Sept. 15, 2025
BiB: How a DIY Album Got Lightworker Signed #podcast #interview
What does it take to grow up loving music in a non-musical household—and still carve your way onto one of heavy music’s most respected labels? On this episode of Bringin’ It Backwards, Adam and Tera Lisicky sit down with Joe from Lightworker for a no-holds-barred conversation about humble roots in Redwood City, navigating sketchy Bay Area venues as a teenager, and learning to channel creative urges through violin and guitar—even if it meant skipping lunch to buy new CDs.
Joe opens up about his evolution from writing songs alone to forming Lightworker, grinding through DIY releases, and the pivotal moment when Solid State Records offered them a deal just as they were wrapping up their debut album. We talk about the pressure and privilege of working with heavy-hitting producers like Daniel Gailey (Fit For A King, Phinehas) and Beau Burchell (Saosin) for two albums in a row, and how the creative process—marked by pandemic writer’s block and late-night artistic breakthroughs—helped shape Lightworker’s heavier, most personal record to date, How the Beautiful Decay.
Whether you’re an aspiring artist or just love a good behind-the-scenes story, this episode offers real talk about perseverance, DIY hustle, and what it means to “do the work” in an ever-changing music industry. Hit play to hear Joe’s journey from classical music as a kid to fronting one of the Bay Area’s fiercest heavy bands—and don’t forget to subscribe, follow, and join the Bringin’ It Backwards community for more conversations you won’t hear anywhere else.
We'd love to see you join our BiB Facebook Group.
Transcript
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Bringing it backwards.
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Bringing it backwards. Bringing it backwards.
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Bringing it backwards. Bringing it backwards.
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Bringing it backwards. What is going
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on? It is Adam. Welcome back to Bringing It Backwards, a podcast where both
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legendary and rising artists their own personal stories of
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how they achieve stardom. On this episode, we had a chance
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to chat with Joe of the band Lightworker
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over Zoom Video. Joe was born and raised
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in Redwood City, which is North Bay, San
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Francisco Bay Area. And he talks about how he got
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into music. Always grew up loving music, but did
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not come from a musical household per se. As far as
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his mom didn't play an instrument, his sister didn't. He started playing violin
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at a young age and later picked up guitar, but he never really wanted to
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learn other people's songs. He always had it kind of as a. A vehicle
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to write his own music. He talked about how he ended up getting into
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heavier bands. We talk about how Light Worker
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formed, then putting out their first EP and then
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first album DIY Style, and then Solid State
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ending up releasing that first album for them. And he
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talks a lot about the struggle he had with writer's block going into this
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next album and working directly with Solid State on putting out this
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album as well. So do yourself a favor, check out the new
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album from Lightworker. It's called how the Beautiful
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Decay. And you can watch the interview with Joe on our
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Facebook page and YouTube channel at bringing It Backwards. It'd be
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amazing if you subscribe to our channel like us on Facebook,
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follow us on Instagram, Twitter and TikTok at bringing back pod.
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And if you're listening to this on Spotify, Apple Music,
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Google podcasts, it would be amazing if you follow us there as well
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and rate and review the podcast. It helps us out
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tremendously. Thank you so much. We'd appreciate your support.
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If you follow and subscribe to our podcasts. Wherever you listen to
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podcasts, we're bringing. It backwards with Light
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Worker. Sweet. So this podcast about you,
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your journey in music, and we'll talk about the new music you
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all have coming out, and I want to know how you guys got on Solid
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State and all of that as well. All righty. Yeah, sure. Sweet.
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So you're in San Francisco. Are you originally from
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the Bay Area? Yes. Born and
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raised in what's now. What's now
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not such a little town called Redwood City, even though it's called
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Redwood City now, It's much more of a city. Yeah.
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And yeah, that's where I
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grew up, North Bay. Right. Okay. Yeah. I lived in San
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Francisco for like five years. Oh, nice. I should say Bay Area.
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Y. Yeah. I'm originally from San Diego and then I started on
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terrestrial radio. So I was on. I think it's back now. Live 105
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in San Francisco. It is back. Yeah. Yeah, it was. They changed it
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to something else. Dave FM or some garbage like that. I can't
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remember. It was like, so random.
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But anyway, rad. So growing up, did you come into the city a
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lot as a kid or like, come check out? I would imagine most of the
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shows you'd go to were probably in San Francisco or Oakland.
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Yeah, I definitely went to the bigger shows
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out in. In San Francisco for a while.
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The smaller shows were out there at this really
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sketch part of town. Like the Tenderloin in San Francisco?
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Yeah, they have one in Redwood City? No, they
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had a. I would usually go to
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either something in San Jose or in which.
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Where's like. Or that area which was kind of like had the smaller
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shows usually, you know. Oh, in Tender Line.
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Is that what you're saying? Or are you just comparing? Sorry, I'm confused. My
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bad. So like. Yeah, so basically
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for. For the first few years of my, like concert
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attending years or shows, I should say, like, they were just really
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small. The was a place called the Pound in San Francisco
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that was like perfect for, you know,
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small bands that were just coming up. Like a
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little band called Under Oath or.
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Yeah, those guys are tiny. Yeah, exactly. Or Every Time I
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Die and Haste the Day. So back then,
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basically, like, they were like the size of like,
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I guess my band now. Know what I mean? And so like on the
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smaller side. But obviously they've huge now,
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so. But back then, you know, this was like just
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as, you know, their
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big albums were just being released, you know, so like,
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so they were playing like, you know, these 300, 400 cap rooms,
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but that shut down unfortunately. And that was in the Tenderloin area.
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And that was like. Yeah, that was super sketch. Like
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we were at the venue, my friends and
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I, and you know, just a bunch of like emo kids,
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you know, like just standing there and then you would just see like syringes on
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the ground and stuff, and we're just like, whoa. Yeah.
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And then. But then that kind of like shifted because that
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venue shut down and then. Twitter, like bought a
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building there. Right. And it's underlined years later, part of. The reason
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why they probably all went nuts, but.
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But then the San Jose area started hosting more
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shows at churches and various different churches and stuff like
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that. And you know, and that's where I Would see
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a lot of bands that, you know, ended
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up being. I mean, like one of my old bands opened up
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for Sonny Moore right before he became Skrillex.
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Oh, no way. Yeah, like over there. And that was at a place
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that was just like. It was just like a community
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center, but the, you know, like, for youths
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and. But I mean that, the capacity there was. I mean,
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it was a hundred people. If they were
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all like, you know, just like sucking in, I
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guess, you. Know, like, was that, was that what he first to last or
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was it even before he was in that band? No, it was right in between.
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It was like he was just known as Sunny Moore and.
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Okay. And it was just like this brief window of time
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where. Yeah, and Johnny Craig was there too
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and. But yeah, just very small venues before, like
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all these artists, like really took off.
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That's where I would usually go. But if I wanted to go see, you know,
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much bigger bands and whatnot, or, like, you know, as Under Oath grew and
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whatnot, then I would go to, you know.
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Yeah, the, the bigger places like the Fillmore and
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Warfield or whatever. Is that the Warfield? Yeah, Warfield. I
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definitely did I see Under Oath there. I definitely
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saw Deftones and Dillinger Escape Plan there. That was okay.
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Yeah. And there's like, I'm trying to maybe the Independence, the smaller one or
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Hill or. I don't know, I'm trying to think. Of Bottom of the
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Hill. Slims. Is that still
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there? No, dude, I mean, it technically is, but
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somebody else bought it. They turned it
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into like an EDM club. Oh, wow. I
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saw so many good bands come through there, dude. I saw. Yeah,
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dude, legendary bands like. Yeah, that, that went through
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there Next door is still available though for, I guess,
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more of the, the, you know, rock based scene,
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which is DNA Lounge. Okay. So,
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you know, they, so I, I, and I like that place too. And their pizza
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is awesome. So there you go. Right on. Well, how did you get into
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music? Did you come from a creative or musical household at all or.
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I didn't come from music household
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basically at all. Like my mom, you
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know, when she was raising my sister and I,
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you know, she, she was never like. Music was one of those things that
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she liked to have on in the background. You know, she didn't play an instrument
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or anything like that. She's one of those folks that if
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you ask her, hey, who sings the song? She has no idea who it is.
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She just. Okay, likes the song, you know. Got it. Yeah, yeah.
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But, but I took a real keen interest on it. And my sister is the
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same way as my mom and.
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But I, I, and I'm the exact opposite. I, you know,
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know, you know, back, back then, you know, especially as I
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got into music more and I bought CDs. I mean, you know, like
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in middle school I would save my lunch money and not
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like, eat lunch. That way I could go buy the new, you know,
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Drive Thru record album, you know. What? Sure, yeah. You know,
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and then my mom would be like, why are you always so hungry
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after school? I'm like, don't worry about it. And where are all
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these CDs coming from? And I would
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just like scour like the, the liner notes and see,
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I was like, oh, I don't know what a producer is, but this guy produced
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it. I, I don't know what a record label is per se, but I see
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the same logo on the back of all these CDs and
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you know, and I would see the bands thinking other bands.
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So that's how I would find out about other bands or I would follow the
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label, you know, like, yeah, that's. What I would do is, I mean, if anything,
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like, yeah, Drive Thru put out anything, you knew it was going to be cool
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or. Exactly. Fearless or Victory or whatever it was back then. Be like,
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oh, Victory. Sign this band. They're probably, you know, up
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my alley or whatever, you know, Exactly. It's worth checking out at least, you know.
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Yeah, definitely. And so that's, that's what I did
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and then. But I was always really interested
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in who produced what and
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who engineered what and you know, so I just
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became pretty obsessed with that stuff. But my mom played
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mainly like traditional Latin music around the household or
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like there. I'm
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not sure if you, you're, since you're a Bay Area guy, I'm not sure if
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you. Everybody makes fun of it, but it's like that light Rock Station,
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96.5. Oh yeah,
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what was the call letters? I can't remember. Wasn't that like
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Don Blue or something? Got Monday mornings or something? I can't remember. Oh
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yeah, something like that. But anyway, yeah, so I know what. You'Re talking about,
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but I, I can't remember what. I mean. I, I lived there like,
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you know, 15 plus
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years ago. Oh, okay, got it. Yeah, yeah. So there was,
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so there was, you know, that like a light rock and
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Motown station, so basically playing all ballads
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and, and stuff. So. But once in a while they'll, they'll play something a
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little bit more energetic, you know, and, and those were the songs
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where you Know, my ears definitely perked up because I was like, oh, this is
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pretty cool. You know, like. And so the first
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rock band I got into, because I heard it on that station, was Third Eye
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Blind. Okay. And Bay Area guys.
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Yeah, yeah, yeah, guys. And I ended up.
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I ended up finding out that my mom's former boss.
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Was Stephen Jenkins. No, just kidding.
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Her kid. Her kid actually was their merchandise
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manager, so. Oh, that's awesome. So there
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was a connection there. So I was able to get, like, free CDs and stuff
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and, you know, and. Yeah, so
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that's kind of what got me into. Into rock, which is quite a bit different
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because, you know, if you listen to the other guys in my
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band stories, it's. I mean, typically, like, you know, the Beatles or some
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sort of classic rock or. Or classic metal or something
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like that. Whereas for me, it's like. I mean,
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my mom definitely didn't know who Pink Floyd was or
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whatever me. You know what I mean? So.
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Wow, that's cool. So what about, like, an instrument?
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Like, I mean, getting into all those bands. Every time I die, seeing these bands
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play in San Francisco and going down to San Jose. And
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you said you were in a band that ended up opening or.
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Who became Skrillex. And. And what?
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Like, when did you start. Did you start playing guitar? Or You. You sing for
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this band, right? Was that something you. Have you always
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been, like, the front guy? No,
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this is the first band that I've fronted. I've always been, like,
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kind of more. So. I started on violin a long, long time ago
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because I really did, like, a lot of classical music growing up, too, so I
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guess I. That was, like. I was only allowed to listen
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to what my mom listened to, plus
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classical, so. Okay. You know, very strict, traditional
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household. So. Until what. Hey, like, when did
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you start getting to go to all these shows, like, in Centerline stuff?
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Dude, I wasn't. I think I was, like, 15, dude. Okay, so you're
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a little bit older. Teenager. Got it. Yeah. And even then, like, a
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lot of my friends started going to concerts when they were younger,
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you know, But I wasn't allowed to
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for a long time.
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But, yeah, so I. I
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started off in violin, and then that kind of, like, fell to the wayside. And
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then I really wanted to play guitar because I wanted to
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write my. It's. I wanted to write my own songs more than
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actually be, like. Like a guitarist, if that makes sense.
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Yeah, yeah, you just wanted as, like, a vehicle to write your
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own song instead of, like, I want to learn every third. I Want or whatever
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it may be. You know what I mean? Right. You know, exactly. And so it's
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like I just want to know enough so that way I can, I guess, express
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myself is, you know, kind of how I, I looked at it.
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So I then,
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you know, and then as I kind of, you know, like
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I mentioned, I kind of got into the drive through stuff and I think, you
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know, I really had an appreciation for more of the
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mainstream stuff, you know, like Third Eye Blind and, and all that stuff
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and, you know, but I really started to
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fall in love with more of the underground stuff, you know, whether it was
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like, you know, stuff that you would find
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on smaller labels, you know, back then,
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you know, like bands like Alkaline Trio and, and Hot Water Music
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were. Those are like of my favorite bands. Oh yeah.
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See, like, yeah, Hot Water is definitely like up there for me. And
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yeah, I might. I have a sleeve based off of that album cover, the
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split that they did. Oh, that's so sick.
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Yeah, I'm a huge, huge hot water music fan. So
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they did that like vinyl that had the two sides
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and they covered one of each other's songs. I don't know. Oh yeah, yeah, yeah,
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yeah. And the, the vine, the, the picture disc had this crazy drawing
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on it. Like, that's amazing. So. Okay. Yeah, I gotta come up with a version
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of it anyway. Sorry. No, no, you're good. But no, I actually have the
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split with Bouncing Souls and Hot Water. I love bouncing.
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That's a good one. Yeah, but, but you
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know, so like, you know, there
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was stuff that I discovered that was like on, you know, Drive Thru was
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one, but another one was Fueled by Ramen before they got all that
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Paramore money, you know. Yeah. You know, back when
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Jimmy World actually released
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that one EP that right before.
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Clarity, the one before Clarity, the one. In between Clarity and
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Bleed American. Okay. I can't remember what it's called, but I know what
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you're talking about. It was just self titled. I. I have the 10 inch and
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it's very. It has that one. Really? Or there's
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two songs that you can't find anywhere else, not even on streaming platforms. One
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of them is called Roller Queen. Jimmy World's my all
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time favorite band, but. Oh, wow. Okay. Yeah, so.
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But you know, like stuff that was like on Asian Man Records, you know, Fueled
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by Ramen, you know, stuff
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like that. And then started to listen to
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stuff that was like on Solid State and. Well, first tooth and
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nail, because I didn't go immediately into the heavy stuff. Right.
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But, but you Know, a band on.
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On Drive Thru. And then
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later on was Finch
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that. Yeah, like, really started, like, you know, Third Eye Blind would have the occasional
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scream here and there. And I thought it was pretty cool, but it wasn't until,
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like, Finch brought it along because they still had very strong
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pop punk roots, but they were doing something a little heavier, you know.
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Yeah, yeah, they were a band from. Well, like, I guess
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it's not even really San Diego County. It's more like Riverside County, I guess, at
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that point. Yeah, they're from Temecula, which. Yeah, they try to.
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People would claim them as a San Diego band, which is funny, but. Oh,
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really nice. Yeah. And then. And
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then a Static Lullaby, who were from Chino Hill. So, like,
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you know, those were like, some of the heavier bands that I started
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again into. But, you know, a lot of my friends are getting into heavier
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stuff. And I was like, okay, well, I want to kind of dive
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into that too. So the first, like, I would say the
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first heavy record,
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in my opinion, that I. That I bought was
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Failure on By Beloved, you know, and that
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was on Solid State Records. And I really liked some of the riffs. And then
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my friends were like, well, you probably like metal
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more than. Than hardcore then, because hardcore is a little bit more rhythmic
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and, you know, breakdown heavy, you
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know. And so I bought
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ZO cd that was a compilation.
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And I bought Hasta Days Burning Bridges.
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Okay. And. And growing up, I did
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have a cousin that did listen to all
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a bunch of, like, you know,
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metal and grunge and stuff. So I was aware of
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it. Like, I. I knew I loved that twin guitar stuff that
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Iron Maiden did. I was exposed to Iron Maiden at a very young age
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and Nirvana and Slayer and all that stuff. But
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because it was taboo in my household, you know, I never really dove into it.
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Yeah, right. You're like, here, mom, like, check this one out.
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Exactly. South of Heaven
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Don't Diabol Musica. The guy on the COVID like, don't worry about what
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he looks. Exactly. Well, that's cool. So, like.
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So you start playing guitar, writing your own songs, and then you said you had
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a band, but how long down the line do you begin? Light
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Worker and you guys had an EP out. And, like,
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would that. Was that on Solid State or is this the first album or
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first release from Solid State? This is our second release on Solid State. Our
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EP was diy.
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And. Yeah, so. And actually our first album
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is, like. Even though it was released on Solid State, we
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did everything. DIY pretty much. And they, like,
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signed the album or Something or, like, signed you and put it out.
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Exactly. So. Because we were literally waiting for the
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masters when,
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like, everything else was done except for the. The masters. And
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so obviously we didn't have artwork or anything, but in terms of the
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music, like, we had vinyl mixes and everything waiting, and we had sent
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it off to get mastered, and we were just waiting for that, and then
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they offered us a deal. Wow. So.
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So did you just. Were you just sending out press kits or, like, how did
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you end up getting. Not even
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Solid State had a little bit of,
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I guess, a leg up on other labels because Daniel
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Gailey from Fit for a king, S.L.
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phas, and formerly of Becoming the Archetype and a bunch of other great
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bands, he worked with us,
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and he let
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Solid State know that he was working with us. And
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so they were like, oh, yeah, just keep us posted. So, so
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how did you get to meet him and work with him? So I've actually
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known the Phineas guys for at least.
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There's only one dude that was a part of the lineup that I had met,
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you know, back then, but I've known the Phineas
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guys since, like, before they were even officially signed.
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Oh, wow. Okay. Yeah, before they released.
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Yeah. So, like, I think. Or at least
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maybe. Maybe that's a little incorrect, maybe around the time that they
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did sign, but basically it was like before they really just blew
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up, you know, so they played
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their. I got them to play the Bay Area for the first time
348
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and got them to San Francisco for the first time and with me
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and our drummer, Ryan's old band. And
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so when Daniel joined
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Phineas, you know, I had already known the other guys, like,
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fairly well. Okay. So,
353
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yeah, so they. They.
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We. We went out to a show they were opening for
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era and, you know, went to the show,
356
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met up with the Phineas guys. And I knew that Dan
357
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kind of did some, like, production work and,
358
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you know, producing and engineering on the side, so I was
359
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just like, hey, I. I told. I told my guitarist,
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Grayson, and I was like, you know, we can work with him, or there's this
361
00:23:10,380 --> 00:23:14,140
other guy I know that's, like, rad too. But we. We knew that we
362
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wanted to step up, like,
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the. The. The guitar game, you know, on our end.
364
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So, yeah, ultimately we showed Daniel, like, our old stuff, and he
365
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was just like, yeah, this is sick. Yeah, let's do
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this. And so, yeah,
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through. Through, I guess, my prior
368
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connections with. With Phineas and whatnot, our friendships and. And
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whatnot, we were able to go to, you know,
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work with him. And, yeah, eventually, yes. Solid State. Yeah.
371
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That's awesome. What was the difference going. Did he work with you guys on this
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new album or no? Yeah, yeah. Oh, awesome. Yeah, he
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did Bo Burchell of
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Seosin and both worked on this album. They also worked
375
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on the prior album. So we, we did the same team for two
376
00:24:06,750 --> 00:24:10,310
albums in a row. Oh, okay. Yeah.
377
00:24:10,390 --> 00:24:13,350
That's cool. And with this new album, I mean, being,
378
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you know, like you had the other album done and then it got signed and
379
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released by Solid State. But going into this new album,
380
00:24:22,630 --> 00:24:26,230
was it any different having them as a, like having them like
381
00:24:26,230 --> 00:24:29,190
co sign prior to you even like
382
00:24:29,670 --> 00:24:33,030
beginning or like kind of Tell me about going into this album and
383
00:24:33,510 --> 00:24:37,320
was that any different now that you had a label backing? You know, you
384
00:24:37,320 --> 00:24:41,080
have this, you have the seat, you have the, you know, the, the logo
385
00:24:41,080 --> 00:24:44,120
on your album that you used to look through as a kid and be like,
386
00:24:44,120 --> 00:24:47,440
oh, okay, this band's probably awesome because they're on Solid State.
387
00:24:48,480 --> 00:24:51,760
Yeah. I mean, I don't know if I would call my band awesome, but.
388
00:24:53,120 --> 00:24:56,960
Well, okay, well, you know what I'm saying, right? Like people will
389
00:24:56,960 --> 00:25:00,080
just gravitate to it. To it or check it out because they know
390
00:25:00,730 --> 00:25:04,570
it's on, it's on this label. No, no. You like FAT Records and you see
391
00:25:04,570 --> 00:25:08,410
a FAT Records look. Oh, this band probably sounds like another FAT Records. Oh, totally.
392
00:25:08,410 --> 00:25:12,130
Yeah. No, absolutely. So
393
00:25:12,130 --> 00:25:15,890
I, I would say there, I mean, going into it, I, I. The
394
00:25:15,890 --> 00:25:17,130
only differences were
395
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that we weren't paying for it all out of our own
396
00:25:23,250 --> 00:25:25,690
pocket, which was pretty sick. Yeah.
397
00:25:27,960 --> 00:25:31,560
And then beyond that, you know,
398
00:25:31,560 --> 00:25:35,280
we knew how, we knew how Beau worked. You
399
00:25:35,280 --> 00:25:39,000
know, he was no longer like this new dude. You know, he became a friend.
400
00:25:40,120 --> 00:25:43,880
And Dan had also wrote a lot more as a
401
00:25:43,880 --> 00:25:47,680
writer and a producer as well. So what was great about
402
00:25:47,680 --> 00:25:51,360
that was, you know, he went and, you know, officially
403
00:25:51,360 --> 00:25:54,920
joined Fit for a King, was in the studio a handful of times
404
00:25:54,920 --> 00:25:58,500
with another producer and you know, was able to gain
405
00:25:58,500 --> 00:26:02,100
perspective and growth from there. So. And then, you know, he
406
00:26:02,100 --> 00:26:05,740
brought those things that he learned and, and you know, brought it to the table
407
00:26:05,740 --> 00:26:08,260
with us. So I think
408
00:26:09,300 --> 00:26:13,140
the biggest change was the two biggest changes were, you know, like
409
00:26:13,140 --> 00:26:16,940
we were on a label and so we didn't have to self fund anymore,
410
00:26:16,940 --> 00:26:20,740
which is awesome. And then I think everybody kind
411
00:26:20,740 --> 00:26:24,420
of knew each other more and or was more seasoned at what they did.
412
00:26:25,230 --> 00:26:28,830
Cool. Yeah. And with this album, like tell me kind of about it, like
413
00:26:28,830 --> 00:26:32,670
going like the writing process of it as far as like, what's the album About.
414
00:26:33,070 --> 00:26:36,830
And did you know you were gonna be writing an album?
415
00:26:36,830 --> 00:26:40,390
Because, I mean, nowadays a lot of people are just doing single, wait a few
416
00:26:40,390 --> 00:26:44,110
months, single, wait a few months, and then those all become an EP of
417
00:26:44,110 --> 00:26:47,710
sorts. But to go into an album, I mean, that's cool. I.
418
00:26:47,870 --> 00:26:50,880
I appreciate it, but it's just definitely not the norm anymore.
419
00:26:51,510 --> 00:26:54,630
Yeah. Yeah, I. I think
420
00:26:55,670 --> 00:26:58,310
we kind of entered into this whole,
421
00:26:59,670 --> 00:27:03,430
you know, music business thing at a unique time where there
422
00:27:03,430 --> 00:27:06,790
is a lot of change that's happening, you know,
423
00:27:07,270 --> 00:27:10,390
and it's happening faster than it ever has before,
424
00:27:11,030 --> 00:27:14,830
because when MP3s came to light, I mean, that ruled for
425
00:27:14,830 --> 00:27:18,540
a solid, like, 10 years almost, you know, so. So
426
00:27:18,540 --> 00:27:22,300
there was no real shift. But, yeah, as we
427
00:27:22,300 --> 00:27:25,140
became a band, it's like physical media was going down,
428
00:27:25,860 --> 00:27:29,060
but for whatever reason, vinyl was going up, streams took over
429
00:27:29,380 --> 00:27:32,860
and whatnot. Like, people used to look at, you know, your
430
00:27:32,860 --> 00:27:36,700
followers on social media. Now it's like, how
431
00:27:36,700 --> 00:27:40,100
many streams are you getting monthly? You know, It's.
432
00:27:40,100 --> 00:27:43,820
It's. And also, recording is a lot easier
433
00:27:43,820 --> 00:27:45,780
now than it was even 10 years ago.
434
00:27:48,970 --> 00:27:51,370
So I think for us
435
00:27:53,930 --> 00:27:55,050
going into this record,
436
00:27:58,330 --> 00:28:01,890
this has definitely been the most difficult batch of
437
00:28:01,890 --> 00:28:04,890
songs that me or Grayson have ever
438
00:28:05,210 --> 00:28:06,810
written or been a part of.
439
00:28:09,130 --> 00:28:12,490
It's. I love the creative process, but
440
00:28:13,510 --> 00:28:16,790
Grayson definitely struggled with a lot of writer's block,
441
00:28:18,630 --> 00:28:22,350
and in. In rightfully
442
00:28:22,350 --> 00:28:25,030
so. I mean, the world was kind of shut down for
443
00:28:26,230 --> 00:28:29,750
quite a while there. So, like, yeah, you know, so.
444
00:28:29,910 --> 00:28:33,430
And things had shifted, and, you know, so th. You know,
445
00:28:33,830 --> 00:28:36,790
I. I could have definitely understand from his point of view
446
00:28:38,720 --> 00:28:42,400
how that would definitely mess with your creative juices, you know,
447
00:28:44,240 --> 00:28:47,840
But I think through that struggle,
448
00:28:48,000 --> 00:28:51,720
we've been able to write something that we. We knew it
449
00:28:51,720 --> 00:28:55,560
was. We wanted it to be heavier. And I think we're getting
450
00:28:55,560 --> 00:28:59,360
to a point where it's like, okay, we're. We're kind of learning
451
00:29:00,000 --> 00:29:03,760
how to be, you know, like, how to write heavier music and
452
00:29:04,330 --> 00:29:07,210
were recognizing what works for us.
453
00:29:08,970 --> 00:29:12,690
And I think a lot of the lyrics on how the
454
00:29:12,690 --> 00:29:16,010
Beautiful Decay deal with
455
00:29:16,570 --> 00:29:19,210
what we've kind of been through the last
456
00:29:20,250 --> 00:29:24,010
three and a half years or so. And
457
00:29:24,010 --> 00:29:27,610
it's all compiled into, you know, 10 songs. And.
458
00:29:27,610 --> 00:29:31,260
And the. The name of the record came about before we even
459
00:29:31,260 --> 00:29:35,060
wrote a single note or. Oh, really? Yeah.
460
00:29:35,060 --> 00:29:37,940
And so that was kind of like our.
461
00:29:40,340 --> 00:29:43,780
Kind of our guide. You know, it's like, hey, everything we write, we want it
462
00:29:43,780 --> 00:29:47,460
to be able to sound like it would fit under this title. You know,
463
00:29:47,540 --> 00:29:50,500
whether that's lyrically or. Or
464
00:29:51,140 --> 00:29:53,860
Musically, and
465
00:29:54,740 --> 00:29:58,570
so I think that really helped. And
466
00:29:58,650 --> 00:30:02,490
obviously, having, you know, Daniel and. And Bo
467
00:30:03,290 --> 00:30:06,970
be at the helm of a lot of this stuff has. Has really helped, too,
468
00:30:08,490 --> 00:30:12,250
and. But it definitely was a bit of a struggle to get
469
00:30:12,409 --> 00:30:16,090
to that finish line. But I could definitely say this is the most
470
00:30:16,090 --> 00:30:19,930
proud of a record that. Or any kind of music that
471
00:30:19,930 --> 00:30:23,580
I've ever been, ever since I was a kid. Like, definitely the most
472
00:30:23,580 --> 00:30:27,300
proud of this one. There's. Yeah, I'm.
473
00:30:27,700 --> 00:30:31,540
And. And honestly, I'm looking forward to the next one. Knowing that we have, like,
474
00:30:31,540 --> 00:30:35,300
this experience under our belts. That's amazing.
475
00:30:35,460 --> 00:30:38,980
Yeah, that's really, really awesome. I can imagine being hard to, like, run into a
476
00:30:38,980 --> 00:30:42,700
writer's block, especially if you're signed to a record label
477
00:30:42,700 --> 00:30:46,420
that's like, okay, are we gonna have something here? You know what I mean?
478
00:30:47,140 --> 00:30:50,930
Yeah. Yeah, absolutely. But, you know, like, I
479
00:30:50,930 --> 00:30:54,650
mean, burn Scar, the second single that we released, was the one that
480
00:30:54,650 --> 00:30:58,170
broke Grayson's writer's block, and. And
481
00:30:58,890 --> 00:31:02,170
we. We started to get really stoked and, like, I.
482
00:31:02,730 --> 00:31:05,770
And once now that we've actually played
483
00:31:06,330 --> 00:31:10,010
some of the new songs live and. And have done some
484
00:31:10,010 --> 00:31:13,730
touring and whatnot and have seen the reception, we. We felt
485
00:31:13,730 --> 00:31:17,490
good about it, but seeing the reception of it has, like, solidified, like,
486
00:31:17,490 --> 00:31:21,050
hey, going this heavier direction is definitely. Not only does it feel good for us,
487
00:31:21,050 --> 00:31:24,730
but the audience is also receiving it really well, too. So
488
00:31:24,890 --> 00:31:28,610
it kind of makes us ponder, you know, like, okay,
489
00:31:28,610 --> 00:31:32,370
well, we can definitely. There's a lot more to explore in.
490
00:31:32,370 --> 00:31:36,210
In terms of the heavier aspect of. Of our band. It's
491
00:31:36,210 --> 00:31:39,770
awesome, man. Well, I appreciate your time. I
492
00:31:39,770 --> 00:31:42,700
think the album comes out on Friday, right? Almost.
493
00:31:43,500 --> 00:31:47,300
That's exciting. You doing anything for. I know you had some shows that you
494
00:31:47,300 --> 00:31:50,140
had already played, right? Like, whiskey and stuff last month.
495
00:31:51,180 --> 00:31:54,820
Yeah, this. This month, we're. We're kind of taking
496
00:31:54,820 --> 00:31:58,620
it easy. We're. We're just going to be releasing the album
497
00:31:58,620 --> 00:32:02,460
and. And ramping up, getting ready to go on tour next month and
498
00:32:02,460 --> 00:32:06,180
then the month after that. So. Awesome. But I think
499
00:32:06,180 --> 00:32:09,990
we're just gonna celebrate with.
500
00:32:09,990 --> 00:32:13,710
With each other, you know, and, you know, have a couple beers and just be
501
00:32:13,710 --> 00:32:17,510
like, finally out. Right on,
502
00:32:17,510 --> 00:32:20,190
Joe. Well, I appreciate your time, man. Thank you so much for doing this. I
503
00:32:20,190 --> 00:32:23,350
have one more question. I want to know if you have any advice for
504
00:32:23,350 --> 00:32:27,070
aspiring artists. Do the
505
00:32:27,070 --> 00:32:30,790
work that's, like,
506
00:32:30,790 --> 00:32:34,590
if you. If you know nothing is going to
507
00:32:34,590 --> 00:32:38,230
be handed to you, like, and if you feel
508
00:32:38,230 --> 00:32:41,790
like you're not getting the opportunities that you want, then,
509
00:32:42,670 --> 00:32:46,310
you know, I guess the saying is, you know, like, build your own chair and
510
00:32:46,310 --> 00:32:50,110
bring it to the. To the table. You know, like, you know,
511
00:32:50,430 --> 00:32:53,550
get out there, go to shows, make contacts and stuff like that.
512
00:32:54,430 --> 00:32:57,310
Dedicate the time to your craft and, yeah, just do the work.
513
00:33:06,030 --> 00:33:07,390
Bringing it backward,
514
00:33:11,230 --> 00:33:14,750
bringing it backward, bringing it backward,
515
00:33:14,910 --> 00:33:18,350
bringing it backward, bringing it backward,
516
00:33:18,590 --> 00:33:20,270
bringing it backward.
00:00:10,320 --> 00:00:11,680
Bringing it backwards.
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00:00:15,520 --> 00:00:19,040
Bringing it backwards. Bringing it backwards.
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Bringing it backwards. Bringing it backwards.
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00:00:22,880 --> 00:00:26,600
Bringing it backwards. What is going
5
00:00:26,600 --> 00:00:30,160
on? It is Adam. Welcome back to Bringing It Backwards, a podcast where both
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00:00:30,160 --> 00:00:33,980
legendary and rising artists their own personal stories of
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00:00:33,980 --> 00:00:37,740
how they achieve stardom. On this episode, we had a chance
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to chat with Joe of the band Lightworker
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over Zoom Video. Joe was born and raised
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in Redwood City, which is North Bay, San
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Francisco Bay Area. And he talks about how he got
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into music. Always grew up loving music, but did
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not come from a musical household per se. As far as
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his mom didn't play an instrument, his sister didn't. He started playing violin
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at a young age and later picked up guitar, but he never really wanted to
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learn other people's songs. He always had it kind of as a. A vehicle
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to write his own music. He talked about how he ended up getting into
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heavier bands. We talk about how Light Worker
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formed, then putting out their first EP and then
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first album DIY Style, and then Solid State
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ending up releasing that first album for them. And he
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talks a lot about the struggle he had with writer's block going into this
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next album and working directly with Solid State on putting out this
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album as well. So do yourself a favor, check out the new
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album from Lightworker. It's called how the Beautiful
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Decay. And you can watch the interview with Joe on our
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Facebook page and YouTube channel at bringing It Backwards. It'd be
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amazing if you subscribe to our channel like us on Facebook,
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follow us on Instagram, Twitter and TikTok at bringing back pod.
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And if you're listening to this on Spotify, Apple Music,
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Google podcasts, it would be amazing if you follow us there as well
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00:02:06,250 --> 00:02:09,450
and rate and review the podcast. It helps us out
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00:02:09,530 --> 00:02:13,330
tremendously. Thank you so much. We'd appreciate your support.
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If you follow and subscribe to our podcasts. Wherever you listen to
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podcasts, we're bringing. It backwards with Light
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Worker. Sweet. So this podcast about you,
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00:02:23,870 --> 00:02:27,670
your journey in music, and we'll talk about the new music you
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all have coming out, and I want to know how you guys got on Solid
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State and all of that as well. All righty. Yeah, sure. Sweet.
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So you're in San Francisco. Are you originally from
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the Bay Area? Yes. Born and
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raised in what's now. What's now
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not such a little town called Redwood City, even though it's called
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Redwood City now, It's much more of a city. Yeah.
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And yeah, that's where I
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grew up, North Bay. Right. Okay. Yeah. I lived in San
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Francisco for like five years. Oh, nice. I should say Bay Area.
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Y. Yeah. I'm originally from San Diego and then I started on
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terrestrial radio. So I was on. I think it's back now. Live 105
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in San Francisco. It is back. Yeah. Yeah, it was. They changed it
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to something else. Dave FM or some garbage like that. I can't
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00:03:23,760 --> 00:03:27,400
remember. It was like, so random.
53
00:03:28,120 --> 00:03:31,880
But anyway, rad. So growing up, did you come into the city a
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lot as a kid or like, come check out? I would imagine most of the
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shows you'd go to were probably in San Francisco or Oakland.
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Yeah, I definitely went to the bigger shows
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out in. In San Francisco for a while.
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The smaller shows were out there at this really
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sketch part of town. Like the Tenderloin in San Francisco?
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Yeah, they have one in Redwood City? No, they
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had a. I would usually go to
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either something in San Jose or in which.
63
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Where's like. Or that area which was kind of like had the smaller
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shows usually, you know. Oh, in Tender Line.
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Is that what you're saying? Or are you just comparing? Sorry, I'm confused. My
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00:04:21,460 --> 00:04:24,940
bad. So like. Yeah, so basically
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for. For the first few years of my, like concert
68
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attending years or shows, I should say, like, they were just really
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small. The was a place called the Pound in San Francisco
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that was like perfect for, you know,
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small bands that were just coming up. Like a
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little band called Under Oath or.
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Yeah, those guys are tiny. Yeah, exactly. Or Every Time I
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Die and Haste the Day. So back then,
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basically, like, they were like the size of like,
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I guess my band now. Know what I mean? And so like on the
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smaller side. But obviously they've huge now,
78
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so. But back then, you know, this was like just
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as, you know, their
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big albums were just being released, you know, so like,
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so they were playing like, you know, these 300, 400 cap rooms,
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but that shut down unfortunately. And that was in the Tenderloin area.
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And that was like. Yeah, that was super sketch. Like
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we were at the venue, my friends and
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I, and you know, just a bunch of like emo kids,
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you know, like just standing there and then you would just see like syringes on
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the ground and stuff, and we're just like, whoa. Yeah.
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And then. But then that kind of like shifted because that
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venue shut down and then. Twitter, like bought a
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building there. Right. And it's underlined years later, part of. The reason
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why they probably all went nuts, but.
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But then the San Jose area started hosting more
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shows at churches and various different churches and stuff like
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that. And you know, and that's where I Would see
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a lot of bands that, you know, ended
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up being. I mean, like one of my old bands opened up
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for Sonny Moore right before he became Skrillex.
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Oh, no way. Yeah, like over there. And that was at a place
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that was just like. It was just like a community
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center, but the, you know, like, for youths
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and. But I mean that, the capacity there was. I mean,
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it was a hundred people. If they were
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all like, you know, just like sucking in, I
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guess, you. Know, like, was that, was that what he first to last or
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was it even before he was in that band? No, it was right in between.
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It was like he was just known as Sunny Moore and.
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Okay. And it was just like this brief window of time
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where. Yeah, and Johnny Craig was there too
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and. But yeah, just very small venues before, like
110
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all these artists, like really took off.
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That's where I would usually go. But if I wanted to go see, you know,
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much bigger bands and whatnot, or, like, you know, as Under Oath grew and
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whatnot, then I would go to, you know.
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Yeah, the, the bigger places like the Fillmore and
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Warfield or whatever. Is that the Warfield? Yeah, Warfield. I
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definitely did I see Under Oath there. I definitely
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saw Deftones and Dillinger Escape Plan there. That was okay.
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Yeah. And there's like, I'm trying to maybe the Independence, the smaller one or
119
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Hill or. I don't know, I'm trying to think. Of Bottom of the
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Hill. Slims. Is that still
121
00:07:53,120 --> 00:07:56,840
there? No, dude, I mean, it technically is, but
122
00:07:56,840 --> 00:08:00,600
somebody else bought it. They turned it
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into like an EDM club. Oh, wow. I
124
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saw so many good bands come through there, dude. I saw. Yeah,
125
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dude, legendary bands like. Yeah, that, that went through
126
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there Next door is still available though for, I guess,
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more of the, the, you know, rock based scene,
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which is DNA Lounge. Okay. So,
129
00:08:25,170 --> 00:08:28,970
you know, they, so I, I, and I like that place too. And their pizza
130
00:08:28,970 --> 00:08:32,770
is awesome. So there you go. Right on. Well, how did you get into
131
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music? Did you come from a creative or musical household at all or.
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00:08:36,690 --> 00:08:38,530
I didn't come from music household
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basically at all. Like my mom, you
134
00:08:43,919 --> 00:08:47,359
know, when she was raising my sister and I,
135
00:08:48,799 --> 00:08:52,599
you know, she, she was never like. Music was one of those things that
136
00:08:52,599 --> 00:08:55,999
she liked to have on in the background. You know, she didn't play an instrument
137
00:08:57,039 --> 00:09:00,879
or anything like that. She's one of those folks that if
138
00:09:00,879 --> 00:09:03,999
you ask her, hey, who sings the song? She has no idea who it is.
139
00:09:03,999 --> 00:09:07,500
She just. Okay, likes the song, you know. Got it. Yeah, yeah.
140
00:09:08,620 --> 00:09:12,460
But, but I took a real keen interest on it. And my sister is the
141
00:09:12,460 --> 00:09:15,580
same way as my mom and.
142
00:09:16,700 --> 00:09:20,140
But I, I, and I'm the exact opposite. I, you know,
143
00:09:20,540 --> 00:09:24,260
know, you know, back, back then, you know, especially as I
144
00:09:24,260 --> 00:09:28,020
got into music more and I bought CDs. I mean, you know, like
145
00:09:28,020 --> 00:09:31,820
in middle school I would save my lunch money and not
146
00:09:32,240 --> 00:09:35,680
like, eat lunch. That way I could go buy the new, you know,
147
00:09:36,560 --> 00:09:40,160
Drive Thru record album, you know. What? Sure, yeah. You know,
148
00:09:42,160 --> 00:09:45,760
and then my mom would be like, why are you always so hungry
149
00:09:45,760 --> 00:09:49,600
after school? I'm like, don't worry about it. And where are all
150
00:09:49,600 --> 00:09:53,360
these CDs coming from? And I would
151
00:09:53,360 --> 00:09:57,040
just like scour like the, the liner notes and see,
152
00:09:57,040 --> 00:10:00,240
I was like, oh, I don't know what a producer is, but this guy produced
153
00:10:00,240 --> 00:10:03,450
it. I, I don't know what a record label is per se, but I see
154
00:10:03,450 --> 00:10:06,770
the same logo on the back of all these CDs and
155
00:10:07,010 --> 00:10:10,850
you know, and I would see the bands thinking other bands.
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00:10:10,850 --> 00:10:14,010
So that's how I would find out about other bands or I would follow the
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00:10:14,010 --> 00:10:17,650
label, you know, like, yeah, that's. What I would do is, I mean, if anything,
158
00:10:17,650 --> 00:10:20,330
like, yeah, Drive Thru put out anything, you knew it was going to be cool
159
00:10:20,330 --> 00:10:24,090
or. Exactly. Fearless or Victory or whatever it was back then. Be like,
160
00:10:24,090 --> 00:10:27,870
oh, Victory. Sign this band. They're probably, you know, up
161
00:10:27,870 --> 00:10:31,310
my alley or whatever, you know, Exactly. It's worth checking out at least, you know.
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00:10:31,310 --> 00:10:34,950
Yeah, definitely. And so that's, that's what I did
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00:10:36,070 --> 00:10:39,790
and then. But I was always really interested
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00:10:39,790 --> 00:10:42,550
in who produced what and
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who engineered what and you know, so I just
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became pretty obsessed with that stuff. But my mom played
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mainly like traditional Latin music around the household or
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like there. I'm
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not sure if you, you're, since you're a Bay Area guy, I'm not sure if
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you. Everybody makes fun of it, but it's like that light Rock Station,
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96.5. Oh yeah,
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what was the call letters? I can't remember. Wasn't that like
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Don Blue or something? Got Monday mornings or something? I can't remember. Oh
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yeah, something like that. But anyway, yeah, so I know what. You'Re talking about,
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but I, I can't remember what. I mean. I, I lived there like,
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you know, 15 plus
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years ago. Oh, okay, got it. Yeah, yeah. So there was,
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so there was, you know, that like a light rock and
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Motown station, so basically playing all ballads
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and, and stuff. So. But once in a while they'll, they'll play something a
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little bit more energetic, you know, and, and those were the songs
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where you Know, my ears definitely perked up because I was like, oh, this is
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pretty cool. You know, like. And so the first
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rock band I got into, because I heard it on that station, was Third Eye
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Blind. Okay. And Bay Area guys.
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Yeah, yeah, yeah, guys. And I ended up.
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I ended up finding out that my mom's former boss.
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Was Stephen Jenkins. No, just kidding.
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Her kid. Her kid actually was their merchandise
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manager, so. Oh, that's awesome. So there
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was a connection there. So I was able to get, like, free CDs and stuff
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and, you know, and. Yeah, so
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that's kind of what got me into. Into rock, which is quite a bit different
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because, you know, if you listen to the other guys in my
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band stories, it's. I mean, typically, like, you know, the Beatles or some
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sort of classic rock or. Or classic metal or something
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like that. Whereas for me, it's like. I mean,
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my mom definitely didn't know who Pink Floyd was or
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whatever me. You know what I mean? So.
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Wow, that's cool. So what about, like, an instrument?
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Like, I mean, getting into all those bands. Every time I die, seeing these bands
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play in San Francisco and going down to San Jose. And
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you said you were in a band that ended up opening or.
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Who became Skrillex. And. And what?
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Like, when did you start. Did you start playing guitar? Or You. You sing for
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this band, right? Was that something you. Have you always
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been, like, the front guy? No,
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this is the first band that I've fronted. I've always been, like,
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kind of more. So. I started on violin a long, long time ago
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because I really did, like, a lot of classical music growing up, too, so I
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guess I. That was, like. I was only allowed to listen
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to what my mom listened to, plus
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classical, so. Okay. You know, very strict, traditional
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household. So. Until what. Hey, like, when did
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you start getting to go to all these shows, like, in Centerline stuff?
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Dude, I wasn't. I think I was, like, 15, dude. Okay, so you're
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a little bit older. Teenager. Got it. Yeah. And even then, like, a
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lot of my friends started going to concerts when they were younger,
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you know, But I wasn't allowed to
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for a long time.
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But, yeah, so I. I
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started off in violin, and then that kind of, like, fell to the wayside. And
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then I really wanted to play guitar because I wanted to
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write my. It's. I wanted to write my own songs more than
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actually be, like. Like a guitarist, if that makes sense.
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Yeah, yeah, you just wanted as, like, a vehicle to write your
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own song instead of, like, I want to learn every third. I Want or whatever
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it may be. You know what I mean? Right. You know, exactly. And so it's
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like I just want to know enough so that way I can, I guess, express
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myself is, you know, kind of how I, I looked at it.
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So I then,
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you know, and then as I kind of, you know, like
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I mentioned, I kind of got into the drive through stuff and I think, you
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know, I really had an appreciation for more of the
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mainstream stuff, you know, like Third Eye Blind and, and all that stuff
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and, you know, but I really started to
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fall in love with more of the underground stuff, you know, whether it was
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like, you know, stuff that you would find
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on smaller labels, you know, back then,
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you know, like bands like Alkaline Trio and, and Hot Water Music
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were. Those are like of my favorite bands. Oh yeah.
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See, like, yeah, Hot Water is definitely like up there for me. And
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yeah, I might. I have a sleeve based off of that album cover, the
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split that they did. Oh, that's so sick.
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Yeah, I'm a huge, huge hot water music fan. So
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they did that like vinyl that had the two sides
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and they covered one of each other's songs. I don't know. Oh yeah, yeah, yeah,
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yeah. And the, the vine, the, the picture disc had this crazy drawing
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on it. Like, that's amazing. So. Okay. Yeah, I gotta come up with a version
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of it anyway. Sorry. No, no, you're good. But no, I actually have the
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split with Bouncing Souls and Hot Water. I love bouncing.
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That's a good one. Yeah, but, but you
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know, so like, you know, there
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was stuff that I discovered that was like on, you know, Drive Thru was
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one, but another one was Fueled by Ramen before they got all that
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Paramore money, you know. Yeah. You know, back when
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Jimmy World actually released
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that one EP that right before.
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Clarity, the one before Clarity, the one. In between Clarity and
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Bleed American. Okay. I can't remember what it's called, but I know what
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you're talking about. It was just self titled. I. I have the 10 inch and
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it's very. It has that one. Really? Or there's
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two songs that you can't find anywhere else, not even on streaming platforms. One
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of them is called Roller Queen. Jimmy World's my all
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time favorite band, but. Oh, wow. Okay. Yeah, so.
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But you know, like stuff that was like on Asian Man Records, you know, Fueled
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by Ramen, you know, stuff
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like that. And then started to listen to
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stuff that was like on Solid State and. Well, first tooth and
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nail, because I didn't go immediately into the heavy stuff. Right.
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But, but you Know, a band on.
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On Drive Thru. And then
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later on was Finch
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that. Yeah, like, really started, like, you know, Third Eye Blind would have the occasional
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scream here and there. And I thought it was pretty cool, but it wasn't until,
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like, Finch brought it along because they still had very strong
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pop punk roots, but they were doing something a little heavier, you know.
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Yeah, yeah, they were a band from. Well, like, I guess
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it's not even really San Diego County. It's more like Riverside County, I guess, at
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that point. Yeah, they're from Temecula, which. Yeah, they try to.
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People would claim them as a San Diego band, which is funny, but. Oh,
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really nice. Yeah. And then. And
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then a Static Lullaby, who were from Chino Hill. So, like,
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you know, those were like, some of the heavier bands that I started
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again into. But, you know, a lot of my friends are getting into heavier
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stuff. And I was like, okay, well, I want to kind of dive
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into that too. So the first, like, I would say the
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first heavy record,
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in my opinion, that I. That I bought was
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Failure on By Beloved, you know, and that
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was on Solid State Records. And I really liked some of the riffs. And then
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my friends were like, well, you probably like metal
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more than. Than hardcore then, because hardcore is a little bit more rhythmic
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and, you know, breakdown heavy, you
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know. And so I bought
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ZO cd that was a compilation.
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And I bought Hasta Days Burning Bridges.
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Okay. And. And growing up, I did
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have a cousin that did listen to all
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a bunch of, like, you know,
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metal and grunge and stuff. So I was aware of
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it. Like, I. I knew I loved that twin guitar stuff that
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Iron Maiden did. I was exposed to Iron Maiden at a very young age
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and Nirvana and Slayer and all that stuff. But
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because it was taboo in my household, you know, I never really dove into it.
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Yeah, right. You're like, here, mom, like, check this one out.
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Exactly. South of Heaven
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Don't Diabol Musica. The guy on the COVID like, don't worry about what
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he looks. Exactly. Well, that's cool. So, like.
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So you start playing guitar, writing your own songs, and then you said you had
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a band, but how long down the line do you begin? Light
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Worker and you guys had an EP out. And, like,
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would that. Was that on Solid State or is this the first album or
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first release from Solid State? This is our second release on Solid State. Our
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EP was diy.
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And. Yeah, so. And actually our first album
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is, like. Even though it was released on Solid State, we
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did everything. DIY pretty much. And they, like,
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signed the album or Something or, like, signed you and put it out.
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Exactly. So. Because we were literally waiting for the
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masters when,
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like, everything else was done except for the. The masters. And
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so obviously we didn't have artwork or anything, but in terms of the
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music, like, we had vinyl mixes and everything waiting, and we had sent
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it off to get mastered, and we were just waiting for that, and then
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they offered us a deal. Wow. So.
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So did you just. Were you just sending out press kits or, like, how did
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you end up getting. Not even
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Solid State had a little bit of,
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I guess, a leg up on other labels because Daniel
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Gailey from Fit for a king, S.L.
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phas, and formerly of Becoming the Archetype and a bunch of other great
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bands, he worked with us,
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and he let
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Solid State know that he was working with us. And
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so they were like, oh, yeah, just keep us posted. So, so
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how did you get to meet him and work with him? So I've actually
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known the Phineas guys for at least.
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There's only one dude that was a part of the lineup that I had met,
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you know, back then, but I've known the Phineas
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guys since, like, before they were even officially signed.
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Oh, wow. Okay. Yeah, before they released.
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Yeah. So, like, I think. Or at least
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maybe. Maybe that's a little incorrect, maybe around the time that they
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did sign, but basically it was like before they really just blew
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up, you know, so they played
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their. I got them to play the Bay Area for the first time
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and got them to San Francisco for the first time and with me
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and our drummer, Ryan's old band. And
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so when Daniel joined
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Phineas, you know, I had already known the other guys, like,
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fairly well. Okay. So,
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yeah, so they. They.
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We. We went out to a show they were opening for
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era and, you know, went to the show,
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met up with the Phineas guys. And I knew that Dan
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kind of did some, like, production work and,
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you know, producing and engineering on the side, so I was
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just like, hey, I. I told. I told my guitarist,
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Grayson, and I was like, you know, we can work with him, or there's this
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other guy I know that's, like, rad too. But we. We knew that we
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wanted to step up, like,
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the. The. The guitar game, you know, on our end.
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So, yeah, ultimately we showed Daniel, like, our old stuff, and he
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was just like, yeah, this is sick. Yeah, let's do
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this. And so, yeah,
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through. Through, I guess, my prior
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connections with. With Phineas and whatnot, our friendships and. And
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whatnot, we were able to go to, you know,
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work with him. And, yeah, eventually, yes. Solid State. Yeah.
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That's awesome. What was the difference going. Did he work with you guys on this
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new album or no? Yeah, yeah. Oh, awesome. Yeah, he
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did Bo Burchell of
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Seosin and both worked on this album. They also worked
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on the prior album. So we, we did the same team for two
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albums in a row. Oh, okay. Yeah.
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That's cool. And with this new album, I mean, being,
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you know, like you had the other album done and then it got signed and
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released by Solid State. But going into this new album,
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was it any different having them as a, like having them like
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co sign prior to you even like
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beginning or like kind of Tell me about going into this album and
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was that any different now that you had a label backing? You know, you
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have this, you have the seat, you have the, you know, the, the logo
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on your album that you used to look through as a kid and be like,
386
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oh, okay, this band's probably awesome because they're on Solid State.
387
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Yeah. I mean, I don't know if I would call my band awesome, but.
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Well, okay, well, you know what I'm saying, right? Like people will
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just gravitate to it. To it or check it out because they know
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it's on, it's on this label. No, no. You like FAT Records and you see
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a FAT Records look. Oh, this band probably sounds like another FAT Records. Oh, totally.
392
00:25:08,410 --> 00:25:12,130
Yeah. No, absolutely. So
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I, I would say there, I mean, going into it, I, I. The
394
00:25:15,890 --> 00:25:17,130
only differences were
395
00:25:19,530 --> 00:25:23,250
that we weren't paying for it all out of our own
396
00:25:23,250 --> 00:25:25,690
pocket, which was pretty sick. Yeah.
397
00:25:27,960 --> 00:25:31,560
And then beyond that, you know,
398
00:25:31,560 --> 00:25:35,280
we knew how, we knew how Beau worked. You
399
00:25:35,280 --> 00:25:39,000
know, he was no longer like this new dude. You know, he became a friend.
400
00:25:40,120 --> 00:25:43,880
And Dan had also wrote a lot more as a
401
00:25:43,880 --> 00:25:47,680
writer and a producer as well. So what was great about
402
00:25:47,680 --> 00:25:51,360
that was, you know, he went and, you know, officially
403
00:25:51,360 --> 00:25:54,920
joined Fit for a King, was in the studio a handful of times
404
00:25:54,920 --> 00:25:58,500
with another producer and you know, was able to gain
405
00:25:58,500 --> 00:26:02,100
perspective and growth from there. So. And then, you know, he
406
00:26:02,100 --> 00:26:05,740
brought those things that he learned and, and you know, brought it to the table
407
00:26:05,740 --> 00:26:08,260
with us. So I think
408
00:26:09,300 --> 00:26:13,140
the biggest change was the two biggest changes were, you know, like
409
00:26:13,140 --> 00:26:16,940
we were on a label and so we didn't have to self fund anymore,
410
00:26:16,940 --> 00:26:20,740
which is awesome. And then I think everybody kind
411
00:26:20,740 --> 00:26:24,420
of knew each other more and or was more seasoned at what they did.
412
00:26:25,230 --> 00:26:28,830
Cool. Yeah. And with this album, like tell me kind of about it, like
413
00:26:28,830 --> 00:26:32,670
going like the writing process of it as far as like, what's the album About.
414
00:26:33,070 --> 00:26:36,830
And did you know you were gonna be writing an album?
415
00:26:36,830 --> 00:26:40,390
Because, I mean, nowadays a lot of people are just doing single, wait a few
416
00:26:40,390 --> 00:26:44,110
months, single, wait a few months, and then those all become an EP of
417
00:26:44,110 --> 00:26:47,710
sorts. But to go into an album, I mean, that's cool. I.
418
00:26:47,870 --> 00:26:50,880
I appreciate it, but it's just definitely not the norm anymore.
419
00:26:51,510 --> 00:26:54,630
Yeah. Yeah, I. I think
420
00:26:55,670 --> 00:26:58,310
we kind of entered into this whole,
421
00:26:59,670 --> 00:27:03,430
you know, music business thing at a unique time where there
422
00:27:03,430 --> 00:27:06,790
is a lot of change that's happening, you know,
423
00:27:07,270 --> 00:27:10,390
and it's happening faster than it ever has before,
424
00:27:11,030 --> 00:27:14,830
because when MP3s came to light, I mean, that ruled for
425
00:27:14,830 --> 00:27:18,540
a solid, like, 10 years almost, you know, so. So
426
00:27:18,540 --> 00:27:22,300
there was no real shift. But, yeah, as we
427
00:27:22,300 --> 00:27:25,140
became a band, it's like physical media was going down,
428
00:27:25,860 --> 00:27:29,060
but for whatever reason, vinyl was going up, streams took over
429
00:27:29,380 --> 00:27:32,860
and whatnot. Like, people used to look at, you know, your
430
00:27:32,860 --> 00:27:36,700
followers on social media. Now it's like, how
431
00:27:36,700 --> 00:27:40,100
many streams are you getting monthly? You know, It's.
432
00:27:40,100 --> 00:27:43,820
It's. And also, recording is a lot easier
433
00:27:43,820 --> 00:27:45,780
now than it was even 10 years ago.
434
00:27:48,970 --> 00:27:51,370
So I think for us
435
00:27:53,930 --> 00:27:55,050
going into this record,
436
00:27:58,330 --> 00:28:01,890
this has definitely been the most difficult batch of
437
00:28:01,890 --> 00:28:04,890
songs that me or Grayson have ever
438
00:28:05,210 --> 00:28:06,810
written or been a part of.
439
00:28:09,130 --> 00:28:12,490
It's. I love the creative process, but
440
00:28:13,510 --> 00:28:16,790
Grayson definitely struggled with a lot of writer's block,
441
00:28:18,630 --> 00:28:22,350
and in. In rightfully
442
00:28:22,350 --> 00:28:25,030
so. I mean, the world was kind of shut down for
443
00:28:26,230 --> 00:28:29,750
quite a while there. So, like, yeah, you know, so.
444
00:28:29,910 --> 00:28:33,430
And things had shifted, and, you know, so th. You know,
445
00:28:33,830 --> 00:28:36,790
I. I could have definitely understand from his point of view
446
00:28:38,720 --> 00:28:42,400
how that would definitely mess with your creative juices, you know,
447
00:28:44,240 --> 00:28:47,840
But I think through that struggle,
448
00:28:48,000 --> 00:28:51,720
we've been able to write something that we. We knew it
449
00:28:51,720 --> 00:28:55,560
was. We wanted it to be heavier. And I think we're getting
450
00:28:55,560 --> 00:28:59,360
to a point where it's like, okay, we're. We're kind of learning
451
00:29:00,000 --> 00:29:03,760
how to be, you know, like, how to write heavier music and
452
00:29:04,330 --> 00:29:07,210
were recognizing what works for us.
453
00:29:08,970 --> 00:29:12,690
And I think a lot of the lyrics on how the
454
00:29:12,690 --> 00:29:16,010
Beautiful Decay deal with
455
00:29:16,570 --> 00:29:19,210
what we've kind of been through the last
456
00:29:20,250 --> 00:29:24,010
three and a half years or so. And
457
00:29:24,010 --> 00:29:27,610
it's all compiled into, you know, 10 songs. And.
458
00:29:27,610 --> 00:29:31,260
And the. The name of the record came about before we even
459
00:29:31,260 --> 00:29:35,060
wrote a single note or. Oh, really? Yeah.
460
00:29:35,060 --> 00:29:37,940
And so that was kind of like our.
461
00:29:40,340 --> 00:29:43,780
Kind of our guide. You know, it's like, hey, everything we write, we want it
462
00:29:43,780 --> 00:29:47,460
to be able to sound like it would fit under this title. You know,
463
00:29:47,540 --> 00:29:50,500
whether that's lyrically or. Or
464
00:29:51,140 --> 00:29:53,860
Musically, and
465
00:29:54,740 --> 00:29:58,570
so I think that really helped. And
466
00:29:58,650 --> 00:30:02,490
obviously, having, you know, Daniel and. And Bo
467
00:30:03,290 --> 00:30:06,970
be at the helm of a lot of this stuff has. Has really helped, too,
468
00:30:08,490 --> 00:30:12,250
and. But it definitely was a bit of a struggle to get
469
00:30:12,409 --> 00:30:16,090
to that finish line. But I could definitely say this is the most
470
00:30:16,090 --> 00:30:19,930
proud of a record that. Or any kind of music that
471
00:30:19,930 --> 00:30:23,580
I've ever been, ever since I was a kid. Like, definitely the most
472
00:30:23,580 --> 00:30:27,300
proud of this one. There's. Yeah, I'm.
473
00:30:27,700 --> 00:30:31,540
And. And honestly, I'm looking forward to the next one. Knowing that we have, like,
474
00:30:31,540 --> 00:30:35,300
this experience under our belts. That's amazing.
475
00:30:35,460 --> 00:30:38,980
Yeah, that's really, really awesome. I can imagine being hard to, like, run into a
476
00:30:38,980 --> 00:30:42,700
writer's block, especially if you're signed to a record label
477
00:30:42,700 --> 00:30:46,420
that's like, okay, are we gonna have something here? You know what I mean?
478
00:30:47,140 --> 00:30:50,930
Yeah. Yeah, absolutely. But, you know, like, I
479
00:30:50,930 --> 00:30:54,650
mean, burn Scar, the second single that we released, was the one that
480
00:30:54,650 --> 00:30:58,170
broke Grayson's writer's block, and. And
481
00:30:58,890 --> 00:31:02,170
we. We started to get really stoked and, like, I.
482
00:31:02,730 --> 00:31:05,770
And once now that we've actually played
483
00:31:06,330 --> 00:31:10,010
some of the new songs live and. And have done some
484
00:31:10,010 --> 00:31:13,730
touring and whatnot and have seen the reception, we. We felt
485
00:31:13,730 --> 00:31:17,490
good about it, but seeing the reception of it has, like, solidified, like,
486
00:31:17,490 --> 00:31:21,050
hey, going this heavier direction is definitely. Not only does it feel good for us,
487
00:31:21,050 --> 00:31:24,730
but the audience is also receiving it really well, too. So
488
00:31:24,890 --> 00:31:28,610
it kind of makes us ponder, you know, like, okay,
489
00:31:28,610 --> 00:31:32,370
well, we can definitely. There's a lot more to explore in.
490
00:31:32,370 --> 00:31:36,210
In terms of the heavier aspect of. Of our band. It's
491
00:31:36,210 --> 00:31:39,770
awesome, man. Well, I appreciate your time. I
492
00:31:39,770 --> 00:31:42,700
think the album comes out on Friday, right? Almost.
493
00:31:43,500 --> 00:31:47,300
That's exciting. You doing anything for. I know you had some shows that you
494
00:31:47,300 --> 00:31:50,140
had already played, right? Like, whiskey and stuff last month.
495
00:31:51,180 --> 00:31:54,820
Yeah, this. This month, we're. We're kind of taking
496
00:31:54,820 --> 00:31:58,620
it easy. We're. We're just going to be releasing the album
497
00:31:58,620 --> 00:32:02,460
and. And ramping up, getting ready to go on tour next month and
498
00:32:02,460 --> 00:32:06,180
then the month after that. So. Awesome. But I think
499
00:32:06,180 --> 00:32:09,990
we're just gonna celebrate with.
500
00:32:09,990 --> 00:32:13,710
With each other, you know, and, you know, have a couple beers and just be
501
00:32:13,710 --> 00:32:17,510
like, finally out. Right on,
502
00:32:17,510 --> 00:32:20,190
Joe. Well, I appreciate your time, man. Thank you so much for doing this. I
503
00:32:20,190 --> 00:32:23,350
have one more question. I want to know if you have any advice for
504
00:32:23,350 --> 00:32:27,070
aspiring artists. Do the
505
00:32:27,070 --> 00:32:30,790
work that's, like,
506
00:32:30,790 --> 00:32:34,590
if you. If you know nothing is going to
507
00:32:34,590 --> 00:32:38,230
be handed to you, like, and if you feel
508
00:32:38,230 --> 00:32:41,790
like you're not getting the opportunities that you want, then,
509
00:32:42,670 --> 00:32:46,310
you know, I guess the saying is, you know, like, build your own chair and
510
00:32:46,310 --> 00:32:50,110
bring it to the. To the table. You know, like, you know,
511
00:32:50,430 --> 00:32:53,550
get out there, go to shows, make contacts and stuff like that.
512
00:32:54,430 --> 00:32:57,310
Dedicate the time to your craft and, yeah, just do the work.
513
00:33:06,030 --> 00:33:07,390
Bringing it backward,
514
00:33:11,230 --> 00:33:14,750
bringing it backward, bringing it backward,
515
00:33:14,910 --> 00:33:18,350
bringing it backward, bringing it backward,
516
00:33:18,590 --> 00:33:20,270
bringing it backward.
