0:15

Pushkin.

0:20

Tunday at Abimpe is a creative powerhouse.

0:22

He's a cartoonist, a painter, a director,

0:25

a Hollywood actor, and for the past twenty

0:27

years, he's been the lead singer of the band TV

0:30

on the Radio. His latest offering,

0:32

another of his many artistic pursuits, is

0:34

a solo project called The Black

0:37

Bolts. Tunday began

0:39

writing these songs back in twenty nineteen,

0:41

and after a stint composing music for the PBS

0:44

kids show City Island with producer Wilder

0:46

Zobie, the two decided to set their sights on

0:48

Tunday's growing collection of solo songs.

0:51

Bul Chu, Leo Bunten and Joah Fittlandis of

0:53

TV on the Radio also contributed to

0:55

the album, which sounds every bit as

0:57

fresh and thrilling as Tunday's past work.

1:00

On today's episode, Lea Rose talks to Tunday out

1:02

A Bempe about how stain steeped in creative

1:05

projects keeps him sane. He

1:07

also recalls his day's work and as a stop motion

1:09

artists on MTV Celebrity Deathmatch, and

1:11

why he thinks TV on the Radio isn't

1:14

cool enough to be considered INDI sleas

1:19

this is broken record, real musicians,

1:22

real conversations.

1:28

Here's Leah Rose's conversation with Tunday

1:30

out of Bempe.

1:33

So I have I have a theory

1:35

about how you came to record

1:38

to finally put out this solo album. So

1:41

I saw that in the not so distant

1:43

past you learned how to mix,

1:46

how to master, how to produce, and

1:49

you started sort of like messing around in ableton

1:52

and you know, you had been

1:54

in TV on the radio for over

1:57

twenty years, So was

2:01

was you learning how to technically

2:03

use those tools? Was that what kind of

2:06

like pushed you to do your own

2:08

project?

2:13

Not exactly. I

2:15

think I went into that.

2:17

I went to this, yeah, this place a friend

2:19

taught at this school dub

2:21

Spot, which I think has gone now, and

2:24

did some you

2:26

know, just just kind of getting my head around

2:29

able to end mixing and mastering.

2:30

And I think it was more so.

2:35

I wouldn't have to wait for us all get together

2:37

while I was making something as a band, and

2:39

I could just be like send people stuff and

2:41

be like here's a stronger basis for

2:44

this and you can fuck around with it or

2:46

do whatever. But I will also

2:48

say that one of the things that experience

2:51

taught me of, at

2:53

least as far as the mixing and mastering

2:56

end of it, is that like, I absolutely

2:58

am not the person who should be doing that with any

3:01

of my own stuff. I can

3:04

do it, but it's it

3:06

would take me. There are things that you

3:08

know, I'm working with Wilder

3:10

right now.

3:11

Who is just.

3:13

He is however he would put

3:16

it, I'm telling you that he's he's He's

3:18

a person who's fluent, you know,

3:20

doing that. And I'm a person

3:23

who, like, if I am pushed

3:25

to, I will sit there and do it myself.

3:27

But it is not it's not that end

3:29

of it is not like I'm more

3:32

a person who's making

3:36

tons and tons and tons of voice notes

3:38

and then taking those and making demos

3:40

from them and right and then

3:43

kind of like sitting

3:45

with someone and fleshing things out

3:48

and leading, you know.

3:49

Like I feel like the it's

3:53

it's a skill to to tag

3:55

in the right people.

3:58

Forever, yeah, and just

4:00

be like you were great at that, You're

4:02

great at that, You're great at that, and

4:05

I want you to do that, you

4:07

know, in conjunction with this with.

4:08

This p.

4:10

Yeah, yeah, yeah, So how did you meet

4:13

Wilder? What have you known him for a while

4:15

or how did that relationship?

4:16

Yeah, and then Wilderford

4:19

for a really really long time.

4:22

I think we probably met like

4:24

nineteen ninety eight or something. I just had a lot

4:27

of mutual friends and just bands

4:29

playing around in New York like

4:32

Brooklyn on the Lower East Side,

4:35

but have just been like, you know, really

4:37

been friends forever and it never

4:39

worked together. And he

4:42

you know, he does a lot of work with

4:45

Run the Jewels and other

4:47

projects, and actually got a gig

4:50

doing a soundtrack

4:52

for a kids show on

4:55

PBS called City Island. One

4:58

of my my degenerate animator

5:00

friends from MTV as

5:03

we all grew up is now just an

5:07

incredibly h generous

5:10

and peaceful and wonderful person who wants to put

5:12

good things into the end of the world

5:14

and made an awesome kids show

5:18

to soundtrack it. And so

5:21

I kind of I called Wilder to kind

5:23

of like you know, the split the there's a lot of

5:25

a lot of music, and just said, would you want to like

5:28

work on this.

5:28

Thing with me?

5:29

And we started doing that

5:31

just as as a gig, and just kind

5:33

of halfway through it, i'd been you

5:35

know, I put these demos

5:37

that I've been working on for my own thing

5:39

of these songs that I thought could turn into something else aside,

5:43

and I started thinking about them again and I

5:45

just let him know. I was just like, if you want to tribe

5:47

something on some of these, please

5:51

be my guest, and you know, just like another

5:53

thing to do. And he

5:56

worked on two songs and sent them to

5:58

me, just like even in the most like skeletal

6:01

form, and I

6:04

basically was like, if if

6:07

we can do this entire

6:09

record ourselves together right

6:12

here, because it was funny because we developed this working

6:14

relationship. This is kind of nine to five get

6:16

we gotta get these notes in, like we got to do

6:19

all this stuff for PBS kids. Yeah,

6:21

so then it was a

6:23

pretty natural jump to just

6:27

working on these songs together kind

6:29

of with the same attitude. The funny thing of working

6:32

for a show or

6:34

SOUNDTRACKINGCAU someone's like, you know, someone will call you

6:36

about something you spend two days working on. Just be

6:38

like this is great, except all of it's wrong

6:41

and you have to have to change everything,

6:43

and you just realize very quickly that you can't

6:46

get attached to anything. You

6:48

just have to It's hard, but again, it's

6:50

also kind of freeing in a way because you're

6:53

it's this thing of like as long as it

6:55

sounds right in the end. The

6:58

there's a lot of hold up I

7:01

find, either

7:03

recording with the band or just

7:05

other projects, there can be

7:07

a lot of pausing

7:10

going like ah, I'm not sure about this, Like

7:12

you know, it's not even before something's done. There can

7:14

be a lot of hesitation and I feel.

7:16

So that's definitive feedback.

7:18

Yes, definitive feedback.

7:19

And it's also sort of like I know that this can

7:21

go a million different ways and

7:23

none of them are wrong and none of them are

7:26

right. It's just kind of like, you know, do

7:28

something, does it feel okay? Not

7:30

sure about it? Step away for a bit. But

7:32

also we had a while

7:34

working on the record, we had a code

7:37

for going back

7:39

in and working on something or leaving it alone,

7:41

and it was the code was is this dry paint

7:43

or is this wet paint? And there

7:46

were it's great to have someone to bounce

7:48

something off of where you're like, no,

7:50

I really want to go back and fix that, and they're sort

7:52

of like, I think it's dry paint. And then

7:55

you got to walk around for a second and just come back and

7:57

be like, actually you're right, I don't need to

7:59

mess with that. And it's fine

8:01

that I feel a little uncomfortable about it, because

8:04

we'll see that's the whole part

8:06

of putting something out too, is like

8:08

that's it's for It's a

8:10

circuit for someone else to complete in a

8:13

lot of ways. Yeah, right, Like this

8:16

is this all these

8:18

spots on the record that I'm not sure about. First

8:20

off, no one's ever going.

8:22

To know, no one, Yeah

8:24

no.

8:25

And also, like when you're talking about engineering,

8:27

like I wonder if I'm

8:30

sort of fascinated by engineering

8:32

because I don't think I have the tools to really distinguish,

8:36

you know, like if something you know, people listen to albums

8:38

like oh this is mixed so well, and I'm

8:41

like, oh yeah,

8:42

Like I wonder if if

8:45

you were to just mix the album, like would

8:47

it sound wildly different? But

8:49

now you know, because you sort of have you've

8:52

seen the back end.

8:53

Sure.

8:54

I mean, if I were first off, it was if it

8:56

was just going to be me mixing it, it wouldn't

8:58

be done by no, it would just be it

9:01

just would not and it wouldn't be good. I'm

9:04

just I'm safely I can safely say.

9:06

I'm not like it would be muddy, or.

9:09

It would be muddy, and it

9:11

would be I would

9:13

scrap a lot of things out of frustration

9:16

that someone who just that wilder

9:18

would be like, no, just do this and this

9:20

and this and keep working on it and it's done.

9:23

Yeah.

9:23

Yeah. So I think most of

9:25

the stuff that I was uncertain about on

9:28

the record between the two of us

9:30

would be more kind of aesthetic choices.

9:33

Yes's sort of like, I don't know if

9:35

this.

9:37

With me.

9:38

Sometimes it would be lyrics and I would

9:40

just say, like, I like,

9:42

I'm eighty percent on these

9:45

lyrics, thinking like this all

9:47

lands really well for

9:49

me and makes some kind of

9:51

sense because you know, you

9:53

say with something forever and you're sort of like,

9:55

are these words anymore?

9:58

Oh totally.

9:59

But it's but again, it's

10:01

like there's some things where you're sort

10:03

of I feel like with TV on the radio, I would

10:06

sit there for a very long time

10:08

and to obsess

10:11

over certain things lyrically,

10:14

just because it's

10:18

there was a there was something I don't

10:20

know that was that was a mode of being

10:23

in all of that, Whereas with

10:25

this, I

10:27

feel like I didn't obsess a

10:30

lot about things, and if I felt myself

10:32

going in to do that because ultimately

10:35

it also doesn't really matter that

10:37

much at.

10:38

The Yeah,

10:40

exactly, it's me here. Yeah.

10:43

And also I feel like with TV on

10:45

the radio, it was sort of after

10:47

a point you realize you're writing something that you're

10:49

gonna have to sing literally

10:51

hundreds of times, and

10:55

so kind of like which is a bad

10:57

way for me. I would say that's a

10:59

bad way to think about writing anything,

11:02

you know, like anticipating the torture

11:04

of like saying this stuff

11:06

that you thought was stupid before you recorded it, and now

11:08

you're like, now it's stupid in public and it's

11:10

great.

11:11

Yeah.

11:12

Well, is there anything any songs that now

11:14

when you're performing them hundreds of times that

11:16

you're like, oh, I wish that I would have changed

11:18

that.

11:20

There are two answers, and both

11:22

of them are no.

11:24

The first first, the

11:26

first part of it is I think

11:28

I've been and it's worked

11:30

out.

11:31

I don't we don't play those songs.

11:33

Oh good

11:35

call, you just don't.

11:37

Play and there

11:39

but there are a couple of songs where just on

11:42

stage, if I had a lyric that I thought was

11:44

better that I never recorded, I'll just sing

11:46

that one.

11:47

Oh it doesn't matter.

11:49

Great, Yeah, feel those are two

11:51

brilliant fixes.

11:52

Yeah, don't

11:55

do it or bend reality.

11:57

Yes, I

12:01

wanted to ask you about the title the

12:03

Black Bolts.

12:05

How did you come upon that?

12:07

I came upon it just it just came out

12:09

of a lot of free writing. I'll just write,

12:12

like just to shake

12:14

the shake the garbage can or

12:17

the brain out in the morning, just free write

12:19

whatever and look at it a

12:21

few weeks later and think, are

12:24

these lyrics?

12:24

Is this nothing? Am I crazy? Whatever?

12:27

And that was in there and

12:30

the essentially it's the idea

12:32

of a point of illumination in

12:35

some heavy darkness, and the

12:38

idea of lightning

12:40

actually realized, like a lot of the songs

12:43

ended up having this this mentioned

12:46

of lightning or theme of lightning,

12:49

and started to feel like the

12:52

Black Bolts are. There

12:54

is a spark of inspiration that can come in the middle

12:56

of a very heavy time or

12:58

a depression or events

13:01

that kind of seemed to you know,

13:03

obscure, obscure the good things

13:06

from from your sight, but

13:08

you know the whole You know, thunderclouds

13:11

can generate bolt of electricity

13:13

that illuminates the whole landscape and

13:15

for at least for a second, you can see,

13:18

like the beauty and it the tragedy in

13:20

it, you know, all aspects

13:22

of it, and maybe maybe

13:24

feel better about the you

13:27

know, and actually appreciate that that

13:29

darkness of it too.

13:31

Yeah, it made me think it's very evocative,

13:33

the title, and it made me think that maybe

13:35

you're making a metal album.

13:37

I would. I mean, that's the other part of it.

13:39

As I was kind of finishing it up,

13:41

I was like, this is a very good

13:44

name for a metal band. Yeah,

13:47

and maybe I'm a metal band.

13:48

Now. Maybe that's fat to do, but

13:52

yeah, now I feel like it's.

13:53

A it's a good It definitely

13:55

works, and it stuck as something

13:57

that was like a good Like

13:59

I think I before I even started putting

14:04

songs in order or knew that I

14:06

was making a record, I kind of had that as

14:08

the a guiding a

14:11

guiding theme and guiding set away.

14:12

Yeah.

14:13

Yeah, yeah, that's cool.

14:15

What is the feeling in you when you realize

14:17

like, oh, okay, I'm about to put out an album.

14:20

Are you excited? Are you nervous? Are

14:22

you a little

14:24

bit?

14:25

Like?

14:25

Do you get self conscious.

14:28

With this? I feel like.

14:31

I was around it for so long because

14:34

it just kind of got done and kind

14:36

of and fits and starts. I've

14:39

been working on it from

14:43

the end of twenty nineteen until

14:46

last spring. Wow,

14:48

I feel like just you know, with a lot of

14:50

interruptions, but I

14:52

feel like that's kind

14:54

of the timeline

14:57

of all of those songs being

14:59

created. So I right

15:01

now, I just feel relieved that

15:03

it's actually going to, you

15:06

know, get away from me and out into the world.

15:09

Can kind of see what that does.

15:13

And I feel like again, another part of working

15:15

on it for such a long time is that I'm

15:18

not too attached or detached

15:20

from any of the songs or

15:23

the record. I just feel like it's a really

15:27

it has the feeling of we

15:31

made something that feels like a really

15:34

good gift, and now it's time to give it

15:36

away and it's up to.

15:38

Whoever gets it.

15:39

Whoever gets it physically or mentally

15:42

or emotionally, it's for them. No.

15:46

After quick break, we're back with more from Leo Rose's

15:48

conversation with Tundai out of Binbai.

15:54

There's a lot of life that happens

15:56

between twenty nineteen and now. Oh

15:58

totally was there like seasons

16:01

in your life? Are things you were going through that

16:04

are you know, whether it's like personally or

16:06

professionally that showed up

16:08

on this album for you.

16:10

Oh, definitely the I

16:13

mean, the biggest thing was.

16:17

Basically I started

16:20

writing these demos in

16:22

twenty nineteen when TV on the Radio

16:24

took a break, and

16:27

then when

16:29

I started to really get into it and decide like,

16:31

Okay, I'm gonna maybe look around for some producers

16:34

to collaborate with or some folks that collaborate

16:37

with the pandemic hit and it was

16:39

kind of like, I'm not looking around to do anything

16:42

with anybody because everybody's

16:45

freaked out and at home trying to figure

16:47

things out. So that was kind

16:49

of a rocky beginning

16:52

to that. But during that time, you

16:54

know, wrote a couple of songs and

16:57

edging into the

17:00

end of twenty twenty,

17:03

had shopped some things around. Like nobody

17:05

wanted to do anything because I think there was a

17:07

lot of uncertainty, But there were a lot of labels

17:10

who were kind of like, yeah,

17:12

we're not really trying to get anybody

17:15

on our label right now. We don't

17:17

know what's going to I think it was the uncertainty about

17:19

touring and how people would like make a return

17:21

on their investment. But that

17:24

was definitely a that was a

17:27

humbling experience. It was

17:29

like, oh right, it's not two thousand

17:31

and eight. Nobody cares nobody,

17:34

nobody cares about what I'm making and

17:36

that's fine, which

17:38

is fine, but you know, kind

17:40

of got it together, put some more demos together,

17:42

and thought

17:45

about Subpop because they are one

17:47

of the labels that made me deeply

17:51

interested in music, and also.

17:54

Just the really.

17:58

Foundational feeling of you can you

18:00

don't have to be of virtuo, so you

18:03

can make whatever you want, just finish

18:05

it. You know, it's kind of the

18:08

the mode and you also you

18:11

know, it's it's very expansive.

18:13

Yeah, it was a lot of teenage teenage.

18:15

Jet fuel from Subpop for me

18:18

and Yeah, so we finally called

18:20

them and they essentially said,

18:24

it'd be so great to work with you. We wanted

18:27

to work with you and the band forever, which

18:29

was not a piece of information that made it to me until

18:31

I was talking to them. I was just like, if you if I'd

18:33

known that, like, you know, a long while ago, it

18:36

probably would have happened. So

18:38

they were really very down for it,

18:40

and two weeks after I

18:43

signed with them and they were, you know,

18:46

into making the record. My

18:48

sister, my younger sister passed away

18:51

very very suddenly, like out

18:53

of nowhere, and this

18:56

is the person who, I will say, without

19:00

any hesitation, was like easily

19:02

the most important person to me in

19:05

my life, you know, like sorry

19:07

everyone, sorry, everybody else. Yeah, that's that's

19:10

the that's the the case. Sorry,

19:14

yeah, thank you.

19:15

Yeah. It was heavy, you know, really a

19:19

bizarre thing.

19:19

She was not you know, was not ill, was

19:22

not There was no lead

19:24

up to it, so

19:26

that, you know, going from I've

19:29

got this record to make, I just signed, and

19:32

like people are expecting something in a matter

19:34

of months going to I

19:37

don't want to do anything like at

19:39

all. I have to actually stop doing

19:42

almost anything and just kind of you know,

19:45

like regroup and take

19:48

some time, you know, to actually process

19:51

a lot of that, because

19:53

that was one of those things, you know, and during

19:55

I think people had a lot of time to think

19:58

in the thicker pandemic.

20:01

Of just like what is my.

20:02

Life still and think

20:04

and have and they're

20:07

they're also I think during

20:11

that time there were

20:13

a couple of other losses that I hadn't really

20:16

processed that had happened in the last ten

20:18

years, and I realized I hadn't

20:20

really processed them because

20:23

I was essentially in this band that

20:25

was putting out a record and going on tour and putting

20:28

out a record and going on tour, putting out a record and

20:30

going on tour, and then pandemic

20:32

hits and this big loss hits,

20:34

and it's a lot of just kind of not I

20:37

don't know if not running away

20:40

is the right way to put it, but just suddenly

20:42

having time and in that,

20:45

you know, in the negative space of that time,

20:47

all of this stuff comes rushing in and you

20:49

have there's no opportunity for

20:51

you to not think about it.

20:54

So that was a big My

20:57

sister passing was a big thing. But

21:01

the other side of that is, you know, this

21:03

person is such

21:05

a humongous inspiration to me.

21:09

The thing that they would want me to do, Yes,

21:11

to keep going and and writing and

21:15

do yeah, do the thing

21:18

that like, you know, my sister also

21:20

was a musician and and

21:23

acted, and just do the thing that bonded

21:25

over and keep going.

21:27

And she would be like, don't you can't. You

21:30

cannot fucking quit because then

21:32

you would be a loser. She's

21:36

like, and we are not losers.

21:37

We don't.

21:38

Our family doesn't do that. So

21:40

there's this There is a song on the on

21:42

the record that's dedicated to her. The record

21:44

is dedicated to her and and to other

21:47

family members.

21:47

That which song is that I can see

21:49

the track list on Spotify.

21:51

It's all great out. We can't hear it, but we can see

21:53

it.

21:53

It's the song it's just called It's called il

21:56

y just I love you.

21:57

Oh yeah, yeah, very very

21:59

simple note to her and to

22:01

thank you to her.

22:02

Yeah.

22:02

So how has the grief evolved now that it's

22:05

you've had a little bit of time, You

22:07

know.

22:07

If you've experienced it pretty

22:11

significant loss, you know that it

22:13

doesn't it just it

22:16

gets better in some ways. But more than

22:18

that, I think it just changes and

22:21

it it sinks.

22:23

It sinks into a place where it's on the

22:26

level as on the same

22:28

level as the positive memories

22:30

of this person or the positive aspects

22:32

of of your life.

22:35

But I will

22:37

say that making something that feels

22:40

like you're you know, that's a tribute

22:42

to these people that you love, or

22:45

an offering to

22:47

these people, to the spirits of these people that

22:50

you that you love and lost, is

22:52

it really? At least for me, is was

22:54

very therapeutic. And I don't I don't

22:56

think. I don't think art always has to be

22:58

that at all, but in this case,

23:01

for me, it definitely, it

23:03

definitely was, you know, and

23:06

it was something to do besides the

23:09

any number of horrible

23:11

things that you could be doing to yourself

23:14

totally to avoid pain or grief.

23:17

Yeah.

23:18

Yeah, No, being constructive and continuing

23:20

to work seems like it could have a big benefit.

23:23

Yeah.

23:24

Yeah.

23:25

And it seems like you have like a really healthy

23:28

work ethic, And it sounds like your

23:31

sister did as well.

23:33

She definitely more than me. But

23:37

yeah, when I get around to it, I've got I've got

23:39

a.

23:39

Pretty health Yeah.

23:41

Where do you think the drive comes from?

23:45

I don't know.

23:46

I feel like it's kind of like what else

23:48

am I gonna do? There's

23:50

a lot of it. And I

23:53

think if you conditioned yourself to put

23:56

your whether you know you're doing it or not.

23:58

To put your.

24:02

Messy feelings or bombastic

24:05

feelings or basically any way,

24:07

that you kind of can't be in this Like

24:09

you can't run around screaming your head off

24:12

about you know, how wronged

24:14

you've been, you know, by

24:17

someone, or how excited you are, or

24:19

how you can revel in

24:21

the nonsense of this

24:24

world and events and people

24:27

and feelings. But I think if you just

24:29

through making art, if you kind of if

24:32

that's your way of processing the world

24:34

or making yes, that's your anchor

24:37

in the world, is to be like at least I can write

24:39

it down, or at least I can draw it, or at least

24:41

I can get a few friends together

24:43

and make a short film about it.

24:47

Then all of it kind of makes sense. All

24:49

of the shit that doesn't make sense, this

24:51

is a place for it to make its own.

24:53

Kind of sense.

24:55

When you guys, So, when TV on the Radio first started

24:58

making music together, how long did it take

25:01

for you to sound like TV on the Radio?

25:04

I feel like it's debatable because

25:06

I

25:09

I feel like there's so many different ways

25:11

to sound like TV on the Radio and

25:14

it kind.

25:15

Of kept evolving.

25:17

It did.

25:18

Hopefully we'll keep evolving.

25:20

But you know, the first thing that came

25:22

out under the name TV on the Radio is

25:25

pretty like probably a few months after Dave

25:28

and I met Dave Sidek. When I met,

25:31

we both had all these four track

25:33

tapes just

25:35

weirdo stuff that we'd made, and

25:38

when that was kind of our point of like,

25:41

you know, meeting and friendship is that we were

25:43

both painters and both like made silly

25:46

four track stuff or not so silly four

25:48

track stuff. And that was a

25:50

compilation of that

25:52

four track stuff, which was all over

25:54

the place and some songs that

25:56

were a little more I guess, like quote unquote

25:58

produced that we made

26:00

together. And to me that sounded

26:03

like TV on the radio. It's like, this can

26:05

be recorded in a basement with

26:07

like one mic, or it can be recorded in

26:09

like a super cheap studio with

26:12

you know, equipment present. And then

26:15

and then with the Young Liar's EP, it got more

26:18

real bandy yeah,

26:20

and that to me is also like you know, that's

26:23

to me, I guess would be the a

26:26

solid a solid version

26:28

of the first iteration of a TV on

26:30

the radio sign and then desperate

26:33

youth. Like we didn't know what we were doing, so it

26:35

was kind of like, is.

26:37

That why there's like two titles for the album?

26:39

Well, yeah, yeah, it's that, And

26:42

just like I feel like in a lot of ways,

26:44

it was a step backwards because we didn't

26:46

know what we were doing. Not in a bad way

26:48

really, but just like kind of in a way of like, well

26:50

what are we doing? Because we went from working

26:53

occasionally on this thing that turned into an EP

26:56

that might have been a longer

26:58

record, except that someone heard it and wanted

27:00

to put it out and then yeah, they're like, we're

27:02

giving you a record deal, so let's

27:05

make the next thing right now, and we're sort of like,

27:07

I don't know what that is.

27:09

It's like, I don't know how to you know, Like.

27:12

At least my my observation

27:14

from it was there was a certain amount

27:17

of new panic about

27:19

what needed to happen and

27:21

ideas about what it should be, and all.

27:23

Of that was that like inner band conversations

27:26

or from the outside.

27:28

I think from both.

27:32

Just what should this be now instead of just

27:34

making it and saying that's what it is, you

27:36

know, because what should this be? As a real waste

27:39

of time, yeah, you don't

27:41

know.

27:42

But then after that.

27:45

Cookie Mountain became that's

27:47

when you know, we we we locked in.

27:50

We locked ourselves in and we locked in, and

27:53

then that turned into a new iteration

27:56

of the sound. But I, you

27:58

know, I guess I would I would probably

28:00

say, like the first EP was pretty

28:04

pretty locked down at least on

28:06

on the recordings.

28:08

Did you do you like it?

28:11

The first EP?

28:12

I really liked it?

28:13

Yeah, which was no,

28:15

it was and it's a real you know it

28:19

marks a certain spot

28:22

in time, just like emotionally and

28:25

yeah, just feeling feeling wise, it's I

28:27

actually haven't listened to I

28:31

haven't listened to anything that we've done

28:34

in its entirety, Like

28:38

I'll listen to it when it's

28:40

done being mixed and mastered probably

28:43

I'll listen to everything the whole

28:45

way through, but I haven't looked, so I haven't listened

28:47

to Young Liars like since in its entirety

28:49

since it came out, But.

28:51

So why not just like throw it on one day? Like

28:54

it's what's the why

28:56

not listen to it?

29:00

Because I feel like that you know that the touch

29:04

was that.

29:06

There's a Christopher Walking Home movie is

29:08

it the Dead Zone where touches people and suddenly

29:10

like flood of emotions and like you can

29:12

see everything that's happened to them and will happen to

29:14

them. It's kind of like that where it's like, oh,

29:16

something like oh this is good, and then I'll like hear one thing and just

29:18

be like, oh, what a terrible time that

29:21

was where I did this and did that and all that.

29:23

But it's less and less.

29:26

But if I hear it when it's on, if it's on

29:28

somewhere.

29:29

Yeah, Like I'm never like, I'm

29:31

very rarely am I cringing about

29:34

it?

29:34

Oh that's good.

29:36

Yeah, But I like I like the fact

29:38

that we, you know, we got it together and

29:40

made this thing that didn't I

29:43

know that people just like, you know, it's like, well,

29:45

doesn't sound like anything else. And I was like, but that's

29:47

the point, Like, no one should sound like anything

29:50

else.

29:50

It's so good.

29:51

But it's it was also so good

29:53

be able to make, you know, get it together

29:56

with your friends and make something that sounded

29:58

like good and fresh and

30:00

new to and honest, you know.

30:02

To you and you knew it was fresh

30:04

and new when you were making it. Did

30:07

you have perspective?

30:08

Will? The perspective was kind

30:10

of.

30:13

And it was weird because it was I think

30:15

the perspective was it was very

30:18

shortly after September eleventh

30:20

that we started making that

30:23

would ended up being that EP, And

30:25

I think the deal was this

30:28

is the this is the most important

30:31

thing to us right now,

30:33

is that we can we can create this reality

30:36

that we can swim in and live in and like

30:38

energize ourselves with. So it

30:40

was a you know, for as much of a whatever

30:43

that whatever mood that that EP

30:46

puts people in. It was definitely it

30:49

was an odd kind of pick me up for all of

30:51

us to work This

30:53

is you know, this is something something

30:57

we have control over and it's also something

30:59

that like we can do anything with. So that

31:02

was a real that's that's that feeling

31:04

was inspiring working on.

31:06

Oh, totally. Yeah, empowering.

31:08

Yeah, that's a similar to what you were saying

31:10

about the grief

31:12

with your new album is having sort

31:14

of some you know, like a creative life

31:17

raft at the time, something

31:19

to focus on and something to pour

31:23

you know, pour yourself into and.

31:25

Process emotion through.

31:26

Absolutely.

31:28

Yeah, that's awesome. That's a great thing, great

31:31

thing to have. I saw

31:33

when I was just like getting ready

31:35

for this interview, I saw that Spotify,

31:38

you know, Spotify makes different playlists and they

31:40

have a cover image for the playlists, and

31:42

I saw that TV on the Radio

31:45

is the cover image for the

31:47

Indie Sleeves playlist. Really,

31:51

yes, right now? What

31:54

does that make sure it's your

31:56

new it's a new promo picture.

31:58

Yeah, it's Is it a black and white

32:00

picture?

32:02

Might be.

32:04

That's where the we're the delegates

32:06

from Indie Sleeves.

32:07

Yes, So I'm wondering now that,

32:09

like, you know, I don't

32:11

know if you saw that yacht.

32:12

Rock documentary, No,

32:14

I want to.

32:16

It's really great, but it turns out a lot of

32:18

people who were considered yacht

32:21

rock, which is a term that was made up by like

32:23

a online comedy group,

32:26

a lot of the people who are in that category,

32:29

that that genre, you know, don't

32:32

like that, don't

32:34

like that classification. So I'm wondering

32:36

for you now, sitting where you're sitting, like, how

32:39

does how does Indi Sleis sit in twenty

32:41

twenty five?

32:43

And was it even real? Is it a thing?

32:46

I don't know. I

32:49

don't Yeah,

32:52

I don't know.

32:53

I uh, It's

32:55

really it's interesting to me because

32:57

I think when

33:00

you're in something, it's

33:04

also very odd because you like, I'll never

33:06

have the bird's eye view of

33:08

someone who, like, twenty years later can

33:10

look at whatever

33:13

set of images, whatever

33:16

set of songs or records or you

33:18

know, the first person accounts or

33:21

rock critic reviews, like, I'll never have

33:23

that overview. It kind of just my

33:25

overview is I started making stuff

33:28

with my friends, and we went to see

33:30

other friends who made stuff with their friends.

33:32

Yeah, and we all.

33:33

And no one had a cell phone there wasn't

33:35

any internet. We got

33:38

to we got to kind of we had

33:40

really cheap rent and got to make things.

33:43

Yeah, but I personally don't feel like

33:45

our band was cool enough to be part of

33:47

the indie sleeves.

33:48

See. I just don't.

33:51

I don't. I didn't see it.

33:53

But there's also one of those things where people talk about

33:55

Electroclash, and

33:58

I feel like the Electroclash movement

34:00

was like five weekends

34:02

at this bar called Luxe and

34:04

then it was that was it.

34:06

It was over, you know, but it

34:08

was.

34:08

This holding just like Electroclash, like you

34:10

know, blew through Blue through

34:12

New York.

34:13

It was this huge movement.

34:14

I was like, at

34:17

least Williamsburgers.

34:21

Yeah.

34:22

So I don't know, it is it's it's funny,

34:24

it is. It's funny to me to see that

34:26

that's a thing because it makes me think

34:29

about it

34:31

makes me think about Seattle and Grudge

34:34

and or.

34:35

Even like the Summer of Love.

34:37

You know, that was also a pretty short period that

34:39

is like, oh my gosh, we're still talking about

34:41

it.

34:41

And we're still talking about it, and I don't.

34:43

I mean, and I'm sure like if you talk to

34:45

someone from when that was happening. They can

34:47

give you a list of you know,

34:50

you felt like something was going on, but

34:52

it's also the

34:58

I feel like with us and

35:00

our and I'm you know, I guess like speaking from

35:02

myself, but the

35:05

feeling that all of that stuff was active

35:07

and alive and fleet and

35:10

not something that like like we're

35:12

making the stuff that we're gonna preserve

35:14

in a glass case and it's gonna stand the test

35:16

of time. Like I feel like it was very much

35:20

this is immediate moment

35:22

to moment.

35:25

After one last quick break, we're back with the rest

35:27

of Leo Rose's conversation with Tunday

35:29

out of Bemba.

35:34

I'm sure you you are aware of this, but

35:37

Wolf, like me, was playing at the Super Bowl.

35:40

Yeah, now, I heard a friend told me that

35:42

too, which is was

35:45

it in a It's It's weird.

35:47

It's one of those things where you'll

35:51

get an email like

35:54

like three or four years ago

35:57

or something saying just like we're going to use this for

35:59

a commercial for fifteen seconds or

36:01

whatever, and you're like, okay, that's that, and

36:03

then you'd have no idea where it shows up.

36:06

Is that like a nice check though? Like is that a

36:08

good thing?

36:10

Yeah?

36:10

I mean, I don't know how many times they played

36:12

it.

36:14

I think I saw so I looked it up on Reddit

36:17

and apparently, I guess Fox NFL plays

36:20

it in their broadcasts.

36:22

Okay, I mean, is

36:27

it a nice check? I don't know. I

36:29

guess we'll see, but I it's a check.

36:32

Yeah, yeah, yeah, that's nice.

36:34

It's a check. It's

36:36

also like, I don't

36:38

know, I got laundry lists, I got

36:40

subscriptions and issues with all of that

36:43

stuff. But I'm glad people

36:45

are hearing the song. The

36:47

vessel isn't always awesome.

36:49

Yeah, yeah, yeah, totally, but.

36:51

I'm glad people are hearing the song. Yeah.

36:53

Did you have an expectation, because I know, growing up

36:55

you've always been into

36:58

art, You've always drawn. Did

37:00

you have an expectation at any point to

37:03

make money or was it like

37:05

a total surprise.

37:08

I think I've always well, I

37:10

was in an expectation to have a job. Yeah,

37:13

to turn it like where I knew. It's like, this

37:16

isn't a It's not

37:18

a hobby for me, like for

37:20

better or or worse, because I'm incapable

37:24

of doing anything else, you know, like well

37:27

or just this is what I've been doing and what

37:29

I want to do. But you know, you have examples

37:32

that like when I the

37:35

first thing I thought I was going to do was

37:38

make comics, like make underground

37:40

comics or you know, at first

37:42

I think it was much younger. I was like, I'm going to do a comic strip

37:45

like Helvin Hobbs.

37:46

Yeah.

37:47

Of course, like telling

37:51

my dad that, who's like an

37:54

immigrant from Nigeria who grew up in a village

37:56

and worked his way up to being like, you know, a

37:58

medical director and a

38:00

hospital somewhere. He's like, well, how are

38:02

you going to make money? Yeah, And I

38:05

said, I don't know, I don't know. Do people

38:07

make money doing that? He said, of course,

38:10

And then he would, you know, actually be like

38:12

here's the just there's actually a book

38:14

in the library that shows what commercial

38:16

artists make, and here's what a comic strip artist

38:19

makes, poor strip. Here's who you write

38:21

to to get all this stuff. And so there was always

38:23

this idea of just like, there's a way to make

38:25

Yeah, this thing

38:28

I want to do, like

38:30

I would, I will have to hustle and make

38:33

money doing it. But I also

38:35

never like and I

38:38

Bill, you know, was never There's

38:42

never any part of me that was like I'm

38:44

going to do this thing and I'm going to make.

38:46

So much money.

38:48

Yeah, so much money. And that's

38:50

exactly why I'm going to do it, because

38:52

I'm going to make so much you

38:54

know, it's like never it's there's

38:56

people that I looked

38:59

up to who you know, like I said, these

39:01

underground comic artists or even

39:03

like superhero comic artists where it's just like I make

39:05

a hundred bucks a page and I turn in thirty

39:07

pages and I'm like that, you know, and you're like

39:10

fifteen, and you're like that sounds great.

39:13

You'll realize it's.

39:14

Like literally backbreaking work to sit

39:16

there like a table for like forever

39:19

to do that. But you know, there's always

39:21

some idea of like I have to turn

39:25

this into a job however

39:27

I can, like I have to support myself

39:29

doing this thing. And

39:33

the idea that like you also don't like

39:35

thinking like about make

39:38

any kind of being an artist is there's no you

39:42

don't really retire. Yeah,

39:45

Like I don't think there's not a point where I'm going to

39:47

be like, Okay, that's it. I did enough and now

39:49

I'm going to, like ye sit

39:52

on the dock of the bay wasting.

39:54

Time, go to Margaritaville.

39:58

To watch a million a million sunsets.

40:01

Yeah no, but

40:03

but it's.

40:03

The there's there's

40:06

definitely always a part where it's

40:08

sort of like, I want to be doing

40:11

this creative work. I want to have

40:13

this mode of processing,

40:16

you know, being alive in

40:18

events and feelings, and I'd

40:21

like to be able to support myself doing that. And

40:25

if I'm not able to directly

40:27

support myself doing this creative

40:29

work, I'm going to hustle and

40:31

find something else to support

40:33

that creative work.

40:35

Yep. How did you get a job

40:37

at Celebrity Deathmatch? How did that happen?

40:40

And what were you doing there?

40:41

I was animating. I

40:44

was making puppets beat

40:46

the shit out of each other for a

40:49

few years. Yeah,

40:51

making, That's what I was

40:53

doing at Deathmatch. And I got the

40:56

job because I was at

40:58

the school in New York as at NYU,

41:00

and I went there for live

41:04

action directing, and within

41:07

two years realized that I was really

41:10

not it was not a good director

41:12

because I didn't feel comfortable

41:14

telling people what to do.

41:16

Yeah.

41:17

I would just be like, here's a scenario, just

41:19

just like do what you want? Yeah, do

41:21

you want?

41:21

And I'll just you know, we'll film it and we'll edit it, and it'll

41:23

be what it's it'll be what it's going to be. You

41:25

know, everyone's like in their like teens

41:28

and early twenties and like no one's listening

41:30

to each other. And I was kind of like, I don't want

41:32

it's just it was it wasn't for

41:34

me. And since I

41:37

you know, like drawing and animating, I

41:39

ended up going into stop

41:42

motion like yeah, my junior,

41:44

and uh really

41:46

like loving it, you know, like I think I saw

41:48

the Nightment before Christmas.

41:49

It was kind of just like, oh, yeah, like that, that's what I

41:51

want to do. That's that that looks great.

41:54

And so like I ended up, like my

41:57

my short film ended

41:59

up winning an award at the end of

42:01

the year, and everyone else was, you

42:03

know, at that time, doing really kind

42:05

of early computer animation as

42:07

they were graduating, and they're.

42:08

Like, why are you Why are you using

42:11

puppets.

42:11

You're gonna be broke, You're gonna have to

42:13

live in like a basement and Czechoslovakia

42:16

to like nake, you know, sort of noone cares

42:19

about that shit here. And I was like, yeah, but

42:21

I care about it, and I can learn computers

42:23

later if I know how to do this, then that'll be

42:25

fine. And then we all got out

42:27

of school. I was I

42:30

was asked to leave school because to do my

42:32

senior project, I stopped going to classes.

42:35

It was a whole whole issue, the whole

42:37

stupid thing. But it got done. I

42:39

got out.

42:40

MTV was doing they.

42:43

Were just looking for animators for this new

42:45

new show that was based on this short

42:48

that one of the directors and artists over

42:50

at MTV Animation made, this

42:52

guy, Eric Fogel. So yeah,

42:55

I sent my tape

42:57

in and like went in and

42:59

you know, they said, can you come in and talk?

43:02

And I remember I went in and we didn't talk about

43:04

animation at all. He just said all these weird

43:06

ass toys in his office. And I was like, oh, you look,

43:09

are you like this? And and I left

43:11

and I got a call, like, you know, like two

43:13

days later that I was hired.

43:15

So it was one of the first eighteen animators

43:17

on that show.

43:18

Wow, that's so

43:20

cool.

43:21

It was good.

43:21

It was like a good boot camp for stop

43:23

motion and because

43:27

you know, you're doing it five days a week

43:29

for like, you know, eight hours a day,

43:31

and you're sort of like, oh, I'm now

43:34

I'm making stuff that people

43:36

are going to be watching on TV. And if you

43:38

you know me even saying that, if you go back

43:40

and look at those early episodes, like they're.

43:42

Not good, they're not no

43:46

like technically or.

43:47

They're yeah, technically now they're Punces

43:49

in the mill are good. And that was the thing.

43:51

It was like the sliding scale of people who

43:53

had like just got out of school and people

43:56

doing stop motion for you

43:58

know, twenty years.

44:00

It's so specialized.

44:01

Yeah, were you in TV on the radio

44:04

then? Like was were you just starting to play then?

44:06

Or was that did those overlap at all?

44:09

No? I started making four

44:11

track stuff kind of more

44:15

in earnest around, like

44:17

while I was working at Deathmatch,

44:21

pretty much as an antidote to the how

44:23

tedious that Yeah, that

44:26

was yeah to be you know,

44:28

like the whole thing of like I mean, you

44:30

know, like animation person will

44:32

tell your stop motion, especially where it's

44:35

like you work it eight hours

44:37

a day for four days in a row

44:39

and at the end of it you've got the three seconds

44:42

of animation, you know, or something

44:44

like that. So having a four track at

44:47

home was just a good way

44:49

to you know, and withdrawing and painting too, it's

44:52

just like you're taking it's just taking a

44:54

while. So having a four track at home and a

44:56

little like piano and loop pedals

44:58

to mess around with. At the end of your two hours,

45:00

you have a bunch of stuff

45:02

on a tape that you can play back and you can mess

45:05

with. So that was I would say

45:07

that music was like

45:09

it was a way to get a quicker

45:11

result than animation.

45:16

Yeah, I'm curious

45:18

if the way that you work out musical

45:20

ideas has that changed

45:22

from when you first started working with four

45:25

tracks to now? Is do you sort

45:27

of approach it in the same way or

45:30

has your process changed now

45:32

that you have more experience.

45:34

It's totally the same. It's

45:36

completely the same. I'll either

45:41

here here a melody, I'll

45:45

beatbox something into a voice note

45:47

sor sing into a voice note and then if I'm going

45:49

to, you know, at the time, take

45:52

it to a four track. It's kind of

45:54

just it's it's really the same

45:56

of making a just a vocal

45:58

sketch of something and then

46:02

layer fleshing it out with you

46:04

know, just instrumentation or

46:06

you know, any kind of sound. I

46:09

would say, actually, yeah, it's come

46:11

back around to being closer

46:14

to what it was when I started

46:16

making four track stuff. I

46:18

feel like just over

46:20

the years making stuff with the band, my

46:24

thinking about writing started

46:26

to include and leave space for you

46:29

know, like I would have a part of a song

46:31

where I'd be like, I don't I don't really

46:33

know what to do over

46:36

there, but I know

46:38

that Kip is going to have twelve ideas

46:40

for that and that's going to be a great

46:45

I want to hear what he wants

46:47

to do there and or Jaliel can

46:49

do something here, or I know Dave is going to have a billion

46:51

ideas for this. So I think

46:53

the like, now it's gone just for this stretch

46:56

of you know, my record and just how I'm writing

46:58

now without without the guys, It's gone

47:00

back to, you know, the way it was before,

47:03

or where I was like I at least have to make I got to make a

47:05

more detailed sketch,

47:07

you know, and it's all me, you know,

47:10

it's all yeah, for better or for

47:12

worse, Like the good and bad

47:14

decisions are all are all mine?

47:16

Are there any decisions that made it to this

47:18

album that you presented to TV on the radio

47:21

that got shot down? And now

47:23

you're like, Okay, I finally get to do that idea.

47:26

There were songs that just didn't get

47:30

not not shut down. But there's sometimes

47:32

where you know, like when we did get together

47:34

record, there would be a lot of

47:36

songs, like a lot of a lot of starts.

47:40

I feel like the I feel like seeds

47:43

and nine types

47:45

of Light. You know, we after

47:48

a few rounds of eliminating

47:50

what people liked and what we thought

47:53

was going to make it on to the record, Like, there would just be

47:55

points where we everyone would make their choices

47:57

and we'd have thirty songs left and

48:00

just like we got to like get that to ten,

48:02

you know, and get rid of that.

48:03

So there are of that seems like a great problem

48:05

to have, though kind of yeah,

48:09

like how do you know?

48:11

Well, it's I think it becomes obvious because people

48:13

just start gravitating to

48:14

the ten or twelve

48:17

songs that are going to make it onto the record,

48:19

or you know, we'll have a meeting

48:22

and just say I actually want to finish

48:25

this, So can we put more time into this than if it's a

48:27

lost cause? It's a lost cause, but like you

48:29

know what, when you give it, give it a second.

48:32

Very nice. Okay, one last question,

48:34

I'm curious.

48:35

I saw Twisters the other night, And

48:37

I'm curious how your character very

48:39

much surprised me because I had seen pictures,

48:41

I'd seen still shots of you,

48:44

and like the I thought you were going to

48:46

be like an archaeologist, but

48:49

you are sort of like the YouTube hill

48:51

Billy and the YouTube Hillbilly Crew.

48:54

Yeah exactly, the

48:57

slash burning Man, Yeah.

48:59

Exactly, the gigantic

49:01

weather nerd.

49:02

Yes. Yes, I love that.

49:04

I guess now, like, how have the

49:06

roles that are coming to you chain and

49:10

how has your ambition with

49:13

acting change now that

49:15

you've been doing it for so long, And

49:18

I guess as you get older, you must

49:20

like the roles must be different.

49:23

Yeah.

49:23

Absolutely. I mean it's it's weird with

49:25

me because I've done it. It's

49:28

funny when things

49:30

come up or you know, something

49:32

will come out and someone will

49:35

very just like, oh is this the first thing you've done. It's like,

49:37

did you do a lot of acting? And I looked

49:39

at it just recently and I was just like, yeah, I'm doing

49:41

it for like, oh twenty years.

49:43

Yeah, but you know, in.

49:47

Kind of fits and starts because

49:49

of bandwork and you know, and things.

49:52

But I love, I

49:55

love doing it, and I

49:57

think generally I like anybody.

50:00

I like the opportunity

50:03

to kind of get

50:05

into the head of somebody who's a little

50:07

bit off kilter for

50:11

me, like when something comes up and I don't

50:13

know if the expression of that comes through in

50:15

these characters, but it's

50:19

it's always, it's never I feel like I'm thinking about

50:21

it now. It's like, I don't really

50:24

feel like I've

50:26

been given like a lot of leeway

50:29

to give my input.

50:30

To these characters.

50:31

And that's nice.

50:33

Yeah, it's been really nice. No, I feel really

50:35

lucky to have worked with the people I've

50:37

worked with. Yeah, like with Twisters,

50:40

like Isaac Chung who

50:42

you know, who's the director? The

50:46

character was like it was really there's

50:48

no description of this character in the script.

50:50

They're just like this is this person.

50:52

So if we got to Oklahoma and I said town, I

50:54

was just like, so what do you who do you think this guy

50:56

is?

50:57

And like what are you looking for? You know

50:59

essentially, And he said.

51:01

Was there anything that you've really, like ever just wanted

51:03

to do in a you know, like in

51:05

a role or a movie. And I was like, yeah,

51:07

but also what do you want me to

51:10

do? Yes, because

51:12

that would be a good place to start. But he really was

51:14

just like just you know, like

51:17

take a second with it and like write down here you think

51:19

this guy is. And I was like, he's

51:21

a weather nerd, he's a metal

51:23

head. He loves Lenny, that's why he

51:25

cut. He has these lamb chops. He's got this weird

51:28

mutton chop thing going on. He

51:30

draws fantasy barbarian art for

51:33

commissions.

51:34

Yeah, that's awesome.

51:36

It must be interesting too as an actor to go

51:38

from playing like a love interest to now

51:40

your cast as a father in this skeleton

51:43

career doesn't know you know, it's like

51:45

the world now sees you different totally.

51:48

That is pretty interesting. There's definitely, uh,

51:52

it's it's funny. I've definitely had a few moments

51:54

with these, Like last couple of projects.

51:57

Yeah, I was in I

52:00

was in the first.

52:01

Version of a show that got entirely

52:03

scrapped and

52:06

and remade and put out. I

52:08

was not in the final version,

52:11

but it was definitely a moment where I looked around and I

52:13

was just like, oh.

52:14

I'm like the second oldest

52:16

person in the cast. Yeah, and it wasn't

52:18

you know.

52:18

And it was also like in Twisters

52:21

a little bit, but Skeleton Crew.

52:22

Like obviously because it's kids.

52:24

But yeah, my daughter loves the show

52:26

too's she finally

52:28

respects me.

52:30

Do you get recognized by kids?

52:32

Yeah, they're kids at are schoold or yeah?

52:34

Who are now?

52:36

Yeah? Who? I seen

52:38

the show and like this show? Which is that

52:41

show was engineered?

52:44

I feel Adam by Adam

52:47

for kids their age. Yeah,

52:49

every kid that age I

52:52

know who's seen is just like which

52:56

is great, which is so great, so

52:58

fun to do.

52:59

Awesome, Thank you so much, Tuned. I'm

53:01

sorry for I know I took up a lot

53:03

of your time, but it's so great.

53:05

It's awesome talking to you, so.

53:07

Great to connect with you. And yeah,

53:09

have fun with the new album.

53:11

Thanks Litely, is awesome to talk to you.

53:13

Finally, you too.

53:17

Thanks again to Tunday out of MPE for talking about

53:19

his creative life and the making of his new solo

53:22

project, The Black Bolts.

53:24

You can hear a favorite.

53:25

Tunda and TV on the radio songs on your playlist

53:27

at Broken Record podcast dot com,

53:30

and be sure to follow us on Instagram at the

53:32

Broken Record Pod. You can follow

53:34

us on Twitter at broken Record Broken

53:37

Record is produced and edited by Leah Rose,

53:39

with marketing help from Eric Sandler and Jordan

53:41

McMillan. Our engineer is Ben Tolliday.

53:44

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53:47

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54:07

app Our themes expect any beats.

54:10

Justin Richmond, mm

54:17

hmm,