How does that work? Like in the music?
It’s pretty fucking weird. But I’ve learned to work around it. I had a friend that used to work for me at my studio. If we’d done a song that was supposed to be a dance track and it came over the speakers like that, he’d tell me this—like something like, “It’s fucking weird.” That it wasn’t really dancing, and he’d say, “But it moves.” But it came out of my head: It moves. If I heard the drums and I thought, “Oh no, it doesn’t move,” I’d go, “Fuck, the fucking drums are playing themselves.”
Is there any specific genre of music that you find yourself in more often now? Do you prefer any style over the other ones?
There’s a few in my head. Like, I’m trying to get my hands on as many of the old-school shit as I can—ska, old soul, soul, hip-hop—to see if I can get some of the weird vibes going. Or, I’ve had a few records that aren’t just hip-hop or rock or indie. Like, when I was in Atlanta, there was another new band, they were the old-timey R&B guys. And I just think their stuff is more important to me. It’s just more interesting.
I also do a lot of country music in my head. I’m listening to The Smithereens lately. I always want to put out a record with a singer who sounds like they’re from that country. Then, the next thing you know when you make a record, you’re like, “Is this country?” It’s hard to know what country is all of a sudden.
Your old record is named The Big Lebowski. Any other favorite film?
That film came from another angle. It was an idea I wanted to do, and I kept saying, “What if there were this big Lebowski joke that came from some place other than the universe?” So I was like, “Oh my god, I can’t tell you, but it’s really funny.” I thought like, there’s this thing that happens here, but it happens in another universe. Because I don’t know.
I also like to do a lot of stand-up and podcasts, which are both hard to do and easy to make. I’d be like, ”
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