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Unsigned518 - Episode 169 - The Airdrifters · Unsigned518

• 0:01
  Speaker A: He was born on a Saturday in.
• 0:03
  Speaker B: 73 he loves punk rock music fighting.
• 0:06
  Speaker A: The 13 cabin in the dazzle Jazz rock Now on the beat guitar with.
• 0:11
  Speaker B: A short wind radio bass his motherfucking Andy Scrolling look at motherfucker cuz here he comes Andy Sculling wearing his or.
• 0:26
  Speaker C: His hat welcome to unsigned fire 518. I'm here with Max of the Air Drifters. How's it going, man?
• 0:33
  Speaker A: Good, man. Max Lee, that's me.
• 0:35
  Speaker C: So, you know, we just met a couple minutes ago.
• 0:38
  Speaker A: That's true.
• 0:39
  Speaker C: And you know, I always say, like, this first segment is the introduction. And for the most part, bands that I have on, I just met a couple minutes ago. So, like, the introduction aspect of it is very easy because, you know, we are meeting in real time. So I guess, you know what I usually do with my guests. I give you the opportunity to tell your story with music as far back as you want to go. Start the story wherever you want. Kind of leading us up to current day.
• 1:15
  Speaker A: Totally. So it's kind of a long story. So I kind of want to give the abridged version. And if you have any questions you want to go back, we can go further. But as Max Lee, at one point I decided like, wow, I have all these songs and what am I going to do with them? And I'd be working in a couple other projects. So I started the solo project inspired by a lot of stuff. And then I was like, okay, well, now we got to. You know, these are really cool. People seem to want to hear us do it. So how do we go and bring that to the world? And then basically it started to shift. And that's when the. The idea for the Air Drifters was born, because it was like, okay, well, how do we make this more collaborative? I still want to use these songs. And like, it kind of got to this point where we started playing live. And when we started playing live, that's when the Air Drifters was kind of born. So, like, I did this record, 2018, called Colors of Noise. It's just like a Max Lee album. But that album's kind of the genesis of the Air Drifters in a way. And then as we started playing out, that's when, you know, the thought of the hour record came out that was like, all right, we're gonna start making records as a group. And that's when other people started putting in, you know. And I'd been in bands before that, but I had so much issues with keeping it going that this was at least something that I Could just keep pushing, you know, without any interference or no worries about any aspect of why I couldn't keep doing this thing, you know, that I loved so much, you know, so that's, I guess the basics of it, you know, and basically just had a bunch of horrible failures that broke my heart, that were totally out of my control. And this was the one thing that I could actually be like, okay, you know, nobody could stop this. This is, this is just what I'm doing, you know, And I've had a lot of great people push this project forward. Like, the list is long and it's, it's been the coolest experience so far.
• 3:32
  Speaker C: And so when you say this project, you know, I know, like, if you've heard any of my episodes, like, I, I, I do very little, little research, you know, I just kind of like, I like it to be like I said, an organic conversation. And in like our DMS today, you know, when I was like, how many members in the band? We're like, ah, you know, like 10, but it'll just be me coming. And so I guess I, I, I want to hit upon that. Yeah, of course, you know, when you say like 10, is there like a rotating cast of band members? Is it like, how was the dynamic between you and the band members?
• 4:13
  Speaker A: So I kind of like to say like, everyone's in the band, you know, because like, the music is such a reflection of life and everyone I've ever met and every story that like every kind of situation kind of weaves its way in. I'm like the traveling poet. He's like sitting in the corner of the bar, like writing something on a napkin. And so it's like I kind of view the person or who's over conversation I overhear that inspires me. I'm like, okay, I want to write this into a song or whatever. Like they're part of it, you know, in a way. But like, that's like an esoteric version. The whole idea of the Air Drifters is like, okay, yeah, I can do anything I want myself. I could play all the instruments, I could mix it and master it and do it myself. Because I got to that point through this just like, wild story that I was kind of telling you about where I had no other choice. But once I accomplished that, I was like, okay, but what can I do by bringing people in and what can I do to not touch it and how can I not control it? So then I, you know, like, for instance, my, even my mixing people, like, okay, the whole idea with the thought of the hour record was, I'm gonna send these songs out to my friends, and I want them to just mix these songs, and I'm gonna give them no guidance whatsoever. I'm like, here's, you know, a thousand tracks, and just like, take as long as you want. And, you know, obviously I paid them for their services and whatever, but, like, they kind of still did me a huge favor because what they did was worth way more than whatever I gave them financially because it was creative and, like, genius what they would pull out. I'd be like, I actually recorded that, you know, like, I heard stuff in there. When they finished it, I was like, did they do that? You know, stuff like that. So, yeah, like, my buddy Greg Castro, he's amazing. Mixing engineer Jim Romano, AJ Natoli, some of the guys that did the mixing on that record. I view them as part of the band just in the. In the fact that they kind of crafted the songs and we still play them that way. It's like, oh, yeah, they deleted this guitar part and made this thing go here and we play the record. So it's like stats of collaboration within itself. Not to mention the people that actually physically have come in and recorded and done parts on different things, which is like, you know, from all the people that have played at a show. But if we have a show going on, it's really like the bat signal goes up and, like, you know, whoever is available and knows the stuff, and I have that kind of, you know, I'd say rotating cast, I guess, but there are a bunch of musicians in my life, and whoever kind of answers the call, we go for it. There's been some stability in, like, people who have stayed with the band for longer. People will, like, go on a journey and then come back. But I like to be very open with it. Like, one of my buddies, guitar player Alex Terazakis, who played with us for several years, went on. He has his own projects. He's doing different things. He kind of started a whole amazing, you know, community of musicians. Just, like, it's great to see people grow and do what they want to do. And I support everyone that I've ever worked with to, like, see how. What. What they get inspired to do, because I feel like that that's the whole point, you know.
• 7:27
  Speaker C: And so, you know, this goes back, you know, you said 2018 was when you first put. Put your first record out.
• 7:35
  Speaker A: Yeah, yeah. Well, that's. That. That's kind of the. The genesis of the Air Drifters. I'd say around 2018. Because that's when we started playing as a unit. And those songs are really like the, the foundation of what has grown into the Airdrifters. I mean, I'd been active in a lot of different projects before that, but that's kind of a different story, I'd say, right? Yeah.
• 8:01
  Speaker C: So I think, you know, we're. We're gonna listen to a couple of songs, but before we get to that, once you've gotten everything, you know, where you've gone from like solo stuff into like Air Drifters and songs have like fully come together and like now you're putting or you're doing live shows and whatnot. Like when, what year is that? When everything is where you're like, this is. This is where it is.
• 8:31
  Speaker A: I'd say right now. Right now is this amazing moment with the band where we are kind of forming into a new kind of unit. It's kind of always been evolving, but I think we're getting to a point where we can collaborate with other artists and other groups really well. And I think that's when things start to get interesting. And it's just basically, if you think about music as a, as an art form, not just music, like, okay, I'm going to, you know, take a painting. It's like sometimes I'll do this. It's like I'm trying to write something and I don't know what to do. So I'm going to go and mess around in the paintbrush for a little while and then I'll come back and be like, all right, maybe that unlocked that, kind of did the thing. It's not like it was writer's block, it's like it was writer's confusion. And that cleared up what I was even trying to say about this thing, right? So I feel like that applies. Like the idea of writing a song can also apply to how like a project is even organized. So I think we're in this phase where it's like anything really can go. Anything can really work here. And I think once you get there and you kind of see this ambiguity around, you know what's good, or you kind of get over your own judgment of what you're creating to the point where you can kind of be a little bit more open to what you know you like or even beyond being in a place where like, I don't need to like this at all and I'm still gonna love it because it was created by me. It's like that self loving energy is kind of fresh, you know, I feel like I've been really critical, really, you know, like, getting into, like, the micro detail, you know, Unless I. Unless. Unless I have one of my friends telling me that it's good or like they mixed it, then I can kind of trust that a little bit better be like, okay, if they think it's fine, it's fine. But, like, for myself, I think we're getting into that spot where it's a little bit more open. It's been really helpful for kind of just incorporating new dimensions into the music. And I think that's why this new record that we're working on is going to be really interesting because it just incorporates so much stuff that, you know, I personally. To a new level that I personally wouldn't have been able to do alone. And I think that that's when things get really, really kind of magical. Yeah.
• 11:05
  Speaker C: All right, well, we should hear a song.
• 11:07
  Speaker A: Sounds good.
• 11:08
  Speaker C: So what song do we want to put on?
• 11:11
  Speaker A: I'd say we could start with this cool song called Robot Wants To Cut yout Corn. It's the first single from this new record, which. The title, I'm gonna let y'all know. Now, I haven't told anyone yet what it's gonna be, but I'm actually going to call the record Paint the City. And the first song, the first single is Robot Wants To Cut yout Cord, which is this funny song, super weird track that one of my band members was just, like, in love with the song. And I kind of was like, you know, we have so many songs and we rehearsed so many things. And, you know, he was just like, you know, Tony Mad Driver. He's like, at the time, man, this song, I love playing this song. I'm like, really? But, you know, for me, that was this magical thing. It's like, well, let's do it. Let's focus on it. And so we got it happening and got mixed over at Outlier Studio. This is a really great place. And yeah, it's. It's an interesting song. And. And especially the cool Prague crazy part at the very end, which is. You gotta stay for that part if you give it a listen.
• 12:33
  Speaker C: All right, cool. Well, let's check out Robot Wants to Cut yout Corn, the Air Drifters. We'll be right back to talk some more with Max.
• 12:49
  Speaker B: There's a girl listening too. New York station She was hearing stuff getting her down Robot Sound. Those stations didn't have what she was looking for Then she heard something she never heard before That a robot wants to cut your core that a robot Wants to cut your car Robot wants to cut your robot wants to cut My robot wants to cut your cut up I want Is that cool? Is that cool? Is that cool? Oh, no. She left in the feet of well I said by rock and roll There was something she never thought could be front of her eyes Night of the Let me tell you, my friend Sweat and blood can never pretend.
• 14:50
  Speaker A: Have you heard?
• 14:50
  Speaker B: A robot wants to cut your core A robot wants to cut your robot wants to cut your Robot wants to cut my robot wants to cut your col. Is that cool? Is that cool? She can beat those robots now. Oh, you know, girl life was saved by rock and roll in a row I wants to cut your corn in a row I wants to cut my cord to all. Her life was saved by rock and roll her life was saved by rock and roll she was looking for it she found that she was looking for she would not leave the.
• 18:35
  Speaker C: All right, that was Robot wants to cut your corn, the Air Drifters. And so that single is out, and you said there's what? There was a second single off of that and then a third one that recently came out with video. Is that correct?
• 18:53
  Speaker A: Correct. Yes.
• 18:54
  Speaker C: Is that right? So why don't you tell me about the releases off. Off the upcoming album?
• 19:00
  Speaker A: So, yeah, you know, we just put out Ember Scriptures and Eternal Flames this year, that record. But that was kind of a bunch of songs from last year, so it's not really this year's record, even though it's confusing because it came out this year. So, like, Robot is the first single from Paint the City. And, you know, and that. That name is a bunch of history behind it with the lore. But I guess the second track that came out is this song called Would you'd believe me if I told you'd I didn't need you'd anymore. Which is kind of a long song title maybe, but I kind of into long song titles. So if you really like something, you know, if you like a long song title, then. Is it really long? It's just a song title.
• 19:43
  Speaker C: Right.
• 19:45
  Speaker A: So, yeah, that song is very different. You know, Robot's got, like. You guys just heard it. It's got, like, that uppity groovy thing going on, and it's all about that girl. It's kind of got that Velvet Underground vibe, maybe. Would you believe me if I told you I didn't need you anymore? Is kind of an angular shift. It's very country in a way. It's got, like, a country punk aesthetic. I like to call it that Song is inspired by, like, a Nashville kind of sound. But, like, even though I come from, like, crazy, weird, experimental psychedelic punk stuff, to be into country music is a real stretch. But I found some really interesting stuff in there, I guess that inspired me. So I kind of mixed that soup up, and that's kind of what that song came out of and went through a bunch of things. I don't even know why that song was made, but it was. And that was mixed actually by my neighbor at the time, Justin Rachowski, who's, like, a really good guy. And you guys got to go listen to it. It's just like, he did such a good job with it. And he's in an amazing band, too, called EMP in the Aftermath. Singing drummer, awesome dude, and just does so much for the music community around here. And I was really honored that he was down to work on the song. So, you know that that one was really special track. And again, country punk. Like, what is that? I don't know if that exists. Maybe now it does. So that's fun. And then the song that just came out, the third single. And the covers for these singles are really weird, and they kind of play into, like, this, I guess, story about the record. I kind of do this weird thing with single album covers and trying to, like, tell a story that plays into, like, the final album cover. Because it's like, I like albums. I think albums are, like, a thing, you know, like, and they should have a story that, like, somehow I feel like writing a good album is like writing a book, you know, There tends to be a lot more to it than you get.
• 21:59
  Speaker C: Yeah. You know, each song's a chapter, but.
• 22:01
  Speaker A: Like, something like that, you want to.
• 22:02
  Speaker C: Put just as much focus into the song, but you don't want to forget the. Yeah, the feel of the album.
• 22:07
  Speaker A: Like something else.
• 22:08
  Speaker C: I'm with that. And, like, nothing against singles either.
• 22:12
  Speaker A: Like, no way.
• 22:12
  Speaker C: Like, they're different. Or eps, you know, like an EP could be a collection of things that have nothing to do with each other.
• 22:20
  Speaker A: That's true.
• 22:20
  Speaker C: You could just be like, here's four. Four fucking songs that I didn't release.
• 22:25
  Speaker A: But 100%.
• 22:26
  Speaker C: But like, an album. You're right. Like the sanctity of an album. There's something to it, right? There absolutely is. And, like, the song order and all that, the way it ties in. You're right. It's like a book. It's out of order.
• 22:40
  Speaker A: But the cool thing about a book. And if you ever try and write something like that, I mean, there's a lot of stuff that doesn't get shown. I feel like it's. You have to burn ideas to find good ones. You know, like, I'll write a bunch of stuff and, you know, what ends up on the album is. Just ends up being what ends up getting put out is really what rose to the top of that. But again, especially earlier on, like, I pick things that make no sense next to each other. And even you could say that these singles don't make sense next to each other. Like, if you listen to them, like, sonically or even genre wise, if you try to analyze it, you might. It might not make sense. But to me, somehow there is a story that, like, links it together and I think it can be found. So, yeah. And it's really about the story that you're telling. But I totally agree that, like, there's no rules, like, you don't have to do it, but everyone tells you, like, in music promotion these days, like, oh, you should be putting singles out, show your project is live and everything, you.
• 23:34
  Speaker C: Know, And I mean, that all depends on what your goal is, though. You know, if you have, like a goal where you want to fit into this right thing that'll get you to the next level. That'll get you to the next level. Then, yes, there are things that you. But like, if you're in it more for the arts and the enjoyment. That's the thing about having all these tools that we have.
• 23:57
  Speaker A: Yes.
• 23:57
  Speaker C: Is that you don't have to do all the shit that you don't want to do. You literally do whatever you want.
• 24:03
  Speaker A: Yeah. You know, it's like the balance, like, I. I recommend to people, like, you know, do what makes you feel comfortable and then do what doesn't make you feel comfortable, like, in separate blocks of time, just to test yourself, like, this is exactly what I want to do. And that could be being super visible. It could be being invisible. It's different for everyone.
• 24:25
  Speaker C: And I think you need to be able to know what that is.
• 24:29
  Speaker A: Yes.
• 24:29
  Speaker C: Before you start fucking around with, like, the nuances and everything else. What is your goal? You know, like, what is your goal? Like, I mean, like, for instance, like, I'm in a band and our goal is literally just to, like, play out around here, you know, 10, 12 times a year and write songs and record them. But, like, we don't want to. We don't want to tour.
• 24:53
  Speaker A: Yeah.
• 24:54
  Speaker C: We don't want to go anywhere else. You know, like, we don't want to record label. You know, we don't want to get Signed. We don't want anybody telling us what to do.
• 25:02
  Speaker A: Definitely not that. Right.
• 25:04
  Speaker C: But, like, some younger bands and artists, like, you know, you need to get into that stream of things to get to where you want to go. So, like, once you know where you want to go, then figure out how to get there. A lot of people do the opposite.
• 25:19
  Speaker A: That's very true.
• 25:20
  Speaker C: They're like, how do I get famous?
• 25:22
  Speaker A: It's the option.
• 25:23
  Speaker C: Is that really what you want?
• 25:24
  Speaker A: Yeah. Not fame. It's not being rich. You know, for me, for us, air drifters and vibes, it's like, you know, if we could, you know, be on the road, like, that sounds really interesting. Let's go here. Let's bring our music to people. I want people to hear this music. I mean, a lot of love went into making it, but at the same time, sometimes I like to vanish. I'm not even really a person who loves to talk and do a bunch of things. But then I feel the pressure of, well, if anyone wants, I know the music's important. I don't know why I was even compelled to do this in the first place. So, like, I feel a duty to, like, share it. So then, like, you know. But I also like to vanish for a while. Like, there's no reason to put out a thousand singles and anyone's advice on what is going to be your version of success. Right. It's different for everybody, you know, and it can't even get you.
• 26:16
  Speaker C: You can. In 2025. Like, you can do that. You can, like, in, you know, 2000 or 1995 or back. Like, to get your music out there, you had to do what someone told you to do.
• 26:32
  Speaker A: Right.
• 26:33
  Speaker C: And, like, you had to be at someone's beck and call. You were, like, controlled by someone.
• 26:37
  Speaker A: Right.
• 26:38
  Speaker C: You couldn't just say, I'm a fuck. I'm a fuck off for two months.
• 26:42
  Speaker A: Yeah.
• 26:42
  Speaker C: And, like, I'm not gonna do anything. Will I come back?
• 26:45
  Speaker A: Maybe.
• 26:46
  Speaker C: I don't know. Like. But you couldn't do that because someone's like, no, we need you.
• 26:50
  Speaker A: And, like.
• 26:51
  Speaker C: So for better or for worse.
• 26:52
  Speaker A: Yeah.
• 26:53
  Speaker C: But again, it's figuring that out, and you have that figured out, so I don't know. You do because you've said it out loud.
• 27:00
  Speaker A: Yeah, this is what I want.
• 27:02
  Speaker C: You said, I want to be able to go on the road when I want to.
• 27:05
  Speaker A: Yeah.
• 27:06
  Speaker C: And you want to be able to disappear when you want to. Yeah, like, that's manifesting, I guess. Like, that's.
• 27:12
  Speaker A: That's exactly it. And just being able to create freely. Like, that's so. It's so important because I think the function of art is expression. And when that's being changed, you know, you have to find out what's important, what the essence of it is. Because it's like, I personally really like advice and I like perspective. Like, but I also have this like, vision that's very clear. So those two things can easily get friction. And I think you find over time how to be guided and allow your vision to exist. And like, that is a really cool place. And that's kind of, you know, air drifters. It's kind of like, oh, we're gonna gotta go with this. But this wasn't exactly what we were planning on doing.
• 28:00
  Speaker C: Like, taking advice. Like, that's like the difference between somebody telling you what to do.
• 28:07
  Speaker A: Yes.
• 28:07
  Speaker C: And taking advice.
• 28:08
  Speaker A: Yes.
• 28:09
  Speaker C: You know what I mean?
• 28:10
  Speaker A: That resonates.
• 28:11
  Speaker C: You decide, hey, I like that piece of information. I'm gonna. Yeah, I'm gonna put that in my qu. Move on. But like, when someone's saying do this, whether you're like, you know, you might be like, it doesn't vibe with.
• 28:22
  Speaker A: Yeah. You know, so unless you really respect that person.
• 28:27
  Speaker C: Well, sure.
• 28:28
  Speaker A: You know, because if you disagree, if.
• 28:30
  Speaker C: You know that they have your best interest in mind.
• 28:34
  Speaker A: Yeah.
• 28:34
  Speaker C: I mean, unless it's someone like, you really trust outside of the music world, you're not. You're not going to find that with some suit in a. In a record.
• 28:45
  Speaker A: I don't think so.
• 28:45
  Speaker C: You're not.
• 28:49
  Speaker A: I would agree with that.
• 28:50
  Speaker C: You are not. There are. There are people like that in your life that could.
• 28:56
  Speaker A: It's not the suit, though. Like, suits can be cool, but like, they have to, I think, be like a little ruffled. Like, if there's not like a little weird stain somewhere on that or whatever, I'm suspicious.
• 29:07
  Speaker C: You know, it's like, suits are cool.
• 29:09
  Speaker A: How long have you had.
• 29:14
  Speaker C: Like a little cigarette.
• 29:15
  Speaker A: Cigarette burn, like a little. A little fray somewhere? It's like, okay, that thing's seen some action. Like that could be cool.
• 29:21
  Speaker C: Could be. Could be cool.
• 29:22
  Speaker A: But like, for.
• 29:23
  Speaker C: For the most part, yeah.
• 29:25
  Speaker A: Yeah.
• 29:26
  Speaker C: But again, having that freedom to be. Like, I'm gonna figure out. But you know, most people don't even get to the point where they can say, hey, this is what I want.
• 29:35
  Speaker A: Yeah.
• 29:36
  Speaker C: You know, and especially like in a band, especially taking however, you know, start with like a basic band of like three to five people.
• 29:46
  Speaker A: Yeah.
• 29:46
  Speaker C: It's three to five people that have to decide exactly what they want. And exactly what they want has to match up with everybody else.
• 29:56
  Speaker A: Yes.
• 29:56
  Speaker C: Because if you're in a band and you want to tour all the time and somebody else is like, let's just tour a couple months out of the year and then take a rest. Yeah, right there. Friction. And like, it's wild.
• 30:09
  Speaker A: Like, it's challenging.
• 30:10
  Speaker C: So people don't understand how hard it is to be in a band on the road.
• 30:14
  Speaker A: It's so true. It's so true. And, you know, ultimately, I think if you. If you look at it from the perspective of how do we have a shared vision, being on the same page about it, talking about it early and often, you know, that's really key. And then there's also the fact of, like, if you just feel like, really inspired to do something, I would just tell anyone. It's like, just do it. Because, you know, even if you don't know exactly where it's gonna go and you don't have the most crystal clear vision, like, we're all part of some tapestry, and it's like, you don't know where it's gonna go.
• 30:50
  Speaker C: Don't worry about, like, the. The level at which you're coming out with, like, don't worry about being a pro right out of the gate 100. Because, like, you have to, like, you have to go through the steps. You know what I mean? And if you're like, I've never been in a band before, but I want to. And you go through the steps at home of learning to play the guitar and learning to sing and learning to write, and then you go out and you play a show and you're like, oh, my God, that was awful.
• 31:19
  Speaker A: I quit so bad.
• 31:20
  Speaker C: Like, can you imagine?
• 31:21
  Speaker A: A bunch of people are just like, that was the worst thing I've ever hear.
• 31:25
  Speaker C: No, no, no, you're gonna suck.
• 31:28
  Speaker A: Yeah, that's great.
• 31:29
  Speaker C: Have to play those games.
• 31:31
  Speaker A: Yeah.
• 31:31
  Speaker C: Like, that was terrible. But it's hard to use that to be like, that was terrible. So here's what I'm gonna do different.
• 31:38
  Speaker A: The pain.
• 31:39
  Speaker C: And then you go out and you're like, that was terrible. But it was a little less terrible a little bit. And then after like 10 gigs, you're like, I'm in my stride. By the time you hit 20 or 30 gigs, right. Which, you know, could be a year. Yeah, this could all happen in the short of span of a year. Yeah, you could be road ready. You can be like, yeah, I sucked a year ago. And I just, you know, that's.
• 32:02
  Speaker A: That's an impressive time span. I would say it's like, you know, if. If you. If you really love, you gotta love it. You gotta love it. Because that's. That's what I'm saying. It's like, if you. No matter. You're gonna get every kind of feedback. And the worst feedback is very painful to get. And, like, it may or may not even be true. And it may just be their perspective or that could be very, you know, a unanimous perspective or whatever. But, like, the pain you feel from that, you can either let it destroy you or you can kind of turn it into, like, a little bit of a light that you can, you know, shine it and it changes you. And it kind of makes you maybe a little bit more humble to be. You know, because really, I think if someone tells you you suck, it only really hurts if you think you're something great. If you think you're all that in the first place. And you kind of have to believe in yourself and think that you're awesome. But, like, you kind of have to know where you're coming from, you know, for that to, like, not be too intense.
• 33:07
  Speaker C: But I think you do need to be able to take the hits 100%. And whether you're great and whether the person is telling you that you suck knows nothing about. You have to be. And I mean, even, like, at my age, you know, I'm. I'll be 52 in the spring, and, like, I've been in broadcasting since I was a teenager. And, like, even now, like, sometimes I'll get criticism of something that I'll put out and it'll fucking hurt.
• 33:35
  Speaker A: It does. Especially when you love it. Right? Like, especially when you, like, even if.
• 33:40
  Speaker C: It'S just like a friendly little jab or a. Whatever, be like, man, that stings, you know, like, so I get it. Like, as an artist, when you're putting your out there, the smallest little jabs are gonna sting. You're like, that's my. You know, you're exposing everything.
• 33:57
  Speaker A: Yeah.
• 33:57
  Speaker C: But, you know, you have to take it. And that's why not everybody is a professional musician.
• 34:05
  Speaker A: Yeah.
• 34:05
  Speaker C: Because it's. It's a lot. It's a lot on your soul.
• 34:09
  Speaker A: It really is. But, you know, if you love it and it's not about thinking that you're better. Cause if you. I think when you think you're really better, that's a different.
• 34:19
  Speaker C: It's detrimental.
• 34:20
  Speaker A: It's a different frequency than.
• 34:22
  Speaker C: You have no goals. There's no goals. Cause you feel like you're already there.
• 34:26
  Speaker A: Yeah. But if you love it, then you're like, Always trying to get better. And I never really feel like you're gonna be at a place where, like, oh, I'm as good as I could possibly be.
• 34:35
  Speaker C: And you can always get better a little bit.
• 34:37
  Speaker A: Yeah.
• 34:38
  Speaker C: Because to do something, you have to have that repetition.
• 34:42
  Speaker A: Yeah.
• 34:42
  Speaker C: And like, even just, like, with a song, like, think about. Like, think about writing a song on just an acoustic guitar.
• 34:49
  Speaker A: Right.
• 34:49
  Speaker C: And you're like, this song is just going to be an acoustic guitar song, nothing else.
• 34:53
  Speaker A: Sometimes. Yeah.
• 34:53
  Speaker C: Just an acoustic guitar song. And then think of, like, how much, like, you put into that.
• 34:59
  Speaker A: Yeah.
• 34:59
  Speaker C: You know, like, you put so much into it, and. And I don't know.
• 35:04
  Speaker A: Yeah, well, that's. Like, a lot of songs start that way. Just.
• 35:07
  Speaker C: Yeah.
• 35:07
  Speaker A: An acoustic guitar. And then you can see. You know, you could throw the acoustic guitar out by the time it's done, but, like. But that's kind of what I'm saying about that unwritten thing in the book. Like, you don't always see the first draft and, like, it might even be a different instrument that it ends up on or whatever, you know? But.
• 35:24
  Speaker C: But by the time people hear it.
• 35:26
  Speaker A: Yeah.
• 35:26
  Speaker C: You're fucking sick of it.
• 35:28
  Speaker A: Yeah.
• 35:29
  Speaker C: Like, for the most part, like. Because when you're presenting a song, like I said, even if it is just a. A simple acoustic song, by the time it's done, you're like, this song is done. How many times have you played it to nobody but yourself?
• 35:42
  Speaker A: Yeah.
• 35:43
  Speaker C: I mean, if you play it over and over and, like, other people are hearing it for the very first time, and your ear is going to be a little more critical on it because you're like, this is like the 600th time that I've heard this song.
• 35:55
  Speaker A: It's like. But I think if you really love it, you still. Sometimes you have to take a break. But that's why it's so important. You gotta be like, I feel like if you're doing the. That's why it's so important. Do the music you love to do.
• 36:07
  Speaker C: Right.
• 36:08
  Speaker A: Sing the words you love to sing. You know, make sure that you love it. Because if you do. If someone. If something does happen and someone's like, we want you to play this 500 times in a row. Like, you want to be able to enjoy that and love it, you know? And even though. But, like, I think I agree with your point. Ultimately, it's like, you know, it's like going to the gym for me, I'm not a big gym guy. Like, I'll go to the gym and smoke a cigarette in Front or something. Like people who go to the gym. Maybe you go to the gym and it feels like the gym today, like it's your thing, right? It's like, I got to go left or, you know, like, I'll do some pull ups and whatever, but I like using my body as a weight. But it's like, you know, it's that feeling, you know, it's like, okay, well, I'm gonna write a song a day every day this month, and that's gonna be my practice. And sometimes it wakes up and it feels you wait. I wake up and I'm like, oh, fuck, I don't want to do that, right? But, like, this is what it's about. Like, I'm gonna. I'm gonna do it anyway. I still love it. You kind of have to get past. There's always gonna be working past, because work is work, you know? And people look at like, oh, being a musician, that's not a fucking job, man. It's like, let me tell you something. There's a lot to go through that's very painful and, like, serious. Sometimes you're lifting weights in your mind, like, and doing things that are heavy because work is force times distance. But thoughts have weight and they have to move places too. So, you know, so, you know, like. But going back to the acoustic guitar thing, right? Like, would you believe me if I told you I didn't need you anymore? Very good. Very acoustic forward song. And the acoustic really stayed front and center. But this third single, which is called Everyday Places is started that way. Well, actually, I don't know. It's kind of a rocker. I think the first time I played the riff was on electric guitar because it's kind of a rocker tune. But it really, it really. Robot though, was definitely written on acoustic guitar. It was written on acoustic guitar. Like, outside hilarious day with my buddies. And my buddy was just like, ripping this, like, cr. Great guitar player, going nuts on the guitar, just playing, like, stuff that I couldn't even dream of playing. Like, I was like. Because I'm not really, like a great guitar player in a way, you know. Like, I don't really view myself as like this like, virtuoso guitar player. And I have so many friends that can, like, you know, get every position on the neck. And I'm like, watching and I'm like. And, you know, he's like, oh, I just wrote this. And I was like, okay, man. Well, I can write a song, you know, right here too. You know, I grabbed the guitar and I just played this like the most basic kind of dumb riff. And that's why I kind of wrote it off for so many years because it was such a bullshit riff. But then again, you know, when someone, like, in my band was like, this is so fun to play and we really like it, I was like, well, you know, let's make it into something so, you know, you just never know how an idea can, like, change a time or, like, when its time is, you know, or when it comes to frisching.
• 39:12
  Speaker C: Right. Is that the song that we're gonna hear next?
• 39:15
  Speaker A: Next song is Everyday Places. So this one is a really special track. Did a great music video for it, which we shot with, like, some old school kind of camcorders and stuff. Getting into analog gear. I really like analog stuff. I mean, in this world of, like, electronic music, I feel like it's a rebellion to so much popular music. And live performances have gone to be like, basically like someone just, like, pressing play in a computer. And for me, it's like, I really love, love electronica. Love it. We use drum machines and cool, you know, synthesizers with, like, sequences and different parts and stuff like that. There's, like, nothing against it. And I have a lot of great friends that are awesome DJs, producers, and, you know, super love that I'm not, you know, throwing shade on it. But for us, we like that human feel and, like, you know, able to improvise and stuff. So I guess. Yeah. So everyday Places, though, I don't know where I was going with the whole. I don't know what, why. I guess that's kind of the robot wants to cut your corn. It's like, oh, you know, watch out. But it's like, I guess you could interpret that many ways, you know. Also, it might want to help you because the corn is a very important crop, actually. So with Everyday Places, this is a song that is, like totally rock and roll. It's got some cool drum machine bits in it, but it kind of goes into this emotion of just like trying everything you can do to make the world around you better. But, like, the struggles that come along with that and the obstacles that get put in your way. And it's got this really fun, like, look in my eyes line, which people love, which kind of plays into the upper record and some of, like, the album covers and stuff like that. So, yeah, this one is pretty much just our rocker tune. We kind of got like the bouncy one and then the serious kind of somber, but then punk, like, really emotional one. And this is kind of like A nice rock team.
• 41:16
  Speaker C: All right, let's check out Everyday Places, Air Drifters. We'll be right back to wrap it up.
• 41:24
  Speaker B: I want to make the world a better place. The job keeps getting harder every day. People putting obstacles in the way. We persevere with the digging. It is hanging in the moment to uncover good things. And a soccer what we got some details to realize. Love the way you look in my eyes?
• 41:52
  Speaker A: Look in my eyes?
• 41:54
  Speaker B: Look in my eyes? Look in my eyes? You only get so many shots. You only get so many shots day get your lady close Take off our clothes with the this is what we do. So let's make it go all night. Get that.
• 44:49
  Speaker C: All right, that was Everyday places, the air Drifters. And Max, I want to thank you so much for taking time out of your day to come up here and do this with me. Really appreciate it. And before you go, Max Lee.
• 45:02
  Speaker A: That's me.
• 45:02
  Speaker C: Max Lee. That is you. But before you go, like I do with all my guests, I just want to give you a chance to say what I refer to as your gratitude. So microphone is all yours.
• 45:12
  Speaker A: Wow. I feel like this is always the hardest part because the list is so infinitely long, but I'll start it off with you, Andy. Andy Scullin the Man. Thanks for having me at unsigned 518. This is so cool. I'm, like, way out of my element here. This is not what I always do is doing this kind of thing, but this has been a supernatural, amazing chat, and I feel super comfortable. This place is called the Dazzle Den.
• 45:39
  Speaker C: Nice.
• 45:40
  Speaker A: Full of cool lights and vibes and ideas. So I love what you do, and I'm grateful for it because, you know, a lot of my friends love what you do, too. And, yeah, I'm gonna thank my mom because I love my mom. And I'll come back to that. My dad, sometimes he gets a thank you, but, you know, yeah. And my band members, everyone has been a part of this project, you know, I mean, wow. It's. It's just like, this is such a big dream, and it's so tough to come to grips with, like, all the things in reality that, like, try to make the things you dream of harder to do. And every single person who's taken even just a shred of time, even if you just, like, have liked a post or you showed the song to your friend or, like, whatever it might be, you know, it just. I can't speak enough, you know, invite us to play. You know, I got my friends who run up our open mic that we go to at the Dale, like Faith, Kelly Kazan, Moon, you know, frickin Tony. He's been playing drums with us for like over a year. You know, I've got my buddy Ryan to thank. I got, you know, fricking Ronnie, I got Alex, Dan, and you know who else, I guess I got Greg to thank. I've got Jim and wow, it just keeps on going. Aj I said a bunch of people's names twice, but that's totally fine. And you know, I'm just. Yeah, I'm grateful to the universe too. Just the opportunity to be able to do any of this stuff, the opportunity to wake up in the morning is a gift. And I view that as a gift. So I'm just grateful to, you know, be here and be able to do this. And sometimes I don't even know why the hell I do this or how I even got started with it, but that's all I can do, really. So at this point, and, you know, I'm so grateful and again, to my mom, because she's amazing.
• 48:04
  Speaker C: Well, he is Max Lee of the Air Drifters. I am Andy scullin. This is unsigned 518. I'll see you on the road. Unsigned 518 is produced and hosted by me, Andy Scullin. New episodes are available every week wherever you stream podcasts. If you'd like to help support the show, please like and subscribe wherever you are listening. Or you could buy me a coffee@buymeacoffee.com unsigned 518 if you would like to advertise on the show, send me an email@unsigned518mail.com and to be a guest on the show, reach out to me through Instagram. Signed 518 take care of one another and I'll see you next week.