how I get the best work. And I did some music for a film earlier this year and I made my palette very simple. just like, it's like, I can only use upright bass samples.

and synth and those are the only two melodic instruments I'm going to allow myself to use and just like, know, whatever I can pull out of those things. And not only does does the limitations just make things, I don't, easier as far of what you said as far as the paradox of choice, it gives it a palette. It makes it sound a certain way that's unique, you know, because at a certain point, like,

it's gonna be cohesive and it's like, you know, those, you know, those things don't sound like you can pull much of a range out of them, but you know, you certainly can. And it was great. made it, and it's fun to talk about. It's great. You know, when the director found out that I had done that, he was like, that's awesome. You know, and then we talked about it in, you know, when people asked about the music, you know, I said, yeah, I kind of limited myself to this.

Joseph (23:32.396)

I love things like that and I love hearing that. love hearing, you know, like some, you know, when our heroes made their records, you know, they only had eight tracks or 16 tracks. Like that's just incredible. Like I love it. Like I'm all about limitations, you know? So.

Brian Funk (23:50.568)

What is the name of the film?

Joseph (23:53.592)

the one that I had finished earlier this year is called Human. It came out, it premiered at Fright Fest in London earlier this year. It's great, it's just a wild, wild horror film. And it's going to some other festivals and hopefully it'll find some distribution so everyone can check it out. But it was one of those where I was introduced to the director and he sent me over it to watch. I was just like.

This is the craziest thing I've seen. People are going to love this or hate this. Like I don't think there's going to be any people who are like, I was OK. So I'm like, I'm in. So yeah, it was it was great. So yeah, hopefully by the time this podcast comes out, there'll be some more Intel on that too. Yeah.

Brian Funk (24:25.161)

Yeah.

Brian Funk (24:38.89)

Cool, yeah, I'd love to see it, because I always think your music sounds very cinematic and kind of, and horror a lot too. It's the day before Halloween and I've been listening to the link to your new record and like this is the perfect music for right now. And it's not, it's like end of the world Halloween type of stuff, you know, like really intense.

Joseph (24:46.695)

cool.

Joseph (24:53.137)

huh.

Yeah, yeah.

Well, mean, you know, yeah, I mean, mean, that's it. Like, I like to paint a picture, you know, like I'm a pretty positive person. Pretty, you know, all of any and all frustration I have goes usually goes into the music and it's instrumental. So I don't I really can't express that any other way but to paint a picture of some, you know.

some scenario or some, know, lot of my influence, like it's just film and, you know, so like that, that, was those two worlds are just very like, they're just connected to me so much, like film and, and the music I make. So yeah, but that's awesome to hear, man. Thank you. Like, I think that's kind of what I'm going for without going for it. It's just kind of like what comes out, but, but, but yeah, yeah. But there was also a reason why, like I wanted, I'd rather, I mean, I'd rather

every record of mine come out around Halloween because it's just the best time of the year so it's you know to me so you know so yeah so yeah that was kind of a plan.

Brian Funk (26:08.426)

Well, I'm glad you're not channeling that energy in your regular life.

Joseph (26:11.994)

Yeah, I wouldn't want to hang out with me at all if that were the case. Yeah, no, I just yeah, it's like Playing these shows and stuff and and and I don't you know, I don't talk on stage. I don't have a microphone and People are always kind of shocked to find out that I'm just not a total jerk When they come up talk to me after because at least I don't think I am but you know, yeah, it's just

Yeah, that's what music's for. It's only, you know, I I spent a long time co-writing pop songs, you know, with people and, you know, it's, to have lyrics to challenge, you know, emotions into is great, you know, but it's, you so, but I don't really consider it that much more of a challenge with instrumental music. It's just kind of like, this is just.

This is just how it kind of how how it comes out. This is really, you know, like that that part of my mind that goes into the music, you know, because, you know, we all get frustrated, we all get sad, we all get, you know, angry like those are regular human emotions. And I think they're healthy to go through. And I just choose to deal with them this way.

Brian Funk (27:28.562)

I like doing that myself to sort of embody. There might be feelings I have, there might be feelings that passed real quick or even just sort of imagined myself having and let a character be in the music and embody that and kind of get to experience it, you know, vicariously almost. And I don't...

Joseph (27:38.438)

Mm-hmm.

Joseph (27:45.584)

Yeah. Yes.

Joseph (27:52.665)

Yeah.

Brian Funk (27:55.626)

Usually, anyway, I think so much of what I do is like, this is me and who I am in the moment. I mean, that comes through a little bit, but I don't ever want to be psychoanalyzed by what music I make because it's sometimes just like, it'd be kind of funny to explore this character's way of thinking, this little version of myself if I was this way and put that in a song.

Joseph (28:03.066)

Right. Sure.

Yeah, yeah.

Joseph (28:20.54)

Yeah, I remember one of the last bands I did where I was singing, was fronting it and at the time I had the apartment, had the girl, had the dog. It's like, am I, am I angry about anything? And it's like, was really aggressive music. So I just, I looked at people like Tom Waits, know, where it's just like, it's a character, right? So I just started writing songs about, know, grave diggers and space travel and stuff. And it was just, you know, just,

Brian Funk (28:35.197)

Yeah.

Joseph (28:50.086)

put myself into a character and stuff. And maybe I'm doing that now, maybe I'm doing, you know, but the character is a world, it's you know, like more, you know, cinematic, like you said, and just kind of, your visuals really inspire me. I found the art to this record really early on in the process. It was by an artist that I follow on Instagram.

His name is Morgan Sorenson. He goes by C Machine and and I followed his stuff for a while and I'm just like Man, it's just incredible and one day he just posted these two images and I'm just like that I need that like that that is what this record looks like and I hit him up and it was great and and we you know, and he licensed them to me and I just had that on my desktop for the entire time and

And it's so simple. It's just a really simple thing. But I just like this is just the starkness and what this is. So there's a lot of stuff like that. Like I get really inspired by just, you know, photos and movies and stuff and just kind of, you know, keep those keep those in my mind when I'm working on stuff, you know. So, yeah, it's very important to me.

Brian Funk (30:11.547)

Is this the album cover art that I'm looking at on the SoundCloud that you're referring to? It looks kind of like a snake and maybe a balance of some kind. It's like an infinity snake through a triangle. Yeah, it's interesting. It is. It's clean. It's black and white.

Joseph (30:16.25)

Yeah, yep, that's it. Yep. Yeah, yeah, and, mm-hmm, that's it. Yep, yeah. I saw it. Yep, yeah, that's his style, and I saw it, and I was just like that, you know? So I usually like, it's funny how I usually kind of like...

Brian Funk (30:38.525)

That's what this feels like.

Joseph (30:43.096)

start things with that in mind. Like, like as I said, I go into things pretty high concept. So it's like, I always have that idea of what it's going to look like, what it's going to, you know, how I want to present it before the music is even there. So this was no different. You know, this was just that, like that, like that, that image still on my desktop. It's just, it's been there the whole time. So every day I fire up the computer and I have that, that image right there. and it, and it kind of

know, drove the whole thing, you know, so yeah, super important to me.

Brian Funk (31:17.225)

Yeah, it helps you unify it, right?

Joseph (31:21.904)

Yeah. Yeah.

Brian Funk (31:24.059)

I've always felt albums tend to take on the color scheme and the artwork when you first pick them up and look at them. They start to just sound like that to you, especially when it's done right, I guess.

Joseph (31:37.24)

it's so important, Yeah, it's so important. mean, think about our favorite records growing up. It's kind of in the beginning, like walking into a record store, at least for me, like that was the first impression that we had of a record. I mean, I remember, and this is insane because they ended up being one of my favorite bands, but like Faith No More, I completely discovered 100 % just by picking up that CD, looking at the front, flipping it over, looking what they look like. I'm like, these guys look so cool.

and bought it and it was just like they became my like it's that's insane to think about like that's the way it happened i didn't hear anything on mtv i did i didn't i didn't hear anything on the radio i think it was in just the new releases in in my local record store so that that's magic like that i doubt that'll that'll that i'd like to think it happens like i'd like to think you know like

Brian Funk (32:06.899)

you

Brian Funk (32:11.069)

Yeah.

Joseph (32:29.338)

I mean, it still happens with me to a degree where I'm looking at them like, look at that record cover. That's super dope. And I'll check it out. And it's become easier and easier to do that now. I don't have to like buy it and then go home and pop it in the CD player. like, you know, so I just love that that hopefully that happens to other people too. And maybe it'll happen with my record. I don't know. Maybe someone will see that awesome artwork and be like, what's this all about? So yeah, it's super important to me to have that whole package. 100%. You know, the cohesiveness of it all.

You

Brian Funk (33:00.605)

Yeah, especially when you like the way you like to work, there's that theme in just your process too, of the way you're working, experimenting and tying things together. You're not really like the kind for the most part anyway that you have these songs since you were, you know, whatever age and now you're finally putting them out. It's more this episode you're going through.

Joseph (33:07.749)

Yeah.

Joseph (33:24.7)

Yeah, yeah, but but sure, but at the same time also, like I mentioned before about archiving stuff, like I think that's important too, because it's it's it's I always like to go back and listen to stuff that I've done in like, either recently or a while ago, or I probably do that once a year where I go back in and listen to the stuff that I've saved, because everything gets saved by date, you know, everything has a date. It's like

and then I go back and I just listen to some of that stuff. What I started doing recently, which has been super helpful, which I can't believe I haven't done in the past, was I would bounce, like if I, whatever I work on that day, before the day's over, I just bounce an audio file of that, and then I just put that in its folder, so I don't have to like open up the entire session. I can't believe, like it's insane that I'm just doing that now, but...

But yeah, that makes that makes going back and listening to stuff way easier because I could be like, what's February 14th? And then I could, you know, listen to that audio file as opposed to going and opening up the entire session. But I think that's important, too, to kind of go back and listen to that stuff. And sometimes it's like, you know, yeah, I'm here now. I don't. That was where I was then. And but sometimes there's something in there. There's like a.

a bass line or a kick drum or something like that's cool. Why didn't I ever use that? you know, yeah, I mean, even sometimes within the process like this record, I had some songs that started off completely different. And then I was ready to just kind of throw them away. I'm just like, that's you know, that's not that's not great. And then I just there's just something in there where I just pull out that one piece and then make a whole new track. And then it turns out to be like one of my favorite songs on the record. So. Yeah.

I think, I get what you're saying and I think it's important to keep looking forward and moving forward and like, you know, but it's also like smart to archive stuff and, you know, give stuff a second chance sometimes because we might be in a different place with it, you know? So.

Brian Funk (35:33.107)

Yeah.

Just as that is often the problem I have when I let too much time pass that I'm not there anymore. That's one reason I like to work fast is because I'm still in that zone. But it's something that brings you back or you hear an aspect of it. I'm very much less likely to go into an old session and open it up unless I know what I'm looking for. But I do that too. I'll make the bounce. The bounce does two things.

Joseph (35:45.626)

Yeah, and that vibe, sure.

Joseph (35:53.328)

Yeah.

Brian Funk (36:05.676)

One, it goes into my Apple music and if I hit shuffle or random, it might come up. So it might just come find me once in a while. But...

Joseph (36:10.49)

That's cool.

That's cool. Yeah.

Brian Funk (36:18.116)

It also just gets me to get into the arrangement view and put something down in a linear fashion instead of a lot of times I like to be in session view within live. And you know, have these like ideas that they're just kind of floating around, but they don't have any ground yet. When I get to the arrangement view.

Joseph (36:28.604)

Mm-hmm.

Joseph (36:35.61)

And you're like in Loopland, yeah.

Brian Funk (36:39.976)

then I've sort of made some decisions about it and move forward and even if I'm not ready to do it, something is there now. So that helps a lot too.

Joseph (36:47.322)

Yeah, that's cool. Is that the way you work? start in arrangement and then move over to, I'm sorry, the other way. You work in session or clip and then you go over to arrangement.

Brian Funk (36:58.724)

A lot of times, yeah, a lot of times. Not always. I tell you, the thing I've been really enjoying lately is to just play into arrangement view, just maybe guitar or something, and have that be my guide. Because you can, and I keep talking about this, I gotta make a video of it. In live, you can set your clips.

Joseph (37:00.591)

Yeah.

Joseph (37:10.246)

Yeah. Yeah.

Brian Funk (37:25.168)

rather than following the grid, can make the grid follow your performance. yeah, so I've been just doing that, playing some guitar and then sequencing drums and they just lock in with my guitar playing, not the other way around. Yeah.

Joseph (37:28.568)

Yes, that's super cool. That's super cool.

Joseph (37:39.322)

That's awesome. That's that's really cool, Yeah, I used be that way, too. I mean, I think the first three or four years I was in live, was in I wrote in, you know, session or Clip View, and then I would just write like like and then I would go over to arrangement and arrange everything. But then all of sudden, like in the last like

five years or so, like I've been just strictly in arrangement. And then even live, used to be for live shows, I used to be clips, clips, clips. And now I'm in now even without I'm in arrangement. So, yeah, I so for for me to like pop over to Session View land, it's like super fun and exciting. like stuff, cool stuff with like when you start like is it when you randomize the clips with the follow actions and stuff?

Like that, you can get into some really cool sound designy, you know, things like I find like with bass, with bass and stuff like running the same MIDI and well that we could do that. Yeah. In arrangement too. But yeah, I don't know. I just love Ableton is just the perfect playground in so many ways. So yeah. Yeah. But you need to do that video, man, because that's really cool. I mean, even I like I want to see how you do that. Super cool. Yeah.

Brian Funk (38:40.498)

Yeah.

Joseph (39:01.852)

I haven't messed with that, but I know what you're talking about and it seems so cool.

Brian Funk (39:06.704)

It's wild because you can do it both ways too. You can play the guitar and then sequence things over it, or you can have things that you've already been sequencing, then play your guitar into arrangement and it just all goes along with it. And it has the subtle changes or maybe not so subtle changes in tempo.

Joseph (39:19.366)

That's cool. Yeah.

Joseph (39:26.693)

Yeah.

Brian Funk (39:26.948)

I'm just really interested in that dimension of expression, the BPM. Like for so long, I've just by default played to the click, played to the grid. And now I'm kind of like, no, let the grid play to me.

Joseph (39:33.916)

Yeah.

Joseph (39:43.98)

Yeah, yeah. Right, that's great. I love it. love it. Yeah, that's perfect, man. mean, yeah, as the as my live show kind of like evolves and stuff, like it's still just me, which which just is just it's sustainable, you know, for me for now. And, you know, it's so much easier for me to tour by myself. And the second I add.

more people it just becomes you know a little bit more complicated but I mean that is the plan you know to scale up that way and the next thing would would easily be a drummer and I think about all those possibilities with that and like man it would be really fun to do exactly what you just said but with drums like how can we how can we make it move a little bit and get off

get off the track and get off the click and stuff. So yeah, I'm always thinking about stuff like that and how that would be super cool to do, you know, but yeah.

Brian Funk (40:44.76)

I saw a cool video of you playing, I think with two drummers, right?

Joseph (40:49.06)

Yeah, that was that was very early on. was for like not super early, but it was for the last record. And if someone dropped a bag of money in my doorstep and I was able to do any kind of, you know, touring situation I wanted to, it would I would definitely it would always be with two drummers because there's just something cool about that, like that visual. But yeah, so was very intentional for that video to kind of get get get that idea out. And and but yeah, I just love I mean, that's

In my head, the perfect live band incarnation would be that. But I realized that it's just, I mean, just bringing one drummer on a month long tour is enough of a challenge, nevermind two. yeah, but one day we'll get there.

Brian Funk (41:36.466)

think I've woken up in the middle of nightmares. I think I've woken up in the middle of the night having nightmares of having more than one drummer.

Joseph (41:44.484)

Yeah, mean, it's just the logistics, you know? mean, and you know, I'm doing almost all support stuff, you know? So it's like my, I try to make my footprint and change over and everything in stage space be as like compact and easy as possible, you know, like on and off within minutes. So the idea of like,

Brian Funk (41:48.849)

Yeah, yeah.

Brian Funk (42:09.969)

Yeah.

Joseph (42:10.608)

first band out of four and having two drum kits is just a little bit funny. So yeah, that'll happen one day, you know, but, but for now, you know, yeah, I do. I, I, I, like a mini van, you know, and just put, it's just me and I do all the driving and all the load everything myself and sell all the merch and stuff. You know, that's for now, like it's

Brian Funk (42:17.445)

Yeah, that's like a tour bus situation. I imagine you could probably travel in a car, right?

Joseph (42:39.26)

great, like it just works. You know, it's like, but you know, as again, like I'm always into pushing things forward. So I know that if I add, you know, other people, it would just elevate that. And for me, that just looks like adding a drummer, you know, which is I grew up playing drums. It's like always the first thing on my mind. So just adding that live drummer would be like the next step, I think. And then so, yeah. And but but.

you know, just becomes everything just becomes a little bit that trickier and, and, know, cuts into money a little bit and stuff. So, but it's something I think about and look forward to doing as soon as I can, you know, and hopefully that'll be sooner than later, you know? So, and then, and then, yeah. And then eventually the two drummers, but, but for right now, just, just I'll take one, you know, just, yeah.

Brian Funk (43:31.655)

I love that video, that was really cool with the two drummers and you're kind of like in the middle of it.

Joseph (43:36.486)

Cool. Yeah, that's, mean, that's kind of the idea I had from the get-go. And yeah, the director, who was a good friend of mine, we worked on a lot of stuff together. He saw it immediately. was like, yeah, I get this. And then we went and visited that space, and it was just perfect. But almost the entirety of how it looks is his idea. Yeah, my buddy Daniel Lawrence Wilson is his name. He's incredible. So yeah, that was all his doing.

But I just said, I want a video with me and two drummers. And then he just took it and ran with it, yeah. So yeah, I mean, and then going into this new record, I kind of did just the opposite where I just, I filmed some of what my live setup is now, which is a modular case, a very small keyboard controller, and

some drums and I did some full on hit play on both the video and the recorder and just go through what my live set is. I did that in this studio recently and I've released one of those and I have a couple more that are released. So it's kind of like, you know, it still feels like what a performance would be, you know, and it's just a little bit different.

So, and it's more indicative of indicative of what the of what the live performance is now, you know, yeah.

Brian Funk (45:12.005)

Right, you had the case, think, and then it was two drums, like electronic drums with samples, I guess. And it like maybe you had something else you were hitting on the rims of those.

Joseph (45:16.366)

Yeah. Yeah, yeah, that's it. Yeah.

Joseph (45:23.086)

I had so it's it's yeah it's two V drums I mean and there turns out to be like a lot of there's a lot of like floor tom stuff on this new record I went in and I recorded a lot of live floor toms and I wanted and I wanted that you know to be part of the live show from this point forward so it's a little bit easier for me to carry two V drums than it is two full-size floor toms

especially like flying with them and stuff. So yeah, it's two V-Drums, so I have triggers on the heads and the rims, and then I have two of those pads, those two rolling pads on each one. So I actually have four triggers. I have the two toms and then the two pads on each, one pad on each tom. Yeah, so it's cool. It's so much fun, you know? And really kind of lifted the live show a little bit, because before that I wasn't really hitting anything.

So, you know, and I changed, I changed like, I used to have like more of a table situation and I got a brand new kind of stand just to make it look a little bit cleaner and everything. Yeah, I'm loving this new live setup and you know, I think it translates a little bit better because there's, you know, some live drumming and stuff. So yeah, there'll definitely be more of that, you know, yeah.

Brian Funk (46:46.215)

It's good. I thought it gave it like a tribal vibe. Boom, boom, boom, boom. Big, huge toms.

Joseph (46:49.774)

Yeah, yeah, yeah, yeah, there's a lot of that. Like that was definitely where my head was at with this new record of like, you know, just exactly what you just said. Yeah, so, and it was so much fun. Yeah.

Brian Funk (47:03.975)

It's a cool mix because that's so deep in our ancestry, that kind of stuff. But then you got the synthesizers, the modulars and stuff that's so futuristic and current.

Joseph (47:12.443)

Yeah.

Joseph (47:18.416)

Yeah, yeah, just, and it's just, you know, just energy just with the drums and toms. It's just, you can convey so much energy just like that. And almost every song from this new record, it's like, like I do have writing templates, you know, as I got like, and at each, every writing template had like a set of big floor toms, you know, and that was like so almost every single one of these songs started off with some kind of like floor tom pattern. I was listening to a lot of

There's a few neurosis records, you know, and they were heavy on floor toms and stuff. And this band called Swans, just that kind of just primal drum stuff is, you know, that's that those are my head was that this this time around, you know, because I just I just wanted I kind of want to just evolve with each thing. You know, I already have an idea like what the next thing would be. And it's just way different than this. And I don't know. Hopefully people that dig it.

will come along for the ride. I'd like to think so, you know? So yeah.

Brian Funk (48:20.954)

Are you using live, Ableton Live to play live?

Joseph (48:25.104)

Yeah, yeah, so I have that. Yeah, because I want to stay pretty true to the records. have like a like a rough arrangement and then I have I'm playing some live keys, some live drums. I'm sending a few channels of mini to the modular case and then everything kind of gets gets run through my master channel in Ableton. And then I have like mute solos effects.

Brian Funk (48:26.8)

So is that kind like the brain that everything's running through?

Joseph (48:53.308)

beat repeat, delays, filters, all that stuff that I basically just kind of like run stuff in and out of all all those master effects and I'm always chopping stuff up and changing the arrangement. I have some clips that I launched on the spot that are just launched on top of the arrangement as is and stuff. So I come up with like a basic arrangement that differs a little bit from the record. And then I try to kind of do a

you know, just just live kind of remix of that and make it so it's dependable enough that the show happens. But also also just it just just there's, know, I could miss a cue and come in and not on the one. And yeah, you know, just where it's like it's just a need because it needs to happen. Right. It needs to be, you know, I can't I can't have just it not happen.

Brian Funk (49:32.358)

you

Brian Funk (49:38.372)

Yeah, enough danger too.

Joseph (49:48.59)

you know, but it's but it's at a point where like I try to make it a little bit dangerous and you know, and I I keep I keep pushing that line more and more that you know, it'll just become I mean, I'd love to just get off of I'd love to get off of the tracks a little bit more but at the same time it's just me and going circling back to the conversation of it being sustainable being just me, you know, I'm sure the more people I add into the fold the the

you know, the more I'll pull out of the track and have stuff to do live. But for now, it just works. And I feel, you know, it's just, it's kind of like, it's fun for me. Like I have a great time and I think if I'm having a good time, I think, you know, hopefully the audience is too. So yeah.

Brian Funk (50:33.99)

definitely. I think that's a big part of it. I've seen bands that I didn't even really like the music, but I was like, these guys are fun. Like, look at them. They're having a great time. You know? So that's huge. And that's cool too, because if you start adding elements, those are the things you can pull out of the tracks. You know? And then that also gives you the freedom to, if you can't have everybody, you can just bring them back in.

Joseph (50:42.552)

Yeah. Yeah.

Joseph (50:53.4)

Yeah, yeah, yeah, exactly.

Joseph (51:04.124)

Yeah, yeah. So I think also, again, I was talking about how the live shows kind of inform the writing almost more so that direction than the other way around. If I knew that I was eventually going to have a live drummer, definitely the records would reflect that. I would write parts that I'd want.

that I'd want a live drummer to play rather than have them just play what's there. know, like I've done it before. Like I've done, you know, like a record release show for the last record where I had drums and bass and me. And it was cool. It was great. The energy was awesome, but they were just simply playing the parts that were there where I think I would interpret it like, you know, if I have the ability to use a live drummer and then other parts, like I would write for that.

Brian Funk (51:52.325)

Right.

Joseph (52:02.094)

You know, like it would definitely make that a thing so it's interesting for everybody and then then translates that way and it's not just they're simply You know playing some parts that are already there, you know, if that makes sense if that makes sense I mean, obviously if I'm playing older stuff, you know, they'll they'll have an interpretation of that. So yeah

Brian Funk (52:15.824)

Definitely.

Brian Funk (52:20.816)

But yeah, knowing that you're going to have that, that takes you in a new direction. When you start with that in mind, yeah.

Joseph (52:25.692)

Yeah, absolutely. Yeah. I I think about thought about that yesterday because of course I'm always thinking like, okay, what's the next thing? You know what I mean? I mean, I literally just, you know, got home from a pretty lengthy tour, like about 10 days ago. And I had some, you know, like I decompressed for a couple of days and then immediately I'm like, all right, what's next? What are we doing? Like, you know, cause I'm, cause you know, this, this record is done and everything. It's like, you know, besides just

put it out and there's nothing else I could do. So I'm already thinking, I'm like, all right, what's the next thing? What do I, what do I want to say with the next thing? So I'm already thinking in terms of like, what, you know, what do I do to push the, the, you know, push it just a little farther? So yeah, super important for me to think that way, you know? So.

Brian Funk (53:15.962)

Mm-hmm. Yeah, well, a lot of people say that. And I love Steven Pressfield, the author of War of Art. he's like, I think he said, like, you know, the day you finish your manuscript, start the next one. a good job, keep going kind of thing. And I like that. Just don't sit around too long. Yeah.

Joseph (53:24.22)

Ugh, so good.

Joseph (53:33.372)

100 % Yeah, man 100 % Yeah, it's like what else Yeah, I mean I have a really hard time like not I don't know like I just when my son was born I Was was the last time that I like tried to take some days off? and it was it's a hard time and You know, I mean he was it he was

You have three, four days old. Like you just like he eats and he sleeps most of the time. So, you know, I remember saying to my partner, I'm like, is it does it make me a monster that I want to go in there and like write some music right now? Like, you know, he's he's sleeping. Like, what else can I do? You know, so it's it's that like I just which probably is the most healthy thing, you know, that I I have a hard time doing that. But I, you know, it's just it's just how I feel like I need to be right now, you know. And.

but yeah in in terms of like finishing one thing and just moving on to the next and You know, I don't like to spend too much time Thinking it's even like even listening to stuff, you know that I that i've done in the past like I I just kind of like to leave it alone You know, I know like when i'm almost like if i'm sick of something like this record is a prime example where like after the mix process and after the mastering process i'm like I almost hate this. This is probably a good good sign, you know, like i'm just

I don't know, it's just like, I don't know. It's not, I'm sure people have different ways of working and that's awesome because it's just whatever it takes for you to make art and put it into the world, then that's great. But for me, that's definitely the way, make it move on. I don't know, keeps my creative juices flowing, I guess.

Brian Funk (55:27.872)

I think so. get that. And hey, know, I'm sure the music you came up with when your son's three days old, like you can't tap into that again. Right? Like that was, that's a once in a lifetime moment. Your firstborn son is, and now you, this is what's coming out of you. So.

Joseph (55:41.103)

No, yeah.

Joseph (55:46.372)

Yeah.

Brian Funk (55:50.05)

I think, yeah, I feel like that about really anything that every time I show up, I'm a different person. And the situation is different than what happened to me today and who was there and who's there with me or not there. All factor into it. So I can't.

Joseph (55:57.891)

Yeah, man.

Joseph (56:08.078)

Yeah, man, 100%.

Brian Funk (56:11.951)

can't recapture that. yeah, infinite.

Joseph (56:12.432)

Yeah, there's so many variables. No, there's so many variables too. You know, it's, it's, it's, you know, yeah, that's, that's why we just got, if we're in a vibe, if we just got to, you know, go and chase it and then, you know, but you know, I, I, yeah, that's why like I, I, that whole idea of waiting for inspiration. I'm just like, I just don't, for me at least, I just don't subscribe to that. I'm just like, we, you know, sitting, I'd be sitting around, you know,

Brian Funk (56:40.963)

Waiting,

Joseph (56:41.08)

Forever if yeah, just you know, but sometimes you know, but sometimes that's not true Sometimes it just do it's so fucking inspired but sometimes but but most of the time now, man I'm just I'm just gonna you know, I'm just gonna go get after it and and you know, see what comes out then Some things it just does not work and it's just you know, like, you know like I've had I had a few of those on this last record where it was just like where's like I'm just beating this idea to death and this is not happening. And you know, that's

That's okay. Like you need those like you need you need those days where you're just like, what am I doing? Like what, what is this? Is this like, is this even like, you know, like I feel like it's just part of it's such so part of the process and it makes, like you said, it makes those other days feel even better. You know, the, you know, the highs and lows. So yeah.

Brian Funk (57:34.02)

Yeah, I think the only time I ever get struck by the inspired lightning bolt is when I can't do it. You know, when I'm like at work or I'm like away or something. But the best way to make it show up for me is to start doing something, start moving with it and tinkering and then things happen. I don't, I think if there's like any kind of magic to this.

Joseph (57:40.796)

yeah.

Joseph (57:49.872)

Yeah, yeah.

Joseph (57:55.812)

Yeah.

Brian Funk (58:00.514)

I think it needs to see you stirring that cauldron. like, you gotta be in there stirring the pot for the magic to arrive.

Joseph (58:04.676)

Yeah, yeah.

Yeah, and I've spoken about this before and it's almost it's like borderline dangerous to think this way, but we're all like we're always like if we with with electronic music, it just tends to be kind of gear oriented, right? It's always about the thing. And it's not just like if if we were writing, you know, if we were writing rock records, it's just literally, you know.

It's very simple because it's big guitar and then every once in a while, you you get a new pedal and that changes things. But I think with electronic music, most of the time we're kind of chasing new gear and stuff like that. And I don't like to fall into that trap of like, I need this thing to finish this record or I need this plug-in to make this. But there's nothing to me more inspiring when you do get a new tool.

And especially like a sample library or a new synth and, it's just like, I can't even make it through like half of the demo patches or the presets without like immediately like starting to write something like that's incredible. Like that's beautiful. like, don't like, so I try to, I try to be fair to myself, you know, to, to when it, when it comes time to like, say, like to use new tools and stuff. Like I don't, I don't like.

I don't I try not to. Like obviously I'm like it's obviously important to like use the things you have you were surrounded by. But like as far as like yeah I mean sometimes there's nothing more inspiring by getting a new a new piece of gear and a new plug in because it's just you instantly are inspired. And I said the thing about guitars but it would be the same thing too if you if you get a new guitar you're just so inspired to play that thing and you're just and you wind up like writing stuff.

Joseph (59:57.008)

You know, so I know that sometimes the gear last can get out of hand, but sometimes it really does work in our favor, especially for me with like new sample libraries and stuff and, and new soft synths or something or man, it's just like, like I, sometimes I can't, I can't even make it through. Like I think presets are great. Right. I mean, I don't, I don't, because they just really just help explain what a piece of gear does. And sometimes I don't even, I've never.

I've never gone through all of them because I get to number six and I'm just like, this is cool. Let me just start recording something and tweak it and make it my own and stuff. So, yeah.

Brian Funk (01:00:41.861)

Yeah, I mean, I agree and that's always so fun and I think that is really the driving force of when I want to get new gear is that I'm going to have those moments.

Joseph (01:00:50.14)

Yes, yeah, yeah.

Brian Funk (01:00:52.416)

Maybe it's like eating dessert or something or taking a drink. You gotta do it in moderation. You gotta be reasonable about it. If you buy every new thing that comes out, then nothing's kind of special because you're just looking at everything else. Wondering what else things... Yeah.

Joseph (01:01:02.18)

Yeah.

Joseph (01:01:07.408)

Yeah, yeah.

Yeah, I think there's a middle ground of like...

this is fun and new and exciting and inspiring. And then that's like a really healthy way to look at it. And then the other side is like, well, I'm not gonna be able to finish this record until I buy that thing, which is like, mean, more often than, like, it still, happens all the time where I'm like, where I see some flashy, shiny new thing, like, especially with a plugin, right? And then I'm like, I'm pretty sure I have something.

that would get that job done already. And turns out most of the time I do, you know, so, and then it gets me to go look at other stuff that I haven't, you know, that gets lost or something. Or sometimes, you know, we go and we, you know, we get a bunch of new samples or libraries and they kind of get buried in the drives. And that's why sometimes, you know, going like, just as I archive songs, like going and...

You know, like if something, here's a funny example. If something doesn't have, if something is in the contact player library and it's just, you have to load it through the files menu. It might as well be like, I'm just like, I'll just forget about it. Like I'll forget about it. So, which sucks. so, so I like to go through and remind myself about those things and those tools because, you know, there's some gold in there that we forget about and they don't, you know, just because they're not in like a contact library official.

Brian Funk (01:02:30.904)

Yeah.

Joseph (01:02:46.692)

So yeah, I'm rambling, but it's kind of like, you know, I love the idea of, I think there's a fine line between, you know, like the gear lust and just being inspired by a new tool. think it's, you yeah.

Brian Funk (01:02:48.642)

Well, no, you're right. I go through that too.

Brian Funk (01:03:03.812)

Well, physical objects, it's here, right? There it is. I can touch it, I see it. But your plugins, your samples, they go on your computer and they're just gone. You know, gotta go find them. So having some, I use those collections inside of Live's browser. Yeah, remind me. I have one called Try Me. And that's like, don't forget to use this. Yeah.

Joseph (01:03:11.942)

Yeah.

Joseph (01:03:16.162)

Yeah. Yeah.

Joseph (01:03:21.961)

I was just gonna say that. I was just gonna say that. Yes.

That's great. I love that. And you're just constantly updating it all the time. That's cool. Yeah.

Brian Funk (01:03:34.53)

Yeah, I'm probably at the point where I need to start deleting things from it just so that it's not becoming its own infinite list of options.

Joseph (01:03:43.308)

Right, right. And then you have like the really try me folder. No, I kind of do the same thing. Like when I get like if it's audio samples, like let's just say it's a collection of kicks or something or just a collection of audio samples. I'll go through and I'll go through everything, like all of them, listen and pick out my favorites and do that and put them in one of the collections.

Brian Funk (01:03:48.312)

Yeah.

Joseph (01:04:09.244)

Or tag them or tag them. I'm sometimes tempted to get rid of the stuff that I that I know I won't use But I don't just for some reason I just hang on to it But yeah, I think that's super important with with if we have information like that You know like like that's not like you said I'm not like a physical piece of gear Yeah, I think that's super important or what I what I what I also like doing is if it is drum stuff I'll make drum racks out of it and then

put those drum racks into a collection. And then, so they're right there and I can grab them. Yeah, that's important, man, because I've gone back and I've been like, that's right, I have that. That's really cool. Why don't I use that more? But to speak to the same thing, I think that's the reason why it's super important to have all of your synths, you don't have to find a power supply. They're patched in.

They're plugged in, they're just like, cause if you need to do, if I need to do any of that, like I'll just, I'll just pull up serum. You know, but like, so, so I think that's super important also to have like, you know, the pieces of gear that we use the most, kind of like, I want them to be right here and, and they're always, they're always either just one patch point away and they're always plugged in, you know. Yeah, it's kind of the same logic. Yeah.

important.

Brian Funk (01:05:35.492)

Mm-hmm. Just be ready to go. Yeah, that's funny. I've gone to buy plugins only to find out I already have it. Like, you go to the website and you log in. I'm like, oh, I have that. Like, if a new update came out or something, I'm like, this looks so cool. And it's like, oh, yeah, I bought that two years ago.

Joseph (01:05:38.757)

Mm-hmm.

Joseph (01:05:46.62)

you

Yeah

Joseph (01:05:57.212)

Guilty I mean, yeah, done I've done the same thing man. It's it's pretty it's pretty funny. But yeah, you know Templates are great too for that because it's kind of like and then changing your your templates Every once in a while like tweaking them to with some new stuff. I bought I have on my desk now This stream deck so it's it's basically like

Brian Funk (01:06:00.704)

Yeah.

Brian Funk (01:06:24.196)

Hmm, okay. I have one. Yeah, I don't know what to do with it yet to be honest. Yeah, I got something like that, but it's got knobs too. It's smaller though.

Joseph (01:06:26.012)

Let me see if I can bring it. You do?

This guy. This. So I have.

okay. Okay. So I have, I just basically went through and I have all of my, all of the Ableton devices and plugins that I use on the daily, just kind of programmed here. And I mean, I know one could argue that like, it's just a simple, like what command F and then, you know, like it, it shouldn't like, but it's just, it does. I've really

feel like it does, it is kind of a productivity thing and it kind of shaves off, you know, by the end of the day, it's shaving off, you know, a significant amount of time because I could pull up, you know, like Pro-Q with one thing here. So that's been a kind of pretty amazing productivity hack that I've recently.

Brian Funk (01:07:20.644)

So you have those buttons for individual plugins and devices.

Joseph (01:07:25.55)

Yeah, I mean, I essentially have audio track, MIDI track, and then all my favorite Ableton devices, all my favorite plugins, all my favorite VSTs. Yeah. So it's, it's, just becomes one button. And, and I, it's the first time I've ever done anything like that. And because before I was just like, let me just search for it real quick, or let me put it in the favorites or, or, but it is, it really does. I have one for bounce too.

and it just, really does like save a lot of time, especially if it's like a perfect example is utility, know, like I have, I have utility on, on, you know, like every, every track by default, but still it's insane how much, how much we need to use utility. And, that's a great one to just, I just have plugged in here. Yeah. So it's, it just loads up super fast and I find I love it, but, but how it relates to this topic we're talking about is like when I was programming the screen.

I had gone through every plugin I have and I'm just like, what do I use? What do I, what do I do not use? And I kind of got rid of stuff that I hadn't used in a while. And then what, and the stuff I really used, I put in here. Yeah. So it was, was good, but yeah, it's just kind of a little thing, a little thing that I, that I kind of integrated this year and I, and I, do love it. I do. I could certainly work without it. Like it's like, you know, if, if, if I'm on mobile, just laptop, like, sure, I could work without it.

But when it's here, I love it. It's great. I'm a trackball person. have this kind. I know some people are like the thumb trackball and some people are like the index finger. But that is something that I do not have. I'm just paralyzed. I try to bring that around when I travel because I'm like laptop.

Brian Funk (01:09:04.866)

Yeah.

Joseph (01:09:21.862)

touchpad, I'm I'm useless. You might as well tie like one of my hands behind my back. So yeah. So, but it's funny, it's ridiculous that these little things, but we're just so used to them. We're so used to our spaces and being in here and you know, we're sitting here all day. So yeah, I think that stuff is really important. Yeah.

Brian Funk (01:09:39.094)

Yeah, that's cool. So yeah, I've got this stream deck and I was talking to somebody that was saying he was using it for that kind of stuff and I thought it'd be nice for switching camera angles. I just never really figured out how I wanted to program the thing. So it's kind of just been sitting around.

Joseph (01:09:57.2)

Right. Yeah.

Brian Funk (01:10:01.879)

I could see what you mean because I thought the same thing like what do need a button for a new audio track like I know the key command it's pretty quick but I mean especially for like the devices and stuff yeah I could see that

Joseph (01:10:09.466)

Yeah.

Joseph (01:10:19.086)

Yeah, it's I use it less actually for for audio and mini track and more for devices. It's kind of like, you know, it's definitely my go to for and it's also the muscle memory thing where I know where each one of these is and it's like and super fast and in the beginning. Sure. In the beginning, I had to remember that this was here. So but over time after using it for about nine months, it's been like great, you know, again, I could totally could totally be gone tomorrow and I won't.

But I feel like does save a lot of time. It's one of those really cool kind of productivity things.

Brian Funk (01:10:56.587)

into it more. It's been on my to-do list for a while.

Joseph (01:10:57.692)

Yeah, yeah.

Yeah, yeah, I get it. Yeah, I think it was originally intended for streaming actually. Yeah, I think that's whole time. Yeah, so Yeah, but Yeah

Brian Funk (01:11:05.441)

Yeah.

Brian Funk (01:11:12.695)

I'm interested in this kind of deadline process you did with this record. The record's called Swallowed Hole Through the Mouth of Eternity, right? Which is a great title, by the way. I love it. It's just, I don't know, it sounds like going into a black hole or something.

Joseph (01:11:19.267)

Mm-hmm. Yeah.

Joseph (01:11:25.724)

Yep, yep, yep. A mouthful. Yeah, it's a mouthful. Yeah. That's all I have. I don't have any lyrics, so all I have is my titles. Yeah, of course. Yeah, I had, you know, I had kind of a notepad where I just wrote down title after title. I have like so many titles and I'm like, all right, what's this? What is this need to put? What does this need to sound like? And, you know, so.

Brian Funk (01:11:41.516)

Yeah.

Joseph (01:11:55.918)

And then I was able to pull two song titles from that because the first song is called swallowed hole and the last one is called through the mouth of eternity. So yeah, I like to have phoma titles again. It's really all I have, you know, so, yeah.

Brian Funk (01:12:04.131)

Yeah, it's cool.

Brian Funk (01:12:10.815)

So when you got back from tour, how far out did, when did you decide to set that mastering date? I guess is my real question. Did you already do some of that kind of sketching first or did you just say 12 weeks and let's start.

Joseph (01:12:18.084)

Man, I think I got, so I got back.

Some.

Joseph (01:12:30.115)

Um, some, like I was probably about like, so I got back, I got back mid March and like, I think I maybe just chilled out like a day or two. Um, and then, and then I just kind of like, uh, came down and started hashing out some ideas. And I think I was maybe like two and two weeks into writing and I'm like, and I just, I literally looked at the calendar and, and, and, and. I mean, to be honest, unfortunately, a lot of this was really fueled by my.

I just animosity how the last release was handled. I just wanted something. wanted like, I was like, wait till I get a record of my own. I had first released my first vinyl release and that just went swimmingly. It was great. And then I just kind of had a lot of issues with the way this last one was handled. So I just like, I mean, I got to put something else out. I wanted to do it myself again. So I literally just said, I just, just.

kind of just reverse engineered it. I'm like, want that to come out this year. And I just kind of worked backwards. I said, I've been writing for two weeks and I'm just like, let's just do it. Let's just schedule this mastering date and do it. And then of course, a week later, I was just like, what am I doing? This is insane. I don't want to compromise. I knew I didn't want to compromise. So I knew, you know.

I've worked with Justin, my mastering engineer for like over 10, 10, 12 years. like, he's like, I knew like, especially that far out. Like I, I mean, I had mastering scheduled. mean, I think it was like maybe three months out. So like, I was just like, I knew if I called him and said, dude, I, know, does he know that I worked that way?

Brian Funk (01:14:11.869)

Does he know?

does he know like I don't have the album yet but we're gonna be mastering on this date

Joseph (01:14:18.204)

He didn't know, he didn't know that. But we worked together so long that like, you know, but I think when we first worked together, when we first started working together, I think I had done that for a few projects and like I didn't finish. And he was like, he kind of alluded to...

Brian Funk (01:14:25.634)

Yeah, that's cool.

Joseph (01:14:46.5)

Like, OK, well, let me know when you have it done and then we'll get it on the books really fast. And then believe me, I'm really respectful of people's time and I don't want to, you know, like I don't like canceling or being late things because I'm just respectful of people's time. Right. So I knew I knew. But that being said, it's kind of like obviously like with 12 weeks away, like it would have been it would have been fine if I needed to shift or move. But but I.

I and I had my moments of doubt where I'm just like there's a fine line between me Compromising just I don't want to just put a record out to put a record out like that's lame But I also you know, but I do I do believe and just like let's let's just do it Let's get this done like this, know What is it like for me to write and and you know work on this thing as fast as I can and all the film and you know

stuff I do is fast. That's all like, you know, I, you know, I spent, I spent a lot of, a lot of time doing customs for trailers and all that's super fast. Like that's insane. That's all that work is done within hours. So I'm like, why can't I just take a little of that energy and put it into this? And the longest part of the process for me was the mixing where I feel like it should be. That should be where most of the bulk of the time was where I, I would mix stuff pretty fast. And then I would have

And then I would have like almost like four or five days before I even listened again. So I have the perspective of then I went back. I mixed everything. I mixed everything, all of them once. So I didn't go back and listen to a song. And then I just did everything round two and then around three. And then if something needed around four. And then it just, that's how I also mixed. Which again, wouldn't work for everybody. But for me in this time and the way I did this,

So yeah, I did. probably, it was probably a little insane of me to have that mastering deadline that early on in the process, but I don't know, man. It's just like, that's just the way I felt like I wanted this project to go. You know, I just wanted this to, you know, to just be that way. And I'm, I'm, glad. And our thing, are there things I would have done differently? 100 % of course. Are there, do I hear stuff? And I'm just like, I really should have done that. Yes. But

Joseph (01:17:12.57)

That's just the way it is. I think that if we keep having that, we'll never put things out if we just keep thinking about it in those terms. Yeah, and now that I did it at such a really ridiculous pace, I don't know if going forward, if I won't ever, I'll probably always do it that

You know, like I'm just like, I'm like, you know, maybe the only difference would be that I would, that I would spend, I would spend a little more time going in and making a palette. Cause I, every other record I've done, I've spent a pretty substantial amount of time kind of making a palette of sounds, samples, loops, things of my own to pull from. And I only did that for maybe about a week with this, with this one.

You know, it was very just kind of like, you know, I just wanted to get the ideas out. So that would be the difference. Maybe the next time around, I would still be really aggressive with my deadlines, but I would, I would factor in a good couple of weeks of, of exploration, you know, and not to say I didn't explore enough this time, but I would, it would definitely be an emphasis going in on making a, a palette. Yeah.

That's it. I hope that answered your question. that's kind of like, you know, I just kind of went for it.

Brian Funk (01:18:41.75)

Yeah, Well, I think it sounds cohesive. I think it has a sound palette, the record. I mean, the songs sound like they belong together. And I think you have, I think some, you know, in listening to you talk about this, I think some interesting things are working together for you. So you don't like to disrespect people's time and you're really conscious of that. So.

Joseph (01:18:48.764)

yeah.

Yeah, thank you. mean, yeah.

Brian Funk (01:19:09.158)

setting that deadline really makes it a real deadline for you because we can set deadlines for ourselves and we can always be like, well, it looks like I'm not going to make it. But for me too, like if I have band practice, like the last thing I want to do is have to send that text and be like, sorry guys, you know, I can't do it or, know, any, anything, any kind of deadline, anything we're working on to

Joseph (01:19:14.298)

Yeah. Yeah.

Joseph (01:19:27.9)

Yeah, yeah.

Brian Funk (01:19:34.708)

letting them down hurts more. And some of the other things I do, my music production club, not having something ready for them when it's supposed to be ready, it's just, yeah, it can't happen. It'll eat me alive, probably way worse than it would bother any of those people. The band would be like, all right, no problem,

Joseph (01:19:44.444)

It's It's accountability. Yeah.

Joseph (01:19:53.348)

Yeah, I mean. Yeah, with the accountability thing, man is really huge and. A long time ago, I mean, maybe this relates, but but when I left my day job about 11 years ago, I. It was a year prior, a year like on New Year's Eve the year prior I had texted four friends for really close friends.

And I said, if I'm still here a year from today, I owe you $500. And I'm like, I know that you'll probably just, I want you to hold me to it. I want you to hold me to it. And it was ridiculous and I was probably drunk. But six months later I had left. Like I'd left. It's that accountability. I don't know, it was just a simple tool, a simple device, and it was almost a little bit ridiculous.

Brian Funk (01:20:50.389)

Lost a version there too.

Joseph (01:20:52.128)

Right. Yeah. Well, there's that too. There's like the whole psychology of that. you know, if like winning something or losing something or losing something is much more of a a motivator, it seems right. But

Brian Funk (01:21:00.949)

Yeah. Losing 500 bucks is way worse than the good of winning 500 bucks. Okay.

Joseph (01:21:05.912)

Yeah, I mean, he would have been too. It would have been $2,000 for me because I so I sent that text. I sent that text to four different friends and I'm like, I know that when the time comes, I don't want you to be like, dude, it's OK. Like I want you to really hold me to this. Yeah, but they didn't have to. Like I left it August 1st. So yeah, so. But I mean, I also had in the middle of the process I had a I had a day that I was recording live drum, so I also had.

to be at a certain point with the songs for that. And that was a very, very, very, very loose. It basically, it put a chapter in. So it was like, if I broke it up into parts, it was kind of like, I had like the almost month of just sketching. And then I had a little bit of arrangement time. And then once I tracked some drums, and those are pretty loop based. So it wasn't like I was tracking to a total structure.

So I had that and then once I had that part done, then it was like, okay, let me really dig in, really arrange and like sound design. And then the last little section was the mixing. And so like that helped a lot because to have those like little kind of deadlines, yes, checkpoints, perfect. It helps a lot because if you just, because it's pretty daunting if you're like, okay, well we have, and then originally,

Brian Funk (01:22:22.753)

Checkpoint kind of things.

Joseph (01:22:36.763)

I thought it was going to be 14 songs. And then I listened to a bunch of my favorite records and I'm like, hmm, this only has 10 songs. And then when I let myself be like, let's just make 10 that I feel great about, like letting myself do that and then kind of being off the hook for a few of these extra songs and then cutting it down to 10.

That was also a good step too. But yeah, I mean, I'm not going to lie. There was some points where I'm just like, this is insane. Like I don't, you know, and I don't, I don't think it's some crazy big feat. I mean, I know that, you know, like some people probably record records in like a day, you know, like I don't, I don't think, I don't, you know, it's not like a badge that I'm wearing. It's just kind of like, it just works for me. It's just, it's just kind of like the hard deadline thing really makes me, makes me, finish stuff, you know, and, and

like you said, creates the accountability, which I think is huge, you know? you know, and just, but yeah, it all started with, I want to put out a record this year and I want, I want it, I want people to have it in their mailboxes, both email and their post office mail, you know, like I wanted them to hold a record by the end of this year, so how do we make that happen and not compromise anything? this, you know, yeah.

That's it, they arrive Monday. I'm pretty stoked, yeah, man. And I don't feel like I've compromised anything. I don't feel like had to, and especially taking some of these songs and putting them in my live set and playing a bunch of shows, they translate, like I'm stoked. So yeah.

Brian Funk (01:24:23.457)

Yeah. And you mentioned too, like, yeah, are there things I would change or do differently? I think that also serves you because you're excited about the next thing. You've got things to consider and improve upon or maybe just adjust that is an important part of the whole process that keeps you going forward instead of, again, just, I'm going to take forever to get these things perfect and you'll never get there anyway. So.

Joseph (01:24:32.634)

Yes.

Joseph (01:24:43.931)

Yeah.

Joseph (01:24:50.478)

Yeah, yeah, finish this better than-

Brian Funk (01:24:52.481)

I could see how this really, a lot of the consequences of this workflow serve you in continuing and moving forward and staying productive.

Joseph (01:25:04.506)

Yeah, yeah, I mean, yeah, I make no mistake, like, like after mastering, I was just like, I don't want to hear this thing for, you know, I don't ever, you know, I mean, it was like, probably a good month before I was able before I started working on like the live versions. And I was like, okay, you know, so yeah, I mean, I definitely like, there's definitely that part of just of working through that part of that, you know,

that little dip of like, is terrible or this is too much of this thing or this isn't right. And working through that part is probably one of the most challenging things. But I'm sure if someone's kind of into what you're doing, they don't know, they're not experiencing that with you. They're just excited to have new music from you, hopefully. And...

And I'm stoked that there are a few people that kind of dig what I do and would be excited about this collection of songs. Because I'm excited about them. So, yeah.

Brian Funk (01:26:14.622)

Yeah, well you said it, you know, no big deal, lots of people put out records, but I believe it is a big deal. because I've been there and I know there are times when it just seems impossible. Where, how does this ever get done? You just get those moments where you're this is, you don't even understand how it could ever happen. So I take a lot of...

Joseph (01:26:27.537)

Yeah.

Hahaha

Joseph (01:26:37.2)

Yeah.

Brian Funk (01:26:39.12)

satisfaction and joy out of someone like you that finishes something and has it to meets those goals because it it's kind of proof it's evidence like it can be done so when I'm in those kind of dark moments when I just don't know anymore and

Joseph (01:26:50.81)

Yeah.

Brian Funk (01:26:57.376)

It's comforting. So I think it's a big deal for you personally, but also your listeners and just other people that are trying to do it too. Thanks for doing it because we need any encouragement and any kind of hope we can get sometimes because it gets tough.

Joseph (01:27:10.81)

Yeah. man. Thanks for listening. Yeah.

Joseph (01:27:21.584)

Yeah, it's, it's, it's. Yeah, I mean, there's not a lot you can say really other than just keep pushing through and just keep making stuff and then, but it's never been easier than it is right now to share stuff with people. And that that that's a big part of it. You know, we can make stuff, but if that stays on our hard drives, you know, and sometimes for some people that's great and that's all they want. And that's awesome. You know, they just want to.

to be able to play it for themselves. And like I have a buddy that made a record and pressed it on vinyl so he could play it in his living room. And that's awesome. Like sometimes like, you know, but I really think that like the jump of getting it from the hard drive and sharing it with somebody, even if it's one person is just the biggest jump you will have to make. then once you make that jump, every other time you try to make that jump, it's going to be easier.

So that's the thing. It's just like, this is something that if you do it, it'll get easier the next time. It just is.

Brian Funk (01:28:25.78)

Yeah, you're right. That first one is always hard. I'm lucky I was so young when I did it, you know, I was in high school. So we were, it just was part of how you did it. but yeah, it's, always a little scary and it's, but,

Joseph (01:28:29.434)

No, it's yeah.

Joseph (01:28:33.798)

Yeah.

Joseph (01:28:38.993)

Yeah.

Joseph (01:28:43.834)

Yeah, it's almost like it's become, the easier it's become, the harder, the more scary it is to do because it's kind of like, you know, back in the day to put out music and to share it with people, I think about how many steps were involved, right? And then now there's so few steps, but yet it's become way more daunting, you know? Yeah, I get it.

Brian Funk (01:29:02.111)

Yeah.

Brian Funk (01:29:08.884)

Right? Yeah, all those steps and challenges and ordering CDs and getting them pressed and all that was so hard. Now I can just sit in my bed. If I wiggle my finger the right pattern over certain websites and stuff, press the right little buttons. It's just a matter of like, it's like a magic trick. just, just my fingers on the keyboard.

Joseph (01:29:15.95)

Hahaha

Joseph (01:29:21.158)

That's it.

Joseph (01:29:25.168)

That's it. Yeah. It's crazy.

Right. It is. Yeah. I mean, out of all the out of all the stuff that I could be like an angry old man about, that's one thing that I'm not. That's one thing I think is incredible. Like like like that, that it's become that easy for us to make art of many forms, you know, be it film, visual art, you know, music and share it with people instantly is just beautiful. It's incredible. And and, know, but but that being said,

If I had come up like that, I don't know where I'd be. I'm really glad that I came up in the way you're just talking about. I'm really glad that there was, you know, with lack of a better term, there was gatekeepers, right? There was just, you know, it was hard. was, it was to make like the thought about, you know, recording and then putting out something and then having anyone, anyone at all hear it was, was just such a far-fetched crazy idea that when it became, you know, and if I, if I had grown up,

in a world where I could just make stuff on my laptop and upload it to SoundCloud that night. I don't know if I would end up being this same person. Who knows? So I'm kind of glad that I came up the way I did, for sure. Especially to be able to speak on limitations and stuff like that. Like being able to have only 16 tracks to express an idea. Yeah, so I don't know. It's cool.

Brian Funk (01:31:01.258)

You're right, it is amazing because I can remember sitting down with a cassette tape in a dual player and just play record and that's how we made our tapes to sell at our shows, just real time, one at a time.

Joseph (01:31:12.678)

That's it, man. Yeah.

It's beautiful though. It's so great though. think I love it. I'm so glad that I came up in an era like that. I really am. I don't like to wax nostalgic too much, it's such an important part of just being a music fan. I'm as fanatical about music as I was when I was 15.

I'm still the same fanatic about the bands I like, the records I like, the gear I like. Like it's still, I've not lost any of that. And I think that's really important. And I'd like to think that that kind of carries its way into the music that I make and share with people. So I'd hope it would, you know, so yeah.

Brian Funk (01:32:07.229)

Yeah, I think it does. I'm feeling it. You're communicating that to me for sure.

Joseph (01:32:10.268)

Cool. Yeah.

Awesome, Yeah.

Brian Funk (01:32:18.015)

So maybe we'll wrap it up then. It sounds like a nice place to stop. Nice positive note. Hopefully...

Joseph (01:32:21.404)

Yeah. Yeah. Yes. Yeah.

Yeah, man, well, yeah, so...

Brian Funk (01:32:32.061)

Yeah, we'll still be feeling that by the time this comes out. Snakesofrussia.com is your hub. But the record will be out, I assume, everywhere, right? We can stream and...

Joseph (01:32:36.284)

I would hope, would think so. Yeah, that's that kind of leads you to everything.

Yeah, I mean, yeah, should be like, mean, if you go to snakesorrusher.com, that leads to both my band camp and like my gum road for either merch and records or sample packs or that kind of leads to that. would be yeah. And it'll be out streaming on all the things and there should be I'm releasing another music video tomorrow, which as we're recording this is Halloween. So by the time

you're listening to this, that'll be out too. So there should be, and I'm gonna, I need to step up my YouTube game a little bit, so I'm gonna do, I think I'm gonna do some walkthroughs of some tracks. I'm saying it now for the accountability. I'm gonna, I'll promise, yeah, I'll promise that there will be some walkthrough videos and stuff like that, because I think that would be interesting to people. So yeah, so that, those would be, I'll probably get on those probably early next year.

Brian Funk (01:33:26.749)

Well, I would love to see that.

Joseph (01:33:44.112)

And I do have something pretty big that I worked on that's coming out early next year too that I can't talk about, like I'm bummed I can't talk about it, I'm so excited about it. But that should be out in February and should hopefully take things to another level. But yeah, tons on the way, tons. As long as people keep listening to it, I'll keep making it, right? I'll probably keep making it anyway, who cares? But yeah man, always a pleasure. Thank you so much for having me again. Always so much fun, talk to you.

Brian Funk (01:34:06.271)

You

That's awesome. It's great to have you and yeah, I'd love to have you again when the excitement begins up once again. But the new album's awesome. It's, like I said, it's especially cool to listen to right now, this time of year, the winter's coming, Halloween and all. it's, you know, sound design stuff is great. I love your, the way you use space too.

Joseph (01:34:18.972)

Right, right. Yeah. Awesome, man. Yeah.

Joseph (01:34:30.786)

Yeah, yeah, yeah.

Brian Funk (01:34:38.707)

You have a lot of restraint in a lot of stuff, I think, allows us to really take in these sounds.

Joseph (01:34:39.021)

cool.

Yeah.

Joseph (01:34:47.952)

That's cool. I just couldn't hear that way because it's completely intentional. Yeah. That's good.

Brian Funk (01:34:52.413)

Yeah, because the sounds are so cool if there was too much going on, you'd kind of miss some of those details. But at the same time, too, I'm also really impressed with how well everything sounds when it's all going together, too. Everything has its own spot and just really well-crafted stuff. Beautiful. Dark. Yeah, all that good stuff.

Joseph (01:35:12.636)

Cool. Awesome. Thank you, man. That means a lot. Thank you. Yeah.

I will say one additional thing about the process is that part of the editing is definitely like in those initial writing sessions, I'll just pile stuff on. Like I'll just throw things, everything on it. Like I generally like start with the biggest part of the song, make an eight bar loop, just throw everything on. And I say that like when the editing and arrangement begins, I'm more taking stuff away than I am adding for sure. Taking stuff away and replacing.

So, think, and that is, I think is important because it's like, want every, every frequency range to kind of have its representative, you know, and, and, and it's a feel full, but I'm always seem to be taking away because I do think that, yeah, I mean, there, there is the, the, the space is kind of a very important theme, you know? Um, I wanted to feel full without feeling overwhelming, if that makes sense. But thank you for saying that, that, that, yeah, that, that, that definitely.

It's intentional, cool. Yeah.

Brian Funk (01:36:21.311)

Well done. So thank you, sir. Snakes of Russia, everybody. Check them out if you haven't already. And if you enjoyed this conversation, we had two others, which I'll link as well. So all those will be in the show notes. Thanks for coming and thanks for listening, everybody.

Joseph (01:36:24.058)

Yeah, man. Yeah, dude. Awesome.

Joseph (01:36:34.609)

Yeah.

Joseph (01:36:38.534)

Yeah dude, happy Halloween.

Brian Funk (01:36:42.996)

We did it, man. Another one, a trilogy.

Brian Funk
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Stop Drinking from the Infinite Well with Tommy Zee - Music Production Podcast #413