![]() ![]() Some of them make up my live band and they bring a completely different energy to performing. JL: I know you’re managing a few younger bands as well, so do you think they have had an influence on you in making this new album? But my wife and daughter Lola are on there as well. It’s mostly me and Matt, he’s playing the drums. I know now everyone gets big guest stars and stuff, but I don’t know who I’d get, I like working with friends and family it’s more intimate and fun. JL: Your wife Marisa is even on the album singing correct? It’s really great to be collaborating with someone, which I hadn’t done a lot of as a solo artist. Eventually, I came back to Philly to finish it at his studio Silent Partner, which was a blast. It started out with us sending stuff back and forth. PMB: Yes, my friend Matt Barrick helped me produce the album. ![]() JL: You worked with one of your old bandmates on Flowers, correct? Louis with chest pain, I’m not doing that again. To get that invested you just end up in an emergency room in St. It’s hard to have your heart on your sleeve like that. But I won’t let it break me if they don’t. That was enough to keep me going and I think I created a little world that I hope people enjoy. I’m doing it because I found an in, where making music was fun again. I think it has to be a joyful thing to create. JL: We are just bludgeoned with so much content, no matter the art, so to make anything stand out I feel you need to love doing it, otherwise you get caught chasing an audience. Finding like-minded people and creating that subculture is just harder now, and it’s important. There’s obviously an in-between, but that subculture that has that is much harder now to cultivate and build as a newer artist now than it was in the past. ![]() Something has a billion streams or something has fifty thousand streams. Something that scares me the most is it’s very hard to create subcultures because it’s so very top-down. ![]() What is it, 30,000 new records every month? That’s so hard to push through that noise. JL: There was an industry to get heard, avenues for music to be heard easier, now it’s hoping to get on a playlist to get wider exposure and there is just so much out there you can get caught up in the wave. Maybe it never did, but now it really doesn’t. Most people I run into in the music business, have no idea what it is to be an artist, and what they are doing to them, and that’s not to be precious about them, but the landscape doesn’t foster an environment of creativity anymore. In a very scary strange sense, I’ve learned a lot as a manager and record label owner, going into that world. JL: We live in a weird time for music but art in general, everything is so disposable. All this effort to then have to fight through everything, the algorithm or whatever, to be heard. Making records now is such a disillusionsal thing. I think maybe that makes it more universal, I don’t know. It’s my take on everything, music, the world, everything. It’s uniquely this one person’s point of view, however weird it is. JL: Do you feel it gives you the freedom to make what you want? I was able to make it my own little world and I was happy with it, and I think that’s a good honest place to be making a record. I was able to do that longer with this record than any before. When you can do that and hold that feeling, there’s joy in it. Make it more because you enjoy making it, rather than with an audience in mind. Now that it’s done, I’m in the mode of “man, I hope people listen and like this.” I want to push it, I want it to be heard, but while you’re making it, you have to kind of get that out of your head. PMB: I would say that was the main reason, but also I think when you’re making these smaller records that a limited amount of people may hear, it does reframe your thinking. It’s difficult to pour everything into your own music when you’re trying to spin so many plates. So I did work with a lot of artists and produced some stuff and managed some records, and I started a record label, so I just didn’t really have the time. Bands that I manage, you know, also right before the second album Mount Qaf, I moved from Philly to LA and just the cost of living difference, I had to work and start a business and really concentrate more on that. But I was working on some other people’s music. Peter Matthew Bauer : Hahaha, yeah, maybe in some part that’s why. Josh Leidy: This is your first album in almost 5 years correct? A lot has changed since your last record was there a lull creatively that led to the layoff? ![]()
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