0:02 Well, look at this. Noah Sebastian Bad
0:04 Omens. What's going on, brother?
0:07 >> Not much. Just uh working, writing, and recording.
0:08 recording.
0:10 >> So, so I I thought this would be just a
0:12 little bit of a taste. You and I, we we
0:13 spoke right when the beginning of the
0:14 Death of Peace of Mine was getting
0:15 rolling. So, I thought it'd be kind of
0:17 cool that you and I could be well,
0:18 essentially the first to wrap about
0:21 what's going on with this this next new chapter.
0:21 chapter.
0:24 >> Yeah. When was that? Was that 2022?
0:26 >> You guys were just about to record
0:28 >> Spirit Box.
0:29 >> Yeah. Yeah. Yeah. Yeah. Yeah, I think it
0:31 was just before that though. But
0:33 actually, um, you remember the next day
0:35 you were going to shoot the video for
0:38 Nowhere to Run, I believe. The next day,
0:40 so we were talking a lot about that. But
0:42 right now, you're full on writing the
0:44 record. It's not done.
0:46 >> No, I mean, it depends who you ask. you
0:47 know, we sure
0:49 >> we have a lot of songs that could make
0:51 more than one record. And
0:54 >> uh the biggest hurdle I've had with it
0:58 is just the spaces between creative and
0:59 then going back on tour and getting back
1:02 into like performance mode and travel
1:04 mode and like what that does to me and
1:07 how I have to prepare for that. And also
1:08 creating a live show. We made a whole
1:10 new one before we did Mayhem Festival
1:12 and that took a lot of time and creative
1:17 energy. Um, so yeah, it's kind of just
1:18 the the matter of bouncing back and
1:20 forth from writing and trying to pick
1:22 back up where you left off and also
1:24 being inspired by new things before
1:26 you're even wrapping up the thing that
1:28 you started. So that's why I'm kind of
1:31 toying with this idea of like maybe I'm
1:33 going to make more than one record or
1:35 just one really large record that tells
1:38 more of a story about why the record
1:39 sounds the way it does. I I don't know.
1:41 I'm still I'm still playing with it and
1:43 I'm trying to not get stressed out about
1:45 it and just enjoy the process of writing
1:46 and playing shows and putting out songs
1:48 that we want to play live.
1:50 >> When you're in the studio and we're when
1:52 you're working on tracks, uh, is it hard
1:54 for you to let go to to just like I'm
1:55 I'm done with this one. It's it's where
1:57 I want it to be or do you feel like you
1:58 always have to noodle?
2:00 >> Dude, it's impossible. It's like that
2:02 saying like art is never finished. It's
2:03 only abandoned. >> Um,
2:03 >> Um,
2:05 >> sure. because especially with the
2:08 freedom of producing it all myself, I
2:10 there's always some new thing I can try
2:12 or tinker with. And I was I was joking
2:14 with my friend Dan. Um he's a really
2:16 talented producer and writer, Dan
2:18 Bronstein, and he calls it like quantum
2:20 writing because it's like with computers
2:22 now there's like you can try every
2:24 version of songwriting that exists. Like
2:26 you can have a song and a chorus and be
2:27 like let's try it with this drum beat.
2:28 Let's try it with this instrument
2:30 instead of this. Let's try it this
2:32 tempo. And it's just like too many
2:34 options. And for someone like me that's
2:37 like a crazy overthinker, I get really
2:40 wrapped up in like abandoning and just
2:41 accepting something as it is when it
2:43 excites me because I'm always like it
2:44 can be better. It can be great. It can
2:46 be it can be catchier. It can be
2:48 heavier, you know?
2:49 >> And you just have to walk away though
2:50 sometimes, right? I mean, you just got
2:52 to like, okay, does someone have to pull
2:54 you back? Like, no, chill, dude.
2:56 >> Exactly. Yeah. Exactly. I need someone
2:57 to be reel me in and be like, dude, the
2:59 song's great. It's fine. Let's let's
3:00 move on, you know?
3:02 >> Okay. So, with this this new album,
3:04 obviously you're doing not only writing
3:05 the songs, which is all-encompassing,
3:07 but you're thinking about the visual
3:08 aspects and what the stage is going to
3:10 look like and and all that. How how how
3:12 involved is everyone else Jolly doing
3:14 his thing? How how involved is the rest
3:15 of the band?
3:16 >> Well, with the writing stuff, Jolly and
3:19 I, we do pretty much all the writing.
3:21 And more more recently, uh, our good
3:23 friend Michael Taylor, he he's in a
3:25 project called Chief and he's also
3:26 helped produce a lot of our music videos
3:28 from the last record. and we lived with
3:31 him for a long time and he's a great
3:32 guy. He's a good friend of ours and he
3:34 is a really talented writer and producer
3:36 as well and we've kind of brought him
3:39 more into the mix full-time writing. Um,
3:40 so right now the core writing group is
3:43 me, Jolly and our friend Michael. Um,
3:45 and then like with the stage design and
3:47 the creative and the visuals, that's
3:48 pretty much all me as far as the
3:51 creative goes, like the conceptualizing
3:53 and the audio side of the live show,
3:55 like making the tracks and the
3:57 transitions and the instrumentals and
4:00 all that stuff and the voiceovers.
4:02 Um, and yeah, it just it it really just
4:06 takes a lot because to me with a band
4:08 that omens has gotten so big in like a
4:10 commercial way
4:12 >> and I don't want the creative to fall
4:14 under that like
4:18 >> you know uh ripple effect of the the
4:21 commercial side of success and
4:24 >> to retain like integrity and like a
4:27 strong creative like DNA that's always
4:29 been there because I'm so hands-on with
4:31 it it takes a lot more time than other
4:34 bands to do something, you know, like
4:35 other band goes to a studio or producer,
4:37 they write a record for a month and then
4:39 they're done. And the rest of the work
4:40 is like mix notes and maybe like a
4:42 pickup line they want to re-record or
4:45 something. But I'm like trying to do all
4:46 this stuff and I'm trying to get better
4:48 too at delegating and finding more
4:50 people to help me with the the creative
4:51 stuff that I
4:53 >> I just don't have time to do all of it
4:56 and sleep at night. Mhm.
4:58 >> But uh yeah, it's just it's just it's a
5:00 good problem to have, you know. I think
5:03 it's just the curse of us getting
5:05 uh more in demand as a band. Like more
5:06 people want to see us in more places
5:08 more often and
5:12 >> people want new music and people want,
5:13 you know,
5:14 >> we can't go play in Spain and write a
5:16 new record and then shoot a music video
5:18 and do all this stuff and
5:22 >> it's it's a lot. But I just I refuse to
5:25 like bend the knee, so to speak, to the
5:28 conventional format and like expectction
5:30 of a band of our size to like deliver
5:32 things at a certain time at a certain rate.
5:32 rate.
5:35 >> I deliver things when they're done.
5:38 >> And if you can't wait for that, like
5:39 there's plenty of other stuff for you
5:40 enjoy in the meantime and hopefully come
5:42 back to it when it's ready.
5:43 >> That's right. Yeah, that's right.
5:44 >> But I'm not going to put something out
5:46 that I'm unhappy with, even if it takes
5:47 longer than it should.
5:49 >> Yeah, I get that. Uh, I remember you
5:50 telling me a story about how you and
5:51 Jolly were like cruising around LA
5:54 looking for set design stuff and then
5:55 you would whatever you'd go and find
5:57 somewhere like at a junkyard and take it
5:58 back and you guys are like spray
6:00 painting stuff and making it. Are you
6:02 guys past that level now? Now you got
6:04 people to go get that stuff for you.
6:06 >> Uh, a little bit. Yeah, sometimes. The
6:09 Specta video was such a a large budget
6:11 and like large crew operation and it
6:14 took place across two countries. Shot it
6:16 in two different countries.
6:19 >> Wow. Um, and it was so much fun to make,
6:21 but man, it was so much work. I mean, it
6:26 took months of preparation. And
6:28 God, yeah, I'm still
6:29 >> feeling it. Yeah, it looks like you're
6:31 >> so proud of that song in that video, but
6:33 man, it took like all of spring just to
6:34 get one song out. And that's kind of
6:36 what I'm trying to explain that this
6:38 example of like
6:40 >> it's special and it's like people
6:42 connect to it. And I love the song. It's
6:44 my favorite song I've ever made. That's
6:45 probably why I put it on such a pedestal
6:47 and put so much into the release. But >> wow.
6:48 >> wow.
6:52 >> Uh it takes a lot to make that. >> Yeah.
6:52 >> Yeah.
6:54 >> You know, like every step of the process
6:56 from writing it, recording it, getting
6:58 it mixed, and then the music video stuff
7:00 and the visuals and the roll out, it's
7:02 like there's so many people
7:05 >> putting energy and time into that and
7:08 >> trying to make it, you know, live up to
7:10 my expectation of it, you know.
7:12 >> Yeah, I I do. I do. I can hear it in
7:13 your voice, too. We're going to talk
7:14 more about that here in a sec, too.
7:15 We're going to get into the whole
7:17 Spectre aspect of this interview, but
7:18 you guys out there watching this right
7:20 now. This is just a little teaser of
7:22 Noah and I rapping right now. You're
7:25 going to hear more of um Noah's thoughts
7:27 behind Spectre in the making of on the
7:30 radio throughout the country. So, this
7:31 is again just this little teaser. So, I
7:33 wanted to say number one, awesome to see
7:34 you, dude. We're going to we're going to
7:36 get more into this. I wanted to say
7:37 thank you for I got a little bit more. I
7:39 got some hardware here from you know.
7:40 >> Oh, nice.
7:41 >> I got that. I got the one behind you,
7:44 too. back there, too. So,
7:45 >> which is
7:46 >> I've got some in my basement I haven't
7:48 opened yet.
7:50 >> I bet. And I was, you know, this is
7:51 cool. My mother-in-law made that, you
7:53 know. She So, she took the flag.
7:54 >> It's like a tapestry or
7:56 >> Yeah. turned it in. So, yeah. So, please
7:58 Well, you know, you guys were selling
8:00 the flag right at the at the show. So,
8:02 she turned it into a curtain for me. So,
8:04 please do more do more flags at your
8:06 next, you know, merch sale. So, thanks
8:08 again, brother, for this. I hope to talk
8:08 to you soon.
8:09 >> All right. Later, man.
8:10 >> All right, bro. Later. Thanks for your time.
