Episode 1: “TRASH CANS” feat. Ian Kim Judd *PREVIEW*

If you smell good, you feel good. If you feel good, you perform on pods good. If you perform on pods good, who knows? Patreon money just flows in. Got mad motherfuckin' marijuana crops Got lime trees and lemon trees Got 20 dirty bitches down on the knees Water, water, H2O No big screens, no HBO Tomato, tomato, potato, potato These hoes just want a clap for water How's it going, man? Great, great. You know, just on... Just on Cloud Farm right now. You know, day nine of my... My inaugural trip, my maiden voyage to London. Yeah? Yeah. How's it been so far? It's been amazing. Yeah. I mean, I think all the stressful shit is out of the way, you know, playing and worrying about that. And now I can just kind of, you know, be a bit of a caveman or something. Ian Kim Juggs, it's not the first time someone has called me Juggs. I think that... You know, there's been a lot of variations over the years. Rattle them off, let's hear them. I mean... Someone said Pee-in. Pee-in was like the very first one. That's like... I mean, we're talking like preschool. What are your parents? What do you call preschool out here? Infant school? Nursery. Yeah, nursery. So in nursery, yeah, it was called Pee-in. Juggs was kind of more like a high school type beat. What do you call high school out here? Secondary. Secondary school. I guess people have got to become aware of them first. Yeah. You can't go into. And then uni was like, you know, I mean, I feel like I never. So like, all right. You didn't really get bullied at uni. Yeah, I mean, you know, yeah, I never really got bullied. You know, I have a big head. That's kind of where it starts and stops.

No one ever... No one ever bullied me for anything I didn't deserve, I guess, but... Yeah. Well, there wasn't a parent. Huh? There wasn't a parent. No, no. But, yeah, I don't know. I mean, like, the... I feel like I didn't start really adopting, like, full, like, publicly Kim, because really, Kim is my middle name. But it functions as my second last name because it's my dad's last name. Okay. So, yeah, that's right. Living a lie. Well, it's like, you know, like during the Facebook era, you know, and like I remember in like 2010 probably, you know, 2009 or something, it was like everyone I knew just started going by their full name on Facebook. Just like really funny. Because they started banning, you know, like, fake names. Like, you couldn't go by sock or anything, you know? Like, you had to be, like, your full government name. People put themselves sock? Yeah, some people do. I don't know anyone who does, but someone's out there, you know? But, yeah, I just went by my full name, and then it started to evolve. I don't really think anyone's really come up with any good Kim puns, though. That's what we're here for. So, like, the only one I thought of today was Ian, him, Judd. Which is a cross-cultural reference. It's just swaggy. Yeah, yeah, it's just swaggy. It's not really, like, funny. It's cool. Yeah. We're here to Farm Cloud. That's the object of this discussion. We're going to arrive at an alternate camp pond. Let's till the land. Yeah. Let's reap some engagement, you know? So, do you want to, like, just for those who are uninitiated... which at this point is everyone, because this is our debut episode. Do you want to, like, introduce yourself? Yeah, I'm Ian. Okay, cool. A little bit more than that. Yeah, yeah. My name is Ian Kim Judd. I grew up in the United States, because I guess I'm overseas now. I grew up in Washington State, and for those who need some sort of, like, reference to what that is,

Nirvana much? Microsoft? Tad. Yeah, Tad. Pearl Jam. David Lynch. Starbys. Nintendo. Is it Amazon? Amazon. Yeah, Bezos. I grew up in Spokane, which is sort of in eastern Washington. It's kind of a big city, but it's very depleted in a way. you know it's sort of like lock it's like locked in uh a certain time and place you know but it's very beautiful and uh uh i really i really like i have a bit of uh you know it's one of those places where like when you're from somewhere that you think that you know kind of sucks but you get really pissed when someone who's not from there says it sucks that's kind of how i feel about it you know it's like only i can say that you know um i lived in seattle for a while but currently I live in New York City, baby. So we're talking... Home of the slice. Nick's. Slices. You know... Lipstatch. Lipstatch. Yeah. Yeah, you name it, we got it. You know? It was the home of our first encounter circa eight months ago. Yeah, I mean, we're almost... I mean, I think it was more like nine. You know? So this is kind of the... circles you a lot of the baby yeah this is the baby of that first thing first real real encounter hell yeah um but yeah no it's uh it's a great town you know i've lived there for 10 years and so i feel uh very attached to it you know it's like it's really hard to sort of like pare your life down when you've uh sort of like exposed yourself to something like new york you know so you don't see yourself ever going back to spokane or washington i mean I think about it all the time. I must be back during COVID. I was there with my now wife in the summer of 2020. Shout out, Mira. Shout out to Mira. We went out to Olympia, which is this kind of smaller college town in western Washington, home of K Records, Kill Rock Stars. Very illustrious indie rock past. It's actually something you said to me on a Friday.

i said you're from washington right and you said oh yeah tuesday ask ask me for my uh stories oh my god i don't know if you remember that i i i don't have much really i mean i have like you're just guessing at the time okay i'm like i knew everyone um but i i mean like i mean most of my they're just like you know like when you live out there you just sort of like see people from you know that world all the time like just doing like normal things yeah walking around or like you inhabit that universe for a while yeah yeah you you passively see them play like a million times you know it's like i feel like i've seen play like five million times or like and name any other artists from that era in like early 2000s and i probably like saw them at some point at like a teen center or whatever um Which is kind of cool. It's like very, you take it for granted, you know, if you haven't lived anywhere else. What's the most abnormal thing you ever... Spare no detail. I wonder if I should say this on air. Okay, so my girlfriend like 10 years ago was... No, more than 10 years ago. Oh my God. Miro's my girlfriend like 10 years ago. I would say like 15 years ago. um her band was like opening for and um you know he's kind of a he's kind of a notorious uh pervert you know so to speak and uh not like pervert but like you know he's just kind of you know sexual guy we'll just say uh free love kind of type type of guy and uh he handsy not handsy even just sort of there you know but like he's an intense there you know yeah yeah and he um my girlfriend at the time's band was playing and you know the band was like you know three-fourths like women were in and um he had like a digital camera out and he was like taking pictures of things you know like and like taking pictures of like

trash cans or doing all this twee stuff and then like they were playing and i noticed he was like taking pictures of um he was taking pictures of like all of them like all of their all their breasts and i was just like bro i was like i was like me and one of my friends like literally saw it we're like bro like we can like see what you're doing you know i mean we didn't we didn't say anything at the time it was trash cans a euphemism huh was trash cans a euphemism for breasts no no no no no no no but uh you know maybe we should edit that out later but you know but um yeah i i mean i think the weirdest thing i ever saw like any like like luminary do is like i mean it's really just like the realest thing i ever saw which was like i've seen like phil elvon play like a million times and like there was a time where um You know, I did a show for him at this, like, DIY space I ran in Seattle. And, you know, his fans are, like, so connected to his music where they, like, you know, like, he's been able to articulate things that they have never really been able to articulate, you know? Like, speaks so deeply to, like, the human condition and, like, what it means to be, like, lonely or, you know, what have you. And I remember, like, sitting next to him as he was just getting, like, punished by his fans. You know, like just like every single person just being like, I fucking love you. Like you just mean like everything you've done just means so much to me. It's like, and he was on like his 40th person in a row, you know, of like a person saying this as they're like, he's like selling them his book and his new record and signing everything and whatever. By the 40th person, he just hears this person's whole testimonial and he just goes, cool. And like, just like handsome. Just, like, hands them back their record. And I remember just feeling, like, so impressed by it, though, because I was, like, I can't even imagine having to, like, take on, like, everyone else's pain, you know? Like, being desensitized to other people, to the gushing. Yeah, yeah, yeah. And it's, which is ironic, considering that he is the man who has, like, created the, like, their, like, language for, like, understanding themselves, you know?

The reluctant genius, I guess, or something like that. You're in good company in that regard. Who, me? Yeah. Oh, shit. Why are you talking about DJ Pish? Oh, of course, dude. I mean, two people who really are just like, they didn't choose the game, the game chose them, you know? It's a burden. God-given talents. Yep. It's a path we have no choice to walk. It wasn't a hard one. It was not. It was not a hard one. What's your, like, in your personal pantheon, like, favorite microphones release? Output. In terms of output, I mean, the era that I really enjoy is, like, early 2010s into mid-2010s. I mean, I think that Glow Part II is obviously, like, a masterpiece, and I also, like, am really drawn towards, like, the records he did with, like, Julie Doran, too. But I really think that like Wynn's poem as like a concept is a crazy record. You know, you literally took like the loudest, you know, this is like really like anguished and aggressive music and kind of like were able to like EQ it down to like feeling like it's like a folk record. You know, I thought that was really impressive. I saw him on that tour too and it was like, it was powerful. I'm sure that must have been wild. I remember, like, around that time, that was probably, like, that was, like, that was sort of, like, by turning. But, like, at that point, I was, like, heavily into metal. But sort of, like, exploring other pastures. And it's a huge microphones fan. Like, he put me on to microphone, just, like, Phil Elderum in general. And I remember reading about the Maui Uri record and just assuming it would be, like, literally black metal. Because at that time, he was, like... He himself was, like, citing a lot of, like, black metal as a direct inspiration. I remember being, like, borderline, like, pissed that it wasn't just, like, literal raw, just sort of, like, throat-searing black metal. It took me, like, a little bit of time to sit with it before it, like, kind of unlocked something. Oh, yeah. No, no, no. It was, like, his, like, usual kind of, like, you know, his voice kind of in his, like, meandering style of, like, singing, you know? Like, singing-ass storytelling, you know?

Yeah. I mean, did you listen to the microphones in 2020? I did, yeah. The one that's like an hour, just like a single song. I've listened to it like three times. And it's so sick because it really does. I've listened to it four. Huh? Four times. Five, actually. Yeah, shit. I listened to it on the way here. You know, it's such a great, I mean, it's a painting. It's like an audio painting of just sort of like, you know, it's almost like a. Northwest, like, Hieronymus Bosch painting or something. Just, like, all of these things, you know? All fitting into, like, one landscape, and it's just, like, his life, you know? His weird life. Bosch is, like, not in America. It's just, like, kind of a weird, like, I don't know. It's transcendent, too. Kind of, yeah. Like, I'd love to, full disclosure, listen to it one time at the time, and I really, really liked it. Just, like, never revisited it, but I remember just being kind of in awe of how it, came together i had like no familiarity with him beyond uh the globe part two until i saw that record live and was like oh this guy's on some other beyond this like one very accessible kind of folk pop record from 20 years ago yeah and that like completely changed i kind of i feel like i kind of have the relationship to his music that the people who you're talking about who were coming up to him at the merge table have whereas like the the way i feel about living He kind of summed up perfectly. And that's only something I discovered two years ago. I'm also kind of admittedly a late adopter to him because, you know, I feel like I used to have this tendency to sort of like reject what like it felt like everyone was really into around me, you know? And it was like, I'd gone and seen him a few times and kind of didn't even really, I kind of tuned it out. And all my best friends would be like, this is like the most powerful thing I've ever seen. This is going to change your life. And, uh, you know, I, I, I was really, um, kind of agnostic to a lot of it. And then it wasn't until it's one of those things where it's like, it's like, I didn't really get into camping until I like left the Northwest, you know? And suddenly I was just like, you know, I'm not going to say gorped out, but I would just buy like crazy camping shit. And like,

Bought a really nice tent and was just, like, obsessed with just, like, trying to camp in, like, the cutiest place possible. And I think that that was sort of also, like, it's like when you get sort of detached from your roots a little bit, you start to yearn for these things that you don't even, like, you didn't even really enjoy that much when you had it. And you're actually into getting sworn by takes now, right? Oh, am I into it? Yeah. I haven't gotten swarmed yet, so I don't really know what it feels like, but I'm looking to score at some point. so what made you decide to leave washington give him favor of new york um so i like i don't know like i i had a best friend who was like moving to new york um i'd like a uh i don't know if you i i probably shouldn't say this on air but I had another friend who I was, like, you know, kind of had a slight romance with, and then, like, I went and visited her in New York amongst, like, you know, my best friend who was out there, too, and it was just, like, I felt super inspired, and I was just, like, this is way more my speed. I don't know. I felt like I was just getting bored of stagnating a bit, you know, in Washington State. It's, like, it's a place where you could just, you know, you could see yourself living forever, you know? It's, like, has everything you need, but I felt a bit... I don't know. I hadn't been bored yet, but I knew I would be bored. It kind of got out before everything got pretty gentrified and blown out the way it kind of is now. Because there's no gentrification in New York. The gentrification in New York moves differently, though. It's still very much there, but... there's a permanence of things that like, there's just certain things you just really can't stamp out, you know? And there's like enough structure in place to kind of, or enough like protections in place to kind of like stop the sort of, you know, what you've seen in like a place like Seattle. It's like pretty insane. Like I was moving to New York one day and one day. And what year is this? It was 2013. And it was like the day I was moving.

I had a notice on my door from my landlord. We were already moving out, but they were like, we're raising your rent by $1,000. And I was like, I think I'm leaving. But now it's just flat. I go there and it just looks like a big hospital. Architecturally and even just the vibe. We dived up out here as well. What do we call them again in the UK? Yeah, what are they? Nappies? Oh, a nappy. Nappy. I'm napped up, sorry. We digress. I'm glad I came with a nappy on for this. So you got there in 2013. Yeah. And what are you doing first? So I was running a label at the time and kind of putting out underground punk indie music and stuff. Anyone we might know? um yeah yeah um shout out to uh naomi punk from olympia um some of my best friends in that band as well as this band weed which is now going by hotline tnt great great heavy right kind of noisy kind of like um a bit like a dinosaur junior type thing bro i know from vancouver this rings a really famous so what was the label called it's called couple skate okay and uh I started with one of my best friends at the time. Yeah, whoa, you have that. Hell yeah. That song goes in. It's quite good. You should check out the first record. It's the one that we released. Yeah, great band. Still friends with all of them. Still friends with pretty much everyone who I've released records for. A lot of the artists that we released records for went on to sign the bigger labels and stuff, which was kind of... validating I think like you know like 10 years later to kind of look back and be like we were doing something great you know we were like also just like releasing music by our friends that we really loved and yeah I mean I moved out to New York to you know go work for this label called Captured Tracks which is home of a lot of early 2010s like indie rock music

Mac DeMarco, Beast Fossils, Dive, that kind of thing. And I worked for them for about a year. And ended up acquiring my label at the time. And, you know, it was mixed results, you know, got me a little burnt out. And then I kind of, like, made the decision to, like, well, it's just, like, you know, it's so much more empowering to, like, run a label on your own and kind of have like a say in everything. And I realized that in hindsight, you know, like, and when I moved to New York, you know, I got offered this deal and was like, I should just, I should just go for it. You know, it's like, I feel like it's like almost like you can retire or something like that. You know, all the like nitty gritty of like having to pack up records and ship it to each individual person and like, you know, worrying about distribution and all these other things, you know, get abstracted away. You don't have to think about them anymore. And, you know, I kind of took all that for granted, though, because once you kind of, you know, lose that connection to, like, the things that you're releasing, you know, it's all in someone else's hands, you know, and then something gets lost, you know, along the way. And I think, yeah, a lot of what we were doing kind of got lost in translation when it sort of got sort of... you know, absorbed by the indie rock industrial complex. Is there like a particular release that you think was, if you can recall one, is there a release that you think is least diluted by that process? I mean, yeah, definitely like the Naomi Funk record, I feel. I mean, I think that they were... What's the record called? It's called The Feeling. And... You guys are going to play like... tracks intermittently yeah I mean you can do if you want to do like a if you want to do like a acapella that's also appreciated yeah yeah um no I mean Naomi Punk were amazing because like you know they had such a strong vision of what they wanted to do um they ended up signing to capture tracks actually which is how I started my relationship with them and um you know they they got on tour with like they got asked to go on tour with Mac DeMarco which is sort of how I ended up like meeting or like really connecting with Mac

um so i had done a couple of shows for him like you know be ahead of that tour and um the whole tour was like you know they were so like disillusioned by everything that they were seeing they're like this is not how we want like to connect with people who like our music it's not how we want the what we do to be it's not how we want to be expressed you know what macro was this it was like when two came out right when two came out so he's like fully he's a real guy it was well it was starting to happen we saw it sort of happen you know like we would be in the south and suddenly it was like these kids i remember these kids showed up and they're like dude we're dressed like you there's just two guys wearing like hats like um you can't like anally insert mics Yeah. There was a show. Yeah, there was a show on that tour. Yeah, there was a show on that tour that was pretty legendary, I guess. It's deep like Lawrence, Kansas, like lore. Ryan from C- actually asked me about it because he was at that show, I guess. But you'll have to ask someone in Lawrence about it. But I think, you know, Naomi Punk, what was really cool about them is that they took that sort of spirit, I think, all the way to the end. They're sort of defunct at the moment, but their last record they did for Captured Tracks that they submitted to them was literally a double album with, I want to say, 20 tracks that were all very, very long with no hooks. And it was kind of impressive. The only real write-up I think they got was a Boomcat review for it. You know what I mean? The only really positive write-up that they got for it. And for them, it was like they felt like they had really done it right. And I think it's kind of true. They stay really true to themselves, even if it was maybe a bit antagonistic. But I think that it was kind of like that's kind of the only way to really survive.

Yeah. Array antagonism in every form. It's the only way to go about it. It's a culling. It's a filtering process. So if you're getting bought out, how big's the check? Oh, I mean, zero dollars. It's really just like, it's not like they're like, we're buying all your masters and your publishing. It was like, you're going to be distributed by us. We're going to run your press. We're going to like, you know. front advances to artists we're going to like cover all the costs of like it's like a pnd almost you know um only the you know the the the pr side of it just like the energy just gets kind of lost though you know like we were selling more records like out of our apartment than we did with like a much larger label that just sort of like you know like new quote like knew what they were doing you know and i kind of quickly realized i was like we could have just kept doing this on our own and like we would have been probably uh i don't know like we would have done like we probably would have like i don't know maybe like burned out or just gotten like kind of bored or ran out of money but like i think we would have done a better job for our artists had we just been like doing it ourselves how does it work in a label of that size i guess that they like they're of a pretty like respect of like a quote-unquote big stature for like an indie label um but so you you bring in an artist you sort of represent the artist um how do you like communicate what they are to your quote team and how is that communicated to the world at large yeah i mean it's it's tricky you know like i think like i can't say much about what the what the environment looks like now um but like you know 10 years ago you would release a record and It was like you worked really closely with the band. I mean, the bands that we put out records for had like pretty strong like visual aesthetics and had very like, like Weed and Naomi Punk especially just had like a very strong idea of what they wanted to do. They made all their own flyers for like every show and they're always very like distinct, like very nice looking flyers, you know? It was like their own language that they were communicating. So our job was essentially just to be like, it wasn't even so much being like the person who explains it to everyone, but really just being like,

the person who is that hey what's up not really not really being the person who explains it but really just the uh like what is it it's like not not being the person who explains it but the person who just sort of helps you navigate like those areas that you just like have no desire to navigate you know so like most artists don't want to like hit up like a press person and just be like hey, will you write about my record? Or, like, hit up, like, a record store and be like... Yeah, yeah, yeah, totally. It's beneath them. It should be beneath everyone. Yeah, yeah, yeah. Part of running a label is just being, like, is doing that sort of, like, grunt work and being that, like, you know... To base it on yourself again and again and again. Yeah, just getting pied in the face, like, constantly. Yeah. But, yeah, no, I think in terms of, like... how you sort of communicate it to everyone, it's like, it really has to be a very collaborative process, you know? You have to really respect, like, what the artist wants. And, like, all you should really be doing as a label isn't really being, like, the aesthetic, you know? I think it's, like, annoying when labels try to be, like, we're the aesthetic and then you're the artist and, like, all of, like, everything has to be super uniform. It's, like, the artists should decide how they want to be represented always. I feel like there's some labels I can pull it off, though, that have kind of, like, a semi-standardized. Format? Yeah. But I'm thinking of one in particular. What is it? Mine. Which one? Also not. Oh, okay, that one, yes. That's more to do with getting things out quickly. Yeah. And we're upfront about that. I think it works for club music. Replicable formats. Club music totally works for bands or, you know. You're right, artists and stuff. It's so different, you know. Club music is great, though, because club music... Like, labels are kind of like, you know, they do have their own, like... It's where, like, the house bag comes from as well. Like, that just, like, single bag, sleeve with, like, one print on it. Mm-hmm. Like, it works perfectly for dance music, I think. Yeah. Because you just need to fling it out so quick. Well, you don't need to, but it helps to. Yeah. Or, like, something like Basic Channel or something, you know? Yeah. Like, everything's sort of, like, lost in the aesthetic of, like, you know, what it is or something. And also, like, I mean, like, but they're also sort of, like...

very anti-image in a way you know it's like the labels the labels on the records look like like like how the music sounds or something yeah so you got burnt out after selling the label yeah yeah yeah what kind of what kind of like what does burnout look like because you say at the same time you feel like you could have got burnt out if you'd carried on doing it yourself what does it smell like as well Take a vivid picture. Multisensory. I mean, it's just a lot of, like, I don't know, man. I mean, it's just a lot of... You didn't cry. No, I didn't cry at all. I mean, I just felt very, like, it just always just feels very, like, hopeless. You know, it's like, it's not even, like, the Sisyphean thing. Push the rock up the hill and it goes over. It's just that, like, you know. there there is no rock to push really you know you're just sort of like punching at the wind or something like that you know and hoping something happens and yeah i don't know i i also just kind of got tired of like i i kind of realized that maybe like i needed to go in a different direction i think my tastes were changing a lot too and i kind of know when was this it's like probably 2014 i think 20 like 15. And I think that I just kind of want to look for something else. And maybe I was getting inspired from living in New York and hearing a lot of different and new types of music that I hadn't been really exposed to and just wanted to learn more about it. What was New York music? Because I wanted to ask, was there a pivot point, but was there a point where you started embracing, quote, the clurb? I mean, like, the first night that I moved to New York, my friends took me to Boston Nova Civic Club, and I had, like, no real context around it, and it was the kind of thing where, like, you know, club culture in Seattle at the time was very, like, either people who were, like, who had been into it since, like, the 90s, you know, and would go to, like, this one night, you know, and, like, whatever, or...

You know there was like a lot of like kind of like live hardware kind of stuff that was popping up like stuff on like hundred percent silk and things like that like a lot of like West Coast stuff and That was sort of like my real nascent exposure Yeah, yeah, and then Okta Okta Okta, yeah, and you coming across live stuff at all or is that I think this is like when I moved to I feel like when I moved to New York was when that was like popping off right okay you know so it was like around when like that delroy record or delroy right uh edwards record came out and like when the bookworms record came out yeah yeah um was that the for club use only oh yeah yeah yeah um but i don't know you like go see djs and you would just be like i don't know who's playing i i barely understand any of the music uh but it's like i want to i want to understand it you know Um, so I don't know. Um, that was sort of like that, like kind of day one vibe, I guess was like when it started, but then you would go to places like there was this space body actualized in New York. That was really great where, you know, you go see like kind of like weird ambient shows or like kind of like raves or something. And there'd just be like people drinking shroom tea and all this like weird wellness stuff attached to it. But also like, It was really, like, interesting, you know? And I had no sort of, like, frame of reference for that before. So that was pretty mind-blowing. But I had one big pivotal moment, I think. Sorry. I think it was, um, so I went, I think it was, like, 20, yeah, it was, like, 2015. I went and saw Theo Parrish play at this, like, furniture warehouse in Bushwick. I ran into, I went with a couple of my friends, but then I ran into one of my friends and he was like, he's like, do you know where I can get ecstasy? And I was like, and I was like, I was like, no, I've never, and I had never done ecstasy before. We're all ecstasy right now, by the way. And he was like, he was like, if you find it, like, let me know. And so I was like looking around and like some guy.

I was like, who's selling it? And he was like, apparently it's some guy in a really shiny striped shirt. And while I was at this party, there was this guy walking by who was just wearing, it almost looked like a construction worker style shirt, reflective tape. And I came up to him and I was like, are you selling ecstasy? And he was like, yeah, dog. And so I bought a pill from him and I got it and I was looking around for all my friends. an hour to be like let's do this spill together you know and i couldn't find them so i just took the whole thing like not really knowing like what are you gonna yeah yeah how deep it would go or how how high i would get or whatever uh all i knew is that i should just drink a lot of water so i did drink like three gallons of water tonight but i took it and it was like insane like it actually like completely changed my life like not trying to go on some like weird you know Not one of those type of things, you know, where it's like... It actually is. But it was, like, really beautiful, you know? It was, like, very... It was the one of the coolest experiences I've ever had, like... Doing drugs. Doing drugs or seeing... Listening to music, you know? It was, like... So first time ever was Theo Parrish. Your first time ever doing this was at Theo Parrish. Yeah. Yeah. It was pretty wild. It was funny, because, like, my friend and I were there, and my friend was, like... like super drunk and like really like you know coked out and was like he was like he faded by like six and he was like we gotta go man and i was like just like an eight year old you know in my um what do you call the diapers again nappy yeah i was in my nappy just like just going in and um yeah like we went back never stopped wearing that nappy to this day no no game one game one nappy still on but i i You know, we went to this diner, and I remember just, like, seeing, like, old couples, like, eating together and just being so, like, moved by it and shit and just being, like, all of this, you know, like, it was so much, dude. I ended up going home, and I was, like, trying to go to bed, and, like, I didn't realize that, like, you know, you, like, can't go to bed, you know, because you're, like, just completely cracked out. And so I was, like, it was, like, 9 in the morning at this point, and I called Mira and was, like, and I was, like, yo,

i can't go to bed and she was like awake you know like starting her day or whatever it was like saturday morning or sunday morning and she was like just come over and so i just like walked to her house um which was like very far it was like three miles but like went to her house and then just like you know just she gave me like a xanax and i crashed or whatever but it's really beautiful and then after that it was like every time i listened to music i remember trying to just like i would just eq everything Like, we'd be at my friend's house, and I would just, like, get on his stereo and just, like, just try to EQ, like, whatever. He's playing some, like, Steely Dan or some shit, you know? Yeah. Wait. Why did you start EQing the music? Because you were on drugs? Oh, yeah. I listened to Theo Parrish, too, and I was like, this is really sick. It's crazy how he did it. You know, it's like it just changes the shape of the song, you know? Yeah. Yeah, yeah, yeah. But, yeah. No, it was cool. Shout out to... He's going to hear this. Yeah. Is that around the time you started DJing? No. Well, I feel like when I started DJing, I would get asked to just DJ at bars, you know? Or I feel like in college or whatever, DJ at a friend's party or something, right? And just play shit off of an iPod or iTunes or some shit. But like, yeah, no, I started DJing at like, I would just get asked to DJ at cocktail bars or something. and then you know just be like kind of the it's like you just play like like youtube algorithm music basically you know like majestic pleasure thank you like that era that era like youtube algorithm you know so like we'll grab city city pop stuff city pop okay japanese stuff or like you know lindsey buckingham trouble how's that you know how's that go Cue it. Yeah, what a rendition, man. It's from his solo record that he did, and he was working on Tusk at the time. Oh. And it has the really iconic drum beat. It's like... He's dropping a vocal really passionately, but it's just out of range. Yeah, yeah. That was sick. Well, it's got the iconic...

You know? But, oh! Did we just lose power? No, it was the light switch. I low-key saw you, and by low-key I mean literally, there's no reason to proceed with low-key, but I saw you and kind of a cocktail vibe. Yeah, it was very reminiscent of that. I mean, the equipment's changed a bit. tunes are different but the spirit remains the same sometimes it's just fun to just kind of hang out and just you know what do you call it take the piss take a piss yeah that's what the in your nappy yeah yeah yeah that was fun yeah but i i feel like uh those are the first that was the first exposure i ever had to like djing uh was just playing music at bars never really thought about anything else outside of that really of like how it could be like you know like how you can play at a club or you could play like in these sort of like you know weird kind of bespoke you know impromptu spaces or something you know i was like my first exposure was just like oh man it's like so fun to dj at the ace hotel that does sound sick it's pretty yeah that's why some of my first gigs were as well oh yeah yeah Wait, so what was your... Because it sounds like this whole lead up to you, to what some were calling the climax of the century last Friday on the boat for Piedoué featuring a goaded lineup. It was quite organic, but at what point were you... What was your first club club type semi-formal DJ gig? Oh man, I mean, I remember playing at... I got asked, or I ended up booking something at this place, Jupiter Disco, in Bushwick. And it was, like, an audiophile version of, like, Bossa. And I asked, like, my friends Landon and Nina to play. And shout out to Landon and Nina. But I ended up, like, I didn't even know how to beat match or anything. Like, I actually didn't know what I was doing at all, which is really funny. And I invited, like...

Like a bunch of friends came out and it was like, and I'm just like out there just like train wrecking, like no idea. No, no sense of like what song should actually come next and like what should come before it. Um, and it was through kind of like going out there and just publicly playing like shit that I realized that I should just DJ ambient music. No, I mean, yeah, definitely. No, no. I mean, I think that, uh, Just trying it publicly and then kind of realizing, like, oh, like, why doesn't this make sense? And it's like, oh, yeah, because I don't practice this. I'm, like, still very, like, new to understanding this. And, you know, I need to, like, actually, like, take time to, like, like, learn more about this. Because it is a practice and it's like, you know, there's, like, a lot of learning and a lot of history involved in it. I feel like just jumping up there and just being like here I am with my songs is a bit naive I guess sometimes I feel like there's a sweet spot where you're optimally naive but also optimally proficient where you're not just falling back on the tried and tested and you're still just kind of entering fresh territory but you're not so jaded that you're Just falling back to what you know to work. Thank you. No, I... Huh? Oh, yeah. Rosé, Rosé, Rosé. Oh, yeah, yeah, sorry. Before we go completely deep on DJ, you were also in a band called Laced. Is that correct? Well, I know it's correct. But, yeah. What was that? When I first moved to New York, I started a band with my friends Dustin and Ryan. It was actually before I moved to New York. My friend Dustin was like, I really want to start a band. I want to start a band with you and I want to call it Laced. And then I was like, I was like, obviously, yeah, I'm super down. And he plays in a band called Beach Bostles, which is like a very successful indie rock band. They're on tour with Post Malone right now, actually. Oh, shout out to Post. We got to chill with him.

yeah yeah let's do it um but yeah and then my friend ryan joined um who's like also my first roommate shout out to ryan um yeah i i played in a band called blaze it was really fun i mean like we i played bass and i and i sang in it um and is that still on spotify people go run it up i'm pretty sure it is yeah it's very much so yeah yeah we were assigned to to dustin and his wife katie's label um and put out one seven inch and then uh went on an indefinite hiatus i want to call it broken up we talk about it constantly and it's like once every three months like someone in our our band group chat is just like you know and practicing you know so it's just like a just like a one-way stream of you saying that like every other day during the during lockdown it was like very much like during lockdown it was very like it was like You know when you're just so you're just you just hit this point of boredom where you're like I would go see like any band live I would go do anything right now and we were just like we were like we gotta write the new record when we're all back in New York and it would be like it had been like Like five or six years at this point, but we're we're a band for like a year We recorded a few songs We played a lot of great shows Yeah, it was really cool. Like the second to the last or third to last show we played, which is maybe one of the favorite shows that I've played in any band ever, you know, growing up. We opened for the Swirlies, the legendary. Oh, shit. Crazy. It was really cool. There was another show that we played. That's a crazy debut show. It wasn't a debut show, but it was like one of our last shows. It was a very like... Yeah, it was very serendipitous, like all of it. It was really special. What was the first show you saw post-COVID? Do you remember? Oh my god. Of any kind. Let me think. I think I went to a party upstate with a bunch of my friends. We saw... I don't remember.

We all went upstate and saw a bunch of our friends DJing some sort of hotel. It's like those hotels that are sort of like, we have culture too. They would do these weekender style things there. And it was right at the beginning of COVID. I think in terms of the first concert that I went to, I really can't... I can't remember. Yeah, I can't recall. Do you have, like... A shitty memory? No, no, no. I feel like it's quite the opposite. You're painting vivid pictures, and I'm inserting myself into them. I think I've had this similar kind of exchange with a lot of people, but I feel like there is this real kind of yearning for live music that wasn't necessarily... I mean, maybe it's just... Maybe this is... I'm sort of like... projecting my kind of like direct environment to the larger to the world at large but i feel like i have and it was maybe reactivated by seeing like double virgo with a couple of people a couple friends um but do you have like like what's your relationship to sort of like live like now versus before covid yeah i mean now i'm like I don't know. I mean, I feel like during COVID it was like, you know, you have this lost year and it's like all these sort of like, you know, bucket list kind of musicians you want to see live. And, you know, a couple of people died. Like a lot of like, a lot of like very legendary, like old, you know, jazz musicians died. And you're kind of like, fuck, I wish I had gone and see like McCoy Tyner in Central Park with like my roommate, you know, like that kind of thing. You know, now I feel like I go to, like, a lot of, like, big concerts, you know? Like, I feel like going to, like, like, I went to, like, like, been to, like, five stadium shows, like, this summer. Oh, shit. You know? Like, I just kind of, like, anytime someone has, like, tickets or I just have the opportunity to go see, like, a band I actually, or at some point even marginally kind of liked, like, I will, like, want to go see them, like, at, like, wherever they're playing. But...

Yeah, I don't know. I mean, I think just trying to see everyone while they're still around, you know? Like, I was really lucky to see, like, Raichi Sakamoto play. Like, a couple years ago, he played at, like, The Stone, which is, like, John Zorn's venue in East Village, and it was, like... really sick it was really special I mean the set was like really discordant it was like he wasn't even playing piano really he just had a piano out he was playing yeah he's playing the strings he's like plucking the strings and he had a someone who was playing like a water flute it was like a water flute so it's like a glass it's like this glass with like like all these holes in it you know sort of like how a flute would look and you just sort of spin it over water And it makes these, like, you know, these, like, tones. Yeah. I have to ask for a reenactment. It's, like, it's literally just, like, you know? And then he was just going, like, like, it was sick. Yeah, yeah. It was really cool. What else is really cool is that I really have to piss. I have to piss, too. Time out? Yeah, yeah, yeah. Great. I love it. all right we're doing good yeah man why smell virality call the cops call the cops got mad motherfucking marijuana crops got lime trees and lemon trees got 20 30 Why are you phoning Chilpa? Dude, I've got a lot of time on my hands. It happens, man. You run through all the adults.