BiB: M.A.G.S. - How a Family Band & Church Basement Led to Indie Stardom & Touring with Football

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What is going on? It is Adam. Welcome back to Bringing It Backwards, a podcast

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where both legendary and rising artists tell their own personal stories

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of how they achieve stardom. On this episode, we had a

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chance to catch up with Elliot M.A.G.S. over Zoom

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Video. We had Elliot on the podcast a

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couple years ago now when he first released the album

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Destroyer. And this time we had a chance to chat

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with him about the reimagined version of Destroyer, which

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is called Creator. Kind of recap a little bit on the first

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interview, where he was born and raised, how he got into music. He did grow

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up in a musical family. He talks a little bit about how M.A.G.S. was

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formed, but you can get. All of that information in the first. Interview

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we did with M.A.G.S.. So we focus a lot on the new

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album, which is called Creator, and each

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track is a reimagined version of the

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songs from the Destroyer album. He recorded the thing in nine days.

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There's nine songs. They knocked out a song a day. And he kind of

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talks about the process of that. This is the first time he's really collaborated with

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anyone on a M.A.G.S. record. So it's a

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fascinating interview. The album is amazing. And

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M.A.G.S. is about to hit the road with American Football. We talk about that as

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well. You can watch the interview with Elliot on our Facebook page

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and YouTube channel at bringing it Backwards, it'd be amazing. If you subscribe

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to our channel, like us on Facebook, follow us on Instagram,

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Twitter and TikTok at bringing back pod. And if you're listening

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to this on Spotify, Apple Music, Google podcasts, it would be

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incredible. If you follow us there as well and hook us up with a

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five. Star review, we'd appreciate your support. If you follow

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and subscribe to our podcasts, wherever you listen to podcasts,

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we're. Bringing it backwards with Max.

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Bringing it backwards.

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Bringing it backwards. Bringing it back.

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Bringing it back. Bringing it back.

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Bring it back.

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Hey, what's up, Elliot? How's it going, man? How are you, brother?

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I'm doing well. How are you? I'm doing awesome. Thanks for

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doing this again. Yeah, thank you for

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generously rescheduling. Oh, yeah, yeah, no worries.

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And because I had you on when the album came out,

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before the album came out, before Destroyer came out. Yeah, I think it was the

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day before. Yeah, yeah. So appreciate it to

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chat about the. The. The new one or the

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reimagined version, I. I should say of the. The album. Right?

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Yeah. Yeah. Sweet, man. Well, I appreciate you doing this

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again. You kind of know the drill. It's about

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your. You and your journey in music. Since we already heard your story, really the

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first time, maybe we can just recap a little bit and

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then obviously get into this

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new project you just released. Absolutely.

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Awesome. So first off, I do remember you born and

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raised in Buffalo, New York. Right. But then you moved to la. That's

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correct, yeah. Are you in LA now? No, actually

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at the beginning of this year, I moved to Kansas City, Missouri.

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Really? Okay. Yeah, I did. I did six years in

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LA and just kind

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of was time to go, you know. Got sick of it. Well, not even that

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I was sick of it. It's just. I don't know, I think most

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of 2023 I was on the road and there was

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just a lot of like, circumstances that were kind of pushing me

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towards like. Okay, I think I need to like, get some

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space from all this, you know, so. Sure, yeah. Kansas City's

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cool though. So far. I like it. That's awesome. So why did you

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decide on Kansas City.

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Mostly? Actually, because my, my partner got a job here.

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You know, we had been doing kind of the long distance relationship thing

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for a while. I was in la, she was in New York, and

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at the end of last year, I moved to New York and spent some time

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there, and then we moved to Kansas City together once her job started.

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Okay, right on. Very, very cool. And did you. Was

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I. I saw something about this new

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album being done in Chicago though, right? Yeah. Wrong.

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That's correct, actually. Yeah. I just, I had flown up to Chicago when I

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was still in la. I just went to Chicago after a tour and like, me

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and my guitarist, we just like locked away

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and did it. It was cool. Okay, so you weren't living there, it just happened.

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You happened to do it there. Okay, right on. All right, well, so yeah, you

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come from a musical household. Your dad was a worship leader.

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Right. Mom was in the choir, ran the choir. And all your

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siblings are musical in some form or another.

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So kind of tell me about like. Okay, you and you started off on drums.

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I'm curious. We didn't really talk much about the, the first band that you played

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in, which was with your siblings, right?

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Yeah, we. We guess. I guess we may have skipped over that a little bit.

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Um, that was very much just sort of like

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a product of necessity, I would say. Um, you know, we

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were all like very, very invested in,

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in playing music and you know, like, we

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were all homeschooled as well. So like, there was a lot of like music

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based themes in the house, whether it be like, you know,

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Making up songs for school or,

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you know, my mom would make up a song to get us to do stuff.

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A lot of times, you know, just like, to clean up our

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messes or, you know, if we needed help with

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something. She always had a song to, like, kind of remind

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us to do these things, you know, so.

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And also we had, like. Like, we would all take

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turns doing extracurricular activities.

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So. And we would go, like, by the school year. So, like, I remember the

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one year my older sister Lydia wanted to learn how to play

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guitar, so she started taking guitar lessons. And then

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my bro, my younger. My youngest brother, Christian, he wanted to play

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bass. And I already kind of knew I could play the drums,

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like, before I even ever got a kit or anything. I'm just like, I. I

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know I can. I. I have to, you know. Oh, so you weren't playing

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already at this point when everyone else was gonna. Say, I didn't start. I didn't

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start playing until I was like, I think 13 or 14.

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Okay. Like, I would play a little bit. Like, I would try to, like,

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like, sneak up on stage after church and, like, I would try to hit the.

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Hit the drums. But I will always get kicked off by the sound guys or

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my dad or whatever. Oh, really? Like, yeah,

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yeah, you're just a kid. You're just messing around. And then I'm like, no,

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I can play the drums. Like, I promise you.

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But, yeah, I don't know. And then my. I have another sister,

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Mariah, who's, like, younger than me.

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She's, you know, I think she started kind of learning

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piano. Like, my dad started teaching her piano,

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and, you know, all of us can sing, you know, more or less.

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So it was kind of just like, I don't even. I don't. Honestly don't even

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know, like, where the idea came from. It seems like it was always just going

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to happen at some point. But we did start,

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like, a little band that we. I think it was

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the majority of the reason was because we were trying to enter

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this, like, competition at our church.

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Oh, like a battle of the bands type thing? Not.

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It was more like a.

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It's kind of hard to explain because it was. It was like a regional,

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and then it became like a national thing where, like, all these different

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churches would, like, come together once a

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year and they would do, like, you know, like the regional round where you could,

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like, you know, be in a band or you could,

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you know, preach a sermon or you had, like, a piece of art that you

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would make, and then you'd be like, judged on it. And then if you, you

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know, got a score that was passing, you could go to the next round.

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But it was like a really big event, you know, and if you went to

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the national, like, you're, you're,

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you're competing against thousands of other people, you know.

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So I think we just like formed our band basically to enter that

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competition and we ended up like, getting

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to the national level, I think, two or three years in a row. Wow. Were

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you doing original songs or you do like, like a

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worship song or kind of both? I think we entered two

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different categories, so we had a couple original songs that we were doing for

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that, but we also were just playing like church music, you know.

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And then we started playing, like, I think we played at the mall one time.

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It was, it was weird, man. Like, I, I think when I look

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back on that, it was like we're just set up in the food court and

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like, it was just very like uncomfortable.

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I remember I was like, kind of upset because I had to play with those

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like, hot rod sticks, you know, because it's like we're just in like a really

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big echoey chamber. Yeah, I had to play really

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quietly and like my whole thing was just to play as hard as you could.

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So that wasn't really my, my jam.

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But yeah, I don't know that we ever played any proper, like,

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shows at a venue or anything like that. We played primarily like at church

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or, you know, just like

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little, little things here and there that are parents, friends

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would have. Like, we, I think we played at like a school one time, you

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know. Okay. Probably played, you probably played out like, like maybe five or

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six times total. Okay. And you're one of your sisters is still an

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artist, right? Yeah, my younger sister Mariah, she still,

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she still plays. She still records and puts out music.

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She's got her own project that she calls Renee the

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Entertainer. She's, I think Renee's her middle name. So like,

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I was wondering, I was gonna say I, I, I had written down Renee the

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Entertainer. And then I'm like, he didn't say I, did I? Maybe I

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misheard. Yeah, Renee the Entertainer. That's her thing. It's kind of like a more

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of like a hip hop infused R B kind of thing.

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Yeah, the song, I remember, I think she had just put out the song

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Heart last time we talked. Yeah, I worked on that one a little bit. We,

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we. I'll send her beats all the time. And she's actually got a new

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song coming out soon that's like a Boot a beat that I produced.

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Really? That's awesome. Yeah. Yeah. So we still kind of work together here and

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there, but she's kind of doing her own thing, which is great. That's awesome.

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And then. So, yeah, and then you kind of started M.A.G.S. by just

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recording yourself, Right? You'd record the drum beat and then go back in and add

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guitars and pretty much to it. Yeah. And I

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had been in so many bands, like, between, like, when we started our first

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band to. When I started M.A.G.S., I probably was in, like, seven or

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eight bands. Okay. And then with. With

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M.A.G.S.zo, I mean, the song Drugs, obviously, is a huge. Was a huge

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song for you. And was that kind of. What

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did that change stuff for you as far as, like, the success level

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of this project versus other bands maybe you had played in before?

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I think having a song that kind of, like, got baked into the

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algorithm, like, I think it definitely added a bit more, like, legitimacy,

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you know, to be totally honest,

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none of the other bands really had enough, like, Juice

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to really, like, get off the ground. Like, a lot of them stayed local.

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Okay. Never really toured with any of the other groups.

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And I don't know, I just. I think it was. It's a

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lot of the mentality behind, like, starting

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a band. Like, some people want to get on the road and they want to,

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you know, play shows and. And do that kind of life.

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And then other people just want to, like, be local and, you

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know, just play shows locally and just kind

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of have something to do, really, you know. Right. I mean, that's the thing that's

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wild about being in a band, especially bands that are. Have. The longevity

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is that you have to find a group of, you know, three, four, five people

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that all have the same dream and the same drive and

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the same, you know, mindset when it comes to those things. Because for me, I

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mean, I think about, you know, chatting with artists, and they're like, you know, the

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rough in eight years, right in the van and sleeping on floors. And

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I'm like, yeah, that's. That. That's not for me.

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And I'm sure. I'm sure that's not for a lot of people once that you

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get to that point. But then usually you'll hear about people like, you

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know, the. The few. Maybe The. The most

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passionate people in the town or whatever, all kind of get together at one point

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or another, and then that band goes on to become a success

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story because those are the people that cared enough to continue on with it.

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Yeah, I think it's really just about everyone's sort of goals being

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aligned, which is very challenging,

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you know, especially getting a little older too, and everyone's priorities

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start to change or like, you know. You'Re having kids, you're getting married

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or whatever. Yeah. You're like, I. I got to get to work, man.

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Like, I can't just, like, go play a pizzeria for 10

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bucks. That's exactly right. Yeah. I think, you

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know, it's interesting because I. I watched a lot of the.

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The people that I looked up to in the scene in Buffalo, like, kind of

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take that route as well, you know, and there's. There's nothing wrong with that. I

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think that's like, honestly, like, it's. It's stable,

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you know, and you. You kind of end up like, you know, you got your

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house, you got your kids, you got your wife, you know, and you just. You're

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doing your thing. And, you know, I think there is part

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of me sometimes that is like, you know, dang, that would

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have. That sounds really nice, you know, and I. I'm just at a point

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now where it's like, I'm starting to move

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more towards that as well, you know, Like, I'm in Kansas City. I'm

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away from a lot of the distractions of just kind of the big city life

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and everything. My girl and I are. Are pretty posted

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up here. We got two cats. You know, it's like sometimes it's kind of like

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having kids, 5am Wake up times, I

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guess, sometimes, sure. But, yeah, it's. It's a good life. And,

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you know, I think ultimately it's like, you know, I'm.

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I'm willing to protect it. You know, this is like the type of stuff that

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I want to come home to after I'm done being on the road, you know.

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But you must have some sort of inkling. I mean,

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like, you'll hear. I'll hear artists talk about. It's like if you sat around for

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six months or eight months, you'd probably be itching to get out and play.

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That's me. Right? You know what I mean? Yeah. Yeah. So it's like one of

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those things where most people are like, oh, it'd be,

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you know, they do the one show and they're like, oh, that was great. Okay,

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that'll all. That'll. That'll take care of that itch for the next

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nine months. Or it's most. If you're. This is it and this is what

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you want to do, and this is what you love and what you're doing. I

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could see it being a lot harder to kind of hang up for a long

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period of time. Yeah, you know, it's. It's interesting you say that

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because, like, this past year, 2024, for me,

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has been. It's just been that, like, the last show I played was in

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December of 2023, and, like, a few

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weeks before I moved, we did, like, a

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show for Emo Night out there, and it was really. It was a lot of

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fun. Oh, that's awesome. Yeah, it was. It was really, really sick.

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And then I moved, and I've just basically been kind of

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acclimating to life in the Midwest. And,

255
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you know, I've been doing some. Some writing here and there, some mixing here and

256
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there, but, like, it hasn't really been in the cards to

257
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be playing a lot of shows right now, you know?

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And, you know, that's okay. Like, I'm. I'm honestly totally fine

259
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with that, I think. What's like, you know, now that I have a tour

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kind of on the books, and, like, we're about to go, you know, do this

261
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tour and, you know, honestly, it's like I'm about to go open for

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American Football as well, and that's one of the biggest. Biggest opportunities I've ever had

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as an artist. So rad. I love that band. They're incredible.

264
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Yeah, I got to see them last year while we were on

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tour. We played the same festival. Oh, you played four Chords, right? Was that the

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festival? Yeah, with Alkaline Trio and a bunch of other bands were

267
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on that. Yeah, that was. That was honestly, like, one of the.

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One of the best experiences at any festival I've ever had. It was. It was

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really sick. That's so rad. Yeah, I actually. It was

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crazy. The. The way I even got connected to them was

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we stayed at the same hotel, American Football and us, like, and we

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just. We were checking in at the same time that they were checking in, and

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then we end up. You know, one thing led to another. We were. Ended up.

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We ended up, like, partying with them. Like, we were

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just, like, in the lobby, just, like, just kind of tearing shit up, you

276
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know. Yeah, it's really sick. But we. You know, I stayed in touch with

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Steve, who plays drums for them, and, you

278
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know, from there we've just kind of been, you know, stayed friends, stayed in

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touch, and then they asked me to do this, you know, so. That's so

280
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crazy. Pretty cool. Yeah. I can't. Yeah, I can't imagine.

281
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Although you aren't playing here in Nashville, but that's cool.

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Honestly, I really want to get back to Nashville. I've only played there a couple

283
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of times, but it seems that there's a. There's a bit of a demand

284
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to come back, so I know it'll happen soon. Yes, I know. And

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American Football is not coming here either, but that's cool. But you both

286
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should. Out of date. But

287
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that's. I mean, that's so wild to be able to be on that tour with

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them. But I was gonna say, like, I know you're talking before. We're kind of

289
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talking about how, you know, a

290
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bands are hard to keep together and, you know, having everyone have the same drive

291
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and the same thing. And with M.A.G.S. is you do everything

292
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when it comes to the recording process of it all, but then you have a.

293
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A live band that you tour with. And I

294
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remember we're. When we were talking about the Destroyer album last time, because I want

295
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to hear about this, like, reimagined version of it, which is awesome. But

296
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you were saying that you kind of wrote that record more so with

297
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the live element in mind, Right. Where it was

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like before, you were just kind of writing the songs, and that

299
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wasn't a part of it because it was just you. But then now you have.

300
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Then you had a band, you guys started to gel, and then it was like,

301
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oh, well, how will this sound live when we play this

302
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song? Or whatever with Destroyer? Is that,

303
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like, kind of. Tell me about that. Was that because the.

304
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You have felt like, okay, I have, like, kind of a solid group of people

305
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here that are willing and have the same mentality as

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me, or was it like, I love playing live so

307
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much that I want to, you know, this. I want it to sound a certain

308
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way live. I don't know. Sure. Yeah. I think there was definitely some

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realizations on those first couple tours we did, because I had just put

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out say things, I think, the year before, like, our

311
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first tour ever. And even, like, the way that

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I connected with the guys that were in the band at that point, it was

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very, like, serendipitous, you know, and

314
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when we, you know, started the tour and we're playing shows, it's like, we

315
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gelled almost immediately. Like, there wasn't really any, like,

316
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period of us needing to kind of get used to each other. It was just

317
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like, boom. Like, we're a sick band. And I was like, that was. That

318
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was lucky, you know. Right. And, you

319
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know, we did, I think, two or three tours, and then I was, you know,

320
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I was in the middle of just Kind of getting my. Some of my ideas

321
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together for the next album. And,

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you know, I. I think I'm a pretty observant person. You know, I

323
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tend to pay attention to people's like, you know, strengths and

324
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weaknesses. And I think when you're on stage with people as well, it's like you.

325
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You get really familiar with them in like a way that is. It

326
00:20:17,340 --> 00:20:21,180
kind of goes beyond like friendship or like, you know, how you

327
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relate to them. It's like this almost higher frequency thing, you

328
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know? You know, so I would like, listen

329
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to. I'd be, you know, doing my parts, but listening to how my drummer

330
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is playing the parts that I wrote and I'm noticing how he, how

331
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he changes things and how he, you know, is essentially playing the

332
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same parts, but like, he's got his own style, you know. And

333
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so when I started writing the next album, I'm kind of

334
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thinking a little bit about him. I'm kind of thinking about like,

335
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like, well, I know he likes to do stuff like this, and so that's a

336
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kind of a cool idea. So I might borrow that a little bit, you know.

337
00:20:58,400 --> 00:21:02,200
Okay, I see. Yeah. Kind of taking like what you're observing when you're

338
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playing live, like, oh, like, I never thought about this little thing

339
00:21:06,000 --> 00:21:08,800
that he does on this song that, you know, that

340
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I already wrote. But maybe we can add something cool like that. Yeah, I

341
00:21:13,400 --> 00:21:16,960
think there's. There's a lot to learn from other people.

342
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Just. That's kind of an obvious statement. But like,

343
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I think with mags, like, it was sort of

344
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maybe not so obvious because I started

345
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doing it with such like, determination to just

346
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do it myself, you know, and since I started

347
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playing live more often, it's like, you know,

348
00:21:40,390 --> 00:21:43,910
there's a lot of room for other people to come in and like

349
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add their style or, you know, just bring their own ideas

350
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or their own sort of techniques even

351
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and, you know, just kind of put their own voice into it. And I think

352
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that's really cool. Like, you know, this next tour we're doing, it's like, I don't

353
00:21:58,900 --> 00:22:02,660
even. I have one guy from kind of the original group and the

354
00:22:02,660 --> 00:22:06,340
other two guys are new guys I've never played with before.

355
00:22:06,980 --> 00:22:10,580
Oh, okay. Just. I think it's going to be fun, you know, but it's also

356
00:22:10,580 --> 00:22:13,980
interesting because you have to kind of start the whole process over again, like

357
00:22:13,980 --> 00:22:17,350
relearning and re acclimating and everything. Sure.

358
00:22:17,910 --> 00:22:21,710
So. But I'm really interested to see how, you know, this next run goes for

359
00:22:21,710 --> 00:22:24,310
that very reason. And

360
00:22:25,350 --> 00:22:28,630
you know, I don't know. I just, like. I like to,

361
00:22:28,950 --> 00:22:32,070
you know, now that I've opened myself up to,

362
00:22:32,629 --> 00:22:36,310
you know, what other people can contribute to M.A.G.S., it's like I'm sort of

363
00:22:36,310 --> 00:22:39,950
itching to now collaborate more, you know, and

364
00:22:39,950 --> 00:22:43,750
that's kind of. That's kind of what Creator is, you know, Creator was

365
00:22:44,420 --> 00:22:47,860
the very first, like, collaborative M.A.G.S. album.

366
00:22:49,300 --> 00:22:52,940
Oh, okay. Yeah. I didn't know that. So. Yeah, because I.

367
00:22:52,940 --> 00:22:56,500
I remember when you said, like, you went with. With. With say Things

368
00:22:56,500 --> 00:23:00,340
or. And you guys would go out and play live. It was the. The

369
00:23:00,340 --> 00:23:04,060
songs translate so much heavier. Right. In a live version. Like, a live

370
00:23:04,060 --> 00:23:07,860
version. And then. So when it went into Destroyer, you know, it was.

371
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This is. It's heavy, and this is what's going to sound like on the recording

372
00:23:11,550 --> 00:23:15,190
and live. And then with this new with Creator,

373
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it's. You kind of took a. You flipped it again.

374
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So now it's more of, like. It's more

375
00:23:22,390 --> 00:23:25,750
atmospheric, I guess. I don't know, like, how I would describe it, but it's not.

376
00:23:26,230 --> 00:23:30,070
The songs are rad, and it's the reimagined versions, I guess.

377
00:23:30,070 --> 00:23:33,790
You kind of describe it like, it's not heavy. The newer one.

378
00:23:33,790 --> 00:23:37,550
No, it's not. Yeah. So. So, yeah, you kind of went back to more

379
00:23:37,550 --> 00:23:41,060
of the, like, less

380
00:23:41,060 --> 00:23:44,660
heavy with the same song, like, a different reimagined

381
00:23:44,660 --> 00:23:48,460
version of these songs. And, like, I guess. Why. What

382
00:23:48,780 --> 00:23:51,780
went into this? Like, why did you decide to do this? And. And you made

383
00:23:51,780 --> 00:23:55,180
it a collaborative effort. And how did that all. How did this come about, this

384
00:23:55,180 --> 00:23:58,380
project? Sure. Yeah. I think this album

385
00:23:58,940 --> 00:24:01,820
started off as an acoustic album.

386
00:24:02,860 --> 00:24:06,370
My initial idea was, like, you know,

387
00:24:06,450 --> 00:24:10,290
like, I put out Destroyer and kind of immediately jumped into.

388
00:24:10,610 --> 00:24:14,450
Just kind of getting my personal life back together, if I'm being totally honest.

389
00:24:15,330 --> 00:24:18,850
Didn't give it as much attention, I think, as

390
00:24:18,930 --> 00:24:22,290
I would have wanted to. And

391
00:24:22,530 --> 00:24:25,810
so at the beginning of. I think it was.

392
00:24:26,530 --> 00:24:29,690
Yeah, like, the beginning of this year, I kind of was just like, I need

393
00:24:29,690 --> 00:24:33,420
to. I want to go back to Destroyer, but I want to, like, go back

394
00:24:33,900 --> 00:24:37,540
without. Just, like. I don't know. I didn't want to just, like, put out a

395
00:24:37,540 --> 00:24:41,180
video, like, six months later, whatever, you know? So I'm like, how can I.

396
00:24:41,660 --> 00:24:44,940
How can I, like, give Destroyer a little bit more life?

397
00:24:47,260 --> 00:24:51,100
And the idea to just do, like, an acoustic version of Destroyer

398
00:24:51,100 --> 00:24:53,020
kind of popped into my head. So

399
00:24:55,100 --> 00:24:57,700
I just. I had the idea I'm gonna just, like, sit in front of my

400
00:24:57,700 --> 00:25:01,420
computer for a day and just, like, record all these songs acoustically,

401
00:25:01,420 --> 00:25:04,680
you know, just my voice, Naku guitar and

402
00:25:05,400 --> 00:25:07,880
you know, that'll be kind of like the next step.

403
00:25:09,560 --> 00:25:13,400
And as you know, I think I. I got through the majority

404
00:25:13,400 --> 00:25:16,120
of the songs. I think there's nine songs on the album. I got through like

405
00:25:16,120 --> 00:25:19,800
seven or eight of them. And I hit

406
00:25:19,800 --> 00:25:23,600
up Ahmed, who plays guitar in my band, and he's the one

407
00:25:23,600 --> 00:25:26,560
who lives in Chicago. And I was like. And I actually now thinking about it,

408
00:25:26,560 --> 00:25:30,180
I think this was actually the beginning of 2023 when this

409
00:25:30,260 --> 00:25:32,260
kind of started because I had finished

410
00:25:34,500 --> 00:25:38,220
May. I'm getting my timeline a little mixed up here, but I was working on

411
00:25:38,220 --> 00:25:40,900
it last year. Like the. The demos of it. I was working on them last

412
00:25:40,900 --> 00:25:44,659
year and I hit him up and I was like, like, I

413
00:25:44,659 --> 00:25:48,500
want to like make a. Maybe like a bit

414
00:25:48,500 --> 00:25:52,220
of an overproduced acoustic album, you know, Like, I want to add like

415
00:25:52,220 --> 00:25:54,980
all these different elements and, and make it really like,

416
00:25:56,090 --> 00:25:59,730
like big, you know, like almost orchestral, you know. He's like, bet,

417
00:25:59,730 --> 00:26:03,290
like, okay, cool. So we just. This. We just picked a couple days

418
00:26:03,290 --> 00:26:07,050
or like. I think it was like, like a nine day stretch in

419
00:26:07,050 --> 00:26:10,650
November last year to just like, like lock in and do it.

420
00:26:12,730 --> 00:26:16,370
And you know, I basically just pulled up with my voice

421
00:26:16,370 --> 00:26:19,690
and the acoustic guitars and we kind of just built everything

422
00:26:20,410 --> 00:26:24,060
around it. So I think at the very

423
00:26:24,060 --> 00:26:27,820
core of Creator, it's still just an acoustic

424
00:26:27,820 --> 00:26:31,420
album, but all the extra layers and textures

425
00:26:31,420 --> 00:26:35,100
and a lot of the electronic elements, that was all kind

426
00:26:35,100 --> 00:26:37,940
of. That just all came through experimentation.

427
00:26:39,060 --> 00:26:42,900
I went in with kind of an idea of what I wanted to

428
00:26:42,900 --> 00:26:46,500
do and I left with something that I, A,

429
00:26:46,500 --> 00:26:49,290
would have never made on my own and B,

430
00:26:50,970 --> 00:26:54,770
kind of like subverted my expectations for what I thought was possible. If

431
00:26:54,770 --> 00:26:58,530
I'm being honest, you know, I was like. I think like the first or second

432
00:26:58,530 --> 00:27:02,210
day we. We went in order of the tracks, you know. And like the first

433
00:27:02,210 --> 00:27:06,050
day it's like we made. We did Destroyer

434
00:27:06,050 --> 00:27:08,810
and it was like. Or Sequence one. And I was like,

435
00:27:10,410 --> 00:27:12,570
I think by the time we got to the end of it and like we're

436
00:27:12,570 --> 00:27:15,770
adding this like crazy, like kind of lo fi drill beat. I was like,

437
00:27:16,380 --> 00:27:19,180
okay, I don't know. Like, I have no idea. I have no idea what's gonna

438
00:27:19,180 --> 00:27:22,860
happen, you know. And then the next day we did Sequence

439
00:27:22,860 --> 00:27:26,620
two or Sins. And like, you know, that one has a bit more of

440
00:27:26,620 --> 00:27:30,300
like a. Like a. Almost like a western, like cowboy

441
00:27:30,460 --> 00:27:34,060
vibe, you know, like all these songs to me, like, as we were

442
00:27:34,060 --> 00:27:37,300
like before we made the songs we just kind of would talk about them. And

443
00:27:37,300 --> 00:27:41,100
I'm like, this is what I'm thinking, you know? And I know for, like, for.

444
00:27:41,490 --> 00:27:45,130
For that one specifically, I was like, I'm just thinking about my cowboy

445
00:27:45,130 --> 00:27:48,690
riding into the sunset, you know, that's the exact vibe I want to go for.

446
00:27:49,010 --> 00:27:52,490
And so we just would kind of use that as our template and just kind

447
00:27:52,490 --> 00:27:54,850
of went, you know, and just tried to figure it out.

448
00:27:56,210 --> 00:28:00,010
And even for, like, sequence three, that one was very, like, heavily influenced

449
00:28:00,010 --> 00:28:03,850
by, like, the Beatles, you know, we made that one on the

450
00:28:03,850 --> 00:28:07,530
same day that the. The

451
00:28:07,530 --> 00:28:11,130
John Lennon, like, AI track they released.

452
00:28:11,130 --> 00:28:14,690
Oh, really? Remember that? Last year? Yeah. Yeah. We woke up and it was, like,

453
00:28:14,690 --> 00:28:18,010
all over our feeds and everything, and everyone just had, like, their own opinions about

454
00:28:18,010 --> 00:28:21,850
it and everything. It's like, the first new Beatles song in, like, decades or whatever.

455
00:28:22,250 --> 00:28:26,090
And I'm just like, why don't we just kind of lean into this a

456
00:28:26,090 --> 00:28:29,850
little bit and take the vibe from that and just put it into this one

457
00:28:30,970 --> 00:28:33,530
and it worked. You know what I mean? It's like we just kept it, like,

458
00:28:33,530 --> 00:28:37,370
very, like. I think we referenced, like, sergeant Pepper

459
00:28:37,610 --> 00:28:41,010
and, like, the song Day Tripper for some of the

460
00:28:41,010 --> 00:28:44,610
guitars and. Oh, yeah. You know, we just kind of, like, just leaned

461
00:28:44,610 --> 00:28:48,330
heavily into it, you know. And what we came out of it

462
00:28:48,330 --> 00:28:52,170
was, you know, what we got. It was like, oh, this is.

463
00:28:53,370 --> 00:28:56,930
This is cool. This is actually really cool. And it, like, gives the song a

464
00:28:56,930 --> 00:28:59,930
completely different vibe that, like,

465
00:29:00,930 --> 00:29:04,210
you know, it sounds like a different song. And that was when I was like,

466
00:29:04,290 --> 00:29:07,970
this isn't. This isn't a remix project anymore. Like, this is. These are. These are.

467
00:29:07,970 --> 00:29:11,410
This is a different song, you know? Right, right. Yeah. Because it wasn't like, you're

468
00:29:11,410 --> 00:29:15,010
going in with the idea, like, oh, that's what this. This song is kind of

469
00:29:15,010 --> 00:29:18,610
about, this subject matter, so we can kind of make it this

470
00:29:18,770 --> 00:29:22,410
style. It was like, whatever you've kind of felt at the

471
00:29:22,410 --> 00:29:26,170
time it went that. That's what went into it. Yeah, exactly. And

472
00:29:26,170 --> 00:29:29,890
I think that's like. That's kind of the cool thing about collaborating is,

473
00:29:29,890 --> 00:29:33,130
like, to have that idea and then to just sit there and try to do

474
00:29:33,130 --> 00:29:36,850
it yourself. It's like, you know, maybe. But

475
00:29:36,850 --> 00:29:40,410
I think when you have another person or a couple other people,

476
00:29:40,890 --> 00:29:44,450
like, at your disposal, and they have their own ideas that they can inject into

477
00:29:44,450 --> 00:29:48,130
it, it's like, you know, I got to just kind of sit back and

478
00:29:48,130 --> 00:29:51,410
just watch. A lot of the time, you know, I'm just like. I would sit

479
00:29:51,410 --> 00:29:54,890
there For a couple hours and like make a beat or like add a little

480
00:29:54,890 --> 00:29:57,440
verse thing. And then I would just like

481
00:29:58,960 --> 00:30:02,640
back off, you know? And then Ahmed would come in and he would

482
00:30:02,640 --> 00:30:05,160
do some stuff for a while. And then Mike would come in and he would

483
00:30:05,160 --> 00:30:07,360
do some stuff for a while. And we just kind of went in a circle

484
00:30:07,360 --> 00:30:11,120
for nine days. Were you guys doing a

485
00:30:11,120 --> 00:30:14,960
song a day? Was that like, kind of the, like. Yeah, Sequence one was done

486
00:30:14,960 --> 00:30:18,040
on day one, or did you not go in order? Or did you go in

487
00:30:18,040 --> 00:30:19,920
order? We went in order until

488
00:30:22,050 --> 00:30:24,850
I think we went 1, 2, 3, 4, and then we skipped to

489
00:30:25,890 --> 00:30:29,530
9. I don't know why we did that, but, like, that was just what we

490
00:30:29,530 --> 00:30:33,130
were feeling. And then we did sequence seven,

491
00:30:33,130 --> 00:30:36,250
which is the one that has the video. We did that one on the very

492
00:30:36,250 --> 00:30:39,970
last day. Oh, okay, Floyd, I think is that one right, Floyd?

493
00:30:39,970 --> 00:30:43,570
Yeah, we had to get up early to do that one because Ahmed had to

494
00:30:43,810 --> 00:30:47,610
fly out of Chicago that day. So we got. We got up at like 8

495
00:30:47,610 --> 00:30:51,120
or 9 and just like started. And that one came together like,

496
00:30:51,120 --> 00:30:54,960
extremely quick. I think we had that one pretty much

497
00:30:55,600 --> 00:30:59,200
ready to be mixed by like one,

498
00:30:59,440 --> 00:31:03,080
you know, which was really. Was that the fastest one? I remember you're saying, like,

499
00:31:03,080 --> 00:31:06,200
when you wrote Drugs, that you wrote that song in like 30 seconds for like

500
00:31:06,200 --> 00:31:09,400
a friend's. It was 30 seconds. Yeah. It wasn't. It like, okay, I already have

501
00:31:09,400 --> 00:31:12,960
this. He just wrote it down and it was this huge song. But

502
00:31:12,960 --> 00:31:16,810
did all. Was that. Was Floyd the next

503
00:31:16,810 --> 00:31:20,050
one that kind of came that quickly? Or did. I mean, that obviously didn't take

504
00:31:20,050 --> 00:31:23,890
30 seconds, but you know what I mean. Was that from that album, Was

505
00:31:23,890 --> 00:31:26,930
that the. Was that the fastest song that you guys have put together? That was

506
00:31:26,930 --> 00:31:30,730
definitely the fastest one. Yeah, I think it was just because we. We

507
00:31:30,730 --> 00:31:33,930
had that sense of urgency of like, if we don't finish this today, then we're

508
00:31:33,930 --> 00:31:37,730
kind of screwed, you know, so let's. I think we. I

509
00:31:37,730 --> 00:31:40,830
know we started with kind of like a pre made beat. And

510
00:31:41,710 --> 00:31:45,230
you know, our. Our kind of like, system was like

511
00:31:45,950 --> 00:31:49,390
just to take what we had and then layer a bunch of guitars, you know,

512
00:31:49,390 --> 00:31:52,910
Molly acoustic guitars over it. Just like a bunch of different melodies.

513
00:31:52,990 --> 00:31:56,790
And then we'd add the drums, and then we'd add whatever low

514
00:31:56,790 --> 00:32:00,550
end bass or whatever. And then we just kind of would build everything out

515
00:32:00,550 --> 00:32:04,110
from their textures and like, you know, cutting things if we

516
00:32:04,110 --> 00:32:07,770
needed to. And yeah, a lot of it was

517
00:32:07,770 --> 00:32:11,330
just like. A lot of it was already there. You know,

518
00:32:11,410 --> 00:32:14,290
we put some reverb on the vocals. And it was just like, okay, like, this

519
00:32:14,290 --> 00:32:18,130
is the vibe. Like, let's just. Let's just lean into this, you know? Yeah.

520
00:32:18,130 --> 00:32:20,890
I was curious about the vocals because they've been on sequence one. I mean, with

521
00:32:20,890 --> 00:32:24,610
the song itself on Destroyer, your vocal is.

522
00:32:24,690 --> 00:32:28,290
You're. You're singing such a higher oct. It sounds like you're

523
00:32:28,290 --> 00:32:31,880
singing in a higher octave. And then in the sequence one version of that song.

524
00:32:32,350 --> 00:32:35,950
Yeah, I actually just pitched the vocals up. I just used like a plugin.

525
00:32:35,950 --> 00:32:39,070
Just like. Okay, yeah. Because there's no way I could sing that high.

526
00:32:40,270 --> 00:32:44,070
It sounds great. I didn't know if maybe was like the.

527
00:32:44,070 --> 00:32:47,829
The vocals that are on. On the recording in that first

528
00:32:47,829 --> 00:32:51,190
acoustic track. Did you keep all that or did you re. Record it the. When

529
00:32:51,190 --> 00:32:54,950
you were there in Chicago? No, those are all the original vocals. Yeah. Oh,

530
00:32:54,950 --> 00:32:58,110
wow. Yeah, I just. I just pitched them up and I'm like, this sounds great.

531
00:32:58,110 --> 00:33:01,780
Let's just. Let's go with it. And did

532
00:33:01,780 --> 00:33:05,380
you come up with, like, an idea? You said like, you know, one

533
00:33:05,380 --> 00:33:09,140
song at the Beatles Vibe or the Western vibe. Like, was

534
00:33:09,140 --> 00:33:12,980
that an idea? Did you have, like, a concept like that going

535
00:33:12,980 --> 00:33:16,820
into each song? Each sequence? Almost every song. Yeah. I

536
00:33:16,820 --> 00:33:20,140
don't remember all of them, but I know for like.

537
00:33:20,300 --> 00:33:22,860
Yeah, obviously sequence two was the western thing.

538
00:33:24,140 --> 00:33:27,950
Sequence two was the. The Beatles thing. I remember for

539
00:33:27,950 --> 00:33:31,750
sequence four, which was. Which is swimming, we had

540
00:33:31,750 --> 00:33:35,470
been going for three days nonstop, and

541
00:33:35,710 --> 00:33:39,150
both of us were pretty tired and feeling a little, like,

542
00:33:39,230 --> 00:33:43,070
drained, I think. And we hadn't left the house either. So we were just

543
00:33:43,070 --> 00:33:46,910
like, locked in, just like, you know, not stopping at

544
00:33:46,910 --> 00:33:50,390
all, basically. So we decided we were going to, like, go out for a walk

545
00:33:50,390 --> 00:33:53,150
and we were going to also, like, collect some sounds. You know,

546
00:33:54,590 --> 00:33:57,310
my. It's funny because, like, my initial idea for

547
00:33:57,950 --> 00:34:01,710
swimming was I had a dream that I

548
00:34:01,710 --> 00:34:05,550
was. I don't know if I was. If I was like an orca or

549
00:34:05,550 --> 00:34:09,230
if I was just like, like, like observing

550
00:34:09,230 --> 00:34:12,910
like a whale basically. Just like zooming through the water and,

551
00:34:13,470 --> 00:34:16,870
you know, you just. You're kind of like looking at all of the different, like,

552
00:34:16,870 --> 00:34:20,670
sea life below you and then, like, you. And then for the. For the verses,

553
00:34:20,670 --> 00:34:23,969
like, you kind of come up for air and you see like, the sun and

554
00:34:23,969 --> 00:34:27,689
you dive back down. It was all very, like, surreal and sort of

555
00:34:27,689 --> 00:34:31,409
strange. But that. That visual has

556
00:34:31,649 --> 00:34:35,409
kind of always stuck with me, you know, So I was like, how can we

557
00:34:35,409 --> 00:34:39,249
kind of make this song feel more like that?

558
00:34:39,329 --> 00:34:42,049
You know, we actually, like, went down to

559
00:34:44,049 --> 00:34:47,649
the lake. And we, like, recorded some, like, sounds from

560
00:34:47,649 --> 00:34:51,470
the. From the waves. And we found some, like. Yeah, we

561
00:34:51,470 --> 00:34:54,870
found some rocks. It's just like some like, like some smooth rocks. And we banged

562
00:34:54,870 --> 00:34:58,430
them together and like, we were just using our iPhones and just

563
00:34:58,430 --> 00:35:02,150
like collected like, all these sounds. We took the

564
00:35:02,150 --> 00:35:05,750
train down to this. Down to the circle and

565
00:35:05,750 --> 00:35:09,310
like, just recorded the train sounds, recorded people,

566
00:35:09,390 --> 00:35:13,110
like, just anything that we thought sounded kind of interesting, we just recorded

567
00:35:13,110 --> 00:35:15,790
it. And then we just dumped it all on the computer when we got back.

568
00:35:16,610 --> 00:35:20,250
And so a lot of the first half of Sequence four is

569
00:35:20,250 --> 00:35:23,970
just like, found samples and like, bullshit,

570
00:35:23,970 --> 00:35:27,770
really, you know. Really? That's rad. Yeah, but that was like. That

571
00:35:27,770 --> 00:35:31,410
was kind of like the. The creative kick that we needed to, like,

572
00:35:31,810 --> 00:35:35,290
you know, get inspired again. Cause it was like, you know, a lot of the

573
00:35:35,290 --> 00:35:39,050
ideas were. Were just flowing so fast that we weren't really, like, thinking

574
00:35:39,050 --> 00:35:42,050
about them. It was just we were doing. And then that day we both woke

575
00:35:42,050 --> 00:35:45,850
up, we were just like, yo, like, we gotta do something different because

576
00:35:45,850 --> 00:35:49,690
I'm tired, you know? I love that. I

577
00:35:49,690 --> 00:35:52,970
had Noah from the band Bad Omens on

578
00:35:53,370 --> 00:35:57,050
a while ago, and he was. For one of the more recent albums. That's what

579
00:35:57,050 --> 00:35:59,810
he did a lot of that stuff like that, like, he was recording weird things

580
00:35:59,810 --> 00:36:03,650
like in his house, like during the Pandemic and utilized on the record. Like, I

581
00:36:03,650 --> 00:36:06,290
never heard anyone else talk about that. I think that's so cool that you did

582
00:36:06,290 --> 00:36:09,770
that. Like, that's definitely an idea. Yeah, I think

583
00:36:09,770 --> 00:36:12,970
sometimes just like getting out of the box a bit, you know, because it's like

584
00:36:12,970 --> 00:36:16,590
you. You can kind of find any sound that you might want on the Internet

585
00:36:16,590 --> 00:36:20,150
at this point, but there's nothing like just getting

586
00:36:20,230 --> 00:36:24,030
your own original sample. You know, whether. I

587
00:36:24,030 --> 00:36:27,350
remember being at an In N Out one time, and I don't know if you've

588
00:36:27,350 --> 00:36:30,350
ever been to In N Out, but like. Yeah, I'm from San Diego. Okay. So

589
00:36:30,350 --> 00:36:34,030
you know how they have that machine that they actually like, they make their own

590
00:36:34,030 --> 00:36:37,670
French fries. They like put the. Oh, yeah, they. Where they put the full potato

591
00:36:37,670 --> 00:36:41,030
in it and go. Yeah. So somebody was like.

592
00:36:42,090 --> 00:36:45,250
Someone had like a really good. They had like a good system that they were

593
00:36:45,250 --> 00:36:47,210
doing it with. It was making this, like,

594
00:36:48,970 --> 00:36:52,530
kind of like crazy, like, rhythm. And I was like, yo. Like,

595
00:36:52,530 --> 00:36:55,690
that's like actually a beat, you know? So I remember just like going up to

596
00:36:55,690 --> 00:36:59,410
the counter and just like holding my phone, just like trying to get

597
00:36:59,410 --> 00:37:02,610
like a. Like a maybe 20 second clean sample of it. And then I just

598
00:37:02,610 --> 00:37:06,330
came home and, like, made a beat out of it. Really? Yeah. Like,

599
00:37:06,330 --> 00:37:09,640
I think that's the kind of stuff that is, like, that's the kind of stuff

600
00:37:09,640 --> 00:37:13,000
that makes me excited about making music is, like, when you hear something, you're like,

601
00:37:13,000 --> 00:37:16,840
oh, that's kind of dope. Like, you know? That's so awesome. Did you

602
00:37:16,840 --> 00:37:19,440
put a song to it? Like, is that a song? Is that in a song

603
00:37:19,440 --> 00:37:22,800
yet? Yeah, it's like, somewhere on my hard drive, I've got tons of music that

604
00:37:22,800 --> 00:37:25,520
isn't actually out. That's just, like, sitting on a hard drive.

605
00:37:26,640 --> 00:37:30,320
That's so cool, man. Well, with this tour coming up, are you going

606
00:37:30,320 --> 00:37:33,840
to, you know, play any of the sequence

607
00:37:33,840 --> 00:37:37,310
songs, or is it just gonna be rock and

608
00:37:37,310 --> 00:37:41,110
roll? It's gonna be, like, a blend of both.

609
00:37:41,190 --> 00:37:44,950
Honestly, I want to, like. I know for, like, my. My

610
00:37:45,030 --> 00:37:48,830
live shows, I like to keep the energy up. Yeah. You

611
00:37:48,830 --> 00:37:52,270
know, I do want to, like, blend in some of the

612
00:37:52,270 --> 00:37:55,950
elements of Creator into, like, the Destroyer

613
00:37:55,950 --> 00:37:59,790
versions. You know, we do sometimes use, like, backing

614
00:37:59,790 --> 00:38:03,590
tracks for. For our stuff live. So,

615
00:38:03,590 --> 00:38:07,240
you know, my plan is to have some of that stuff

616
00:38:07,240 --> 00:38:10,320
in the track so that, like, when we get to a certain point in the

617
00:38:10,320 --> 00:38:13,800
song, it just kind of cuts into the Creator version, you know, and

618
00:38:13,800 --> 00:38:17,560
creates this different kind of vibe, you know, so.

619
00:38:17,560 --> 00:38:21,400
Yeah, but I think realistically, it's like, I. I do want Creator to kind of

620
00:38:21,400 --> 00:38:24,840
have its own moment, and I'd like to do some.

621
00:38:25,560 --> 00:38:29,400
Some. Some shows that are just creator stuff,

622
00:38:29,400 --> 00:38:32,940
you know? That'd be cool. That's awesome, man. Maybe one in Nashville. Who

623
00:38:32,940 --> 00:38:36,700
knows? Yes. Do it. Come here. We'll figure it out.

624
00:38:36,700 --> 00:38:39,180
We'll get you on a show or book a show.

625
00:38:40,300 --> 00:38:43,980
Right on, dude. Well, thank you so much, Ellie, for coming back and. And chatting.

626
00:38:44,300 --> 00:38:48,019
Yeah. I love your music and what you're doing. I think that's so awesome

627
00:38:48,019 --> 00:38:51,180
you're opening up for American football, too. I mean, what a huge

628
00:38:51,420 --> 00:38:55,260
moment that will be or has been with that

629
00:38:55,260 --> 00:38:59,110
one festival and whatnot. But I asked you this last time, and it's

630
00:38:59,110 --> 00:39:02,950
my last question. I want to know if you have any advice for aspiring

631
00:39:02,950 --> 00:39:03,510
artists.

632
00:39:06,390 --> 00:39:10,110
Advice for aspiring artists? I will

633
00:39:10,110 --> 00:39:13,350
give the advice that I have been giving myself lately

634
00:39:14,230 --> 00:39:17,590
because I've been in a bit of a, like, you know,

635
00:39:18,150 --> 00:39:21,030
creative rut, I would say,

636
00:39:21,590 --> 00:39:25,270
lately, and I'm working really hard to get out of it. I

637
00:39:25,270 --> 00:39:29,110
actually. I just started this book called

638
00:39:29,110 --> 00:39:32,830
the Artist's Way. Oh, pages. This is a. Pages.

639
00:39:32,910 --> 00:39:36,550
Doing the pages. Yeah, I'm. I'm doing the pages right now. And

640
00:39:36,550 --> 00:39:40,350
it's. It's honestly been really good. But yesterday I wrote like, I

641
00:39:40,350 --> 00:39:42,110
was talking to myself about

642
00:39:44,030 --> 00:39:47,750
passion, you know, and like, why I started making music in the first

643
00:39:47,750 --> 00:39:51,550
place and the things that were inspiring to me and like, the,

644
00:39:52,560 --> 00:39:56,160
the motivation that I had to just like, get out of bed

645
00:39:56,560 --> 00:39:59,480
at, you know, 2 o' clock in the morning when I wanted to change a

646
00:39:59,480 --> 00:40:03,280
mix or if I wanted to get an idea down, you know, like, that

647
00:40:03,280 --> 00:40:07,080
was very much like my. My MO for

648
00:40:07,080 --> 00:40:08,560
a good portion of my life. But

649
00:40:10,720 --> 00:40:14,480
I think having fun

650
00:40:14,480 --> 00:40:18,000
and being excited, you know, like, that's to me what

651
00:40:18,000 --> 00:40:21,710
passion is. And when it comes to music, if

652
00:40:21,710 --> 00:40:25,470
I'm having fun and I'm excited about what I'm doing, then the

653
00:40:25,470 --> 00:40:29,030
passion just kind of comes forth. And, you know,

654
00:40:29,110 --> 00:40:32,870
there's. There's not really anything else that you need to, like, overthink or

655
00:40:32,870 --> 00:40:36,070
take seriously, you know, because at the end of the day, it's like, you know,

656
00:40:36,070 --> 00:40:38,630
doing music as a career is.

657
00:40:39,670 --> 00:40:43,310
You have to be a little delusional to do it. You know, like, you have

658
00:40:43,310 --> 00:40:46,630
to believe in yourself so much and believe that you're right,

659
00:40:47,200 --> 00:40:51,000
like to a point where you're. You're almost like. Like

660
00:40:51,000 --> 00:40:54,800
you can't let other people really influence you very much. You know, not your parents,

661
00:40:54,960 --> 00:40:58,760
your girlfriend, like, your teachers. Like, you just have to. You have to

662
00:40:58,760 --> 00:41:02,600
believe. And I mean, you see that, like, you know, for

663
00:41:02,600 --> 00:41:06,280
the most part, it's like if you just keep going and you just keep. You

664
00:41:06,280 --> 00:41:09,720
just stay the course, it's like something will happen. You know, you do find your

665
00:41:09,720 --> 00:41:13,360
audience eventually. It might take 10 years, it might take

666
00:41:13,360 --> 00:41:17,190
15 years. You know, a lot of these people that like, you know, go

667
00:41:17,190 --> 00:41:20,910
viral or, you know, blow up overnight, it's like

668
00:41:20,910 --> 00:41:24,750
you don't see the. The hundred thousand hours of

669
00:41:24,750 --> 00:41:27,510
work they had to put in just to get to that moment, you know,

670
00:41:29,270 --> 00:41:33,110
but the one thing to never forget during that time is

671
00:41:33,110 --> 00:41:36,950
that, like, you're just having fun and you're just. It's not that serious.

672
00:41:36,950 --> 00:41:40,430
You know, you're just. You're just trying to get your ideas out. You're sharing your.

673
00:41:40,430 --> 00:41:42,950
Your own human experience. And,

674
00:41:45,020 --> 00:41:48,740
you know, that's. That's exciting. Like, that's like, that's one of the.

675
00:41:48,740 --> 00:41:52,460
The greatest gifts that you can give and receive about

676
00:41:52,460 --> 00:41:55,660
being alive is just like, you know, sharing your

677
00:41:55,660 --> 00:41:59,380
creativity. You know, the numbers don't really

678
00:41:59,380 --> 00:42:03,220
matter that much. Your online presence, it's

679
00:42:03,220 --> 00:42:06,900
not really. It's. It's intangible. You know, like, if. If

680
00:42:06,900 --> 00:42:10,540
all that social media stuff, like, broke or like somebody

681
00:42:10,540 --> 00:42:14,310
accidentally deleted Instagram. It's like, what do you have

682
00:42:14,310 --> 00:42:17,990
really? You know, you have. You have your own creative experience, and

683
00:42:17,990 --> 00:42:21,790
that's. That's the important part, you know, so just. Just

684
00:42:21,790 --> 00:42:23,790
keep going, Keep going and have fun.

685
00:42:29,630 --> 00:42:31,070
Bringing it backwards,

686
00:42:34,910 --> 00:42:38,430
bringing it backwards, bringing it backwards,

687
00:42:38,670 --> 00:42:42,190
bringing it backwards, bringing it backwards,

688
00:42:42,350 --> 00:42:43,630
bringing it back.