Latest / Ghost Cult Magazine Podcast / PODCAST: Episode 797 - Marissa Nadler Chats with Don de Leaumont About "New Radiations"

Transcript

PODCAST: Episode 797 - Marissa Nadler Chats with Don de Leaumont About "New Radiations" · Ghost Cult Magazine Podcast

• 0:00
  Being able in a live setting to be free to play the songs
• 0:05
  differently every night. When you play with a bassist and
• 0:08
  a drummer, you're kind of tethered to the grid.
• 0:12
  And I, as a guitar player, really like the ability to
• 0:16
  improvise more. And so I just also, it's a
• 0:19
  reflection of where I've been in my life.
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  I think your world gets smaller and I just, it felt like a good
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  time after the Path of the Clouds to do kind of the
• 0:30
  opposite. Hey everyone, this is Don from
• 0:39
  Ghost Cult magazine. For over 2 decades now, Marissa
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  Nadler has been gifting the world with her dark, melancholy,
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  rootsy folk sounds. Marissa is releasing her 11th
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  studio album, New Radiations on August 15th via Sacred Bones
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  Records and it's my pleasure to be talking with her today.
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  So, Marissa, thank you so much for taking the time to talk
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  today. Oh, it's my pleasure.
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  It's great to see you. Did I sound like Uber
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  professional? Yes, very.
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  It's interesting that you said 11th record.
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  It's it's hard to say if it's my 10th or 11th.
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  It depends if you count the sister as a record or not
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  because it's like AP kind of. That's interesting because you
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  know what I was debating that when when I was, I could see
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  that I was, I was, I was count, I was like 123 and I was like,
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  OK, would that one be considered?
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  And so I considered it an album. I was.
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  So I hope I didn't overstep my badge.
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  I mean I. I think it really is more of an
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  album than an EP, but it was shorter than an album, you know?
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  It's such a great one though. Like I I, I feel like.
• 1:44
  Ball Company. That's my favorite song.
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  You knew that, But yeah, I found myself revisiting a lot of your
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  catalog every, you know, that, you know, throughout the, you
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  know, times. And so and from from the very
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  beginning, even up to new radiations is that I feel like
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  there is a while some of them can sound similar.
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  And what I mean by similar is that in aesthetic wise, right?
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  Is that. But there also seems to be each
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  one carries a mood of sorts. And so it's like I never feel
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  like I can just put on a Marissa Nadler album to just live like,
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  like, if I'm in a certain mood, I'm going to go, OK, this is,
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  you know, a balance of living and dying out night for me or
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  this is a a July night or whatever.
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  Do you ever feel that way when you're putting these songs
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  together? Like, do you kind of go into it
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  thinking like, OK, there is a mood here that I'm trying to,
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  you know, convey? I don't really think of it of it
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  that analytically. I'll, I will kind of just follow
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  the path of where, where the songs lead and, and it's a
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  pretty organic process for me. And that, you know, when you
• 2:58
  make all the when you write us a big chunk of songs at the same
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  time, they're innately going to have something in common
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  sonically, because that's where you are in that moment.
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  And if you record them in the same place, it the room has its
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  sound. And I will identify these moods
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  kind of after the records done, like what color the record is or
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  whatever. I love that you use the word
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  color to describe, you know, your albums and that even as
• 3:33
  long as we've known each other, I've never thought about like
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  describing an album or songs as a color.
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  So like, to me, July was like, you're very kind of like your
• 3:44
  fall color, you know, and like I felt like, you know, for my
• 3:48
  crimes was very kind of a winter color for I mean, I'm just, you
• 3:52
  know what? I'm kind of going at this one,
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  this new one seems to kind of be a little more unpredictable.
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  Like, I almost feel like in some ways it's almost kind of like an
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  inside album for me, you know? Like it feels very like
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  something I don't want to share, if that makes sense.
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  Like it feels. Very intimate, Yeah.
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  It's a really intimate personal record.
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  And because it's stripped down sonically or a little bit more
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  than the last one, it's, yeah, it feels like you're in the
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  room. I feel like I've heard a lot of
• 4:24
  people talk about their, what they want out of you.
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  Like I've heard people say like, oh, I like her better with a
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  band or oh, I like her much better when she's solo.
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  And then I actually heard somebody say, I wish she would
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  do 2 sets, like an acoustic set and a band set, you know, like,
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  yeah. So, So what was it that made you
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  kind of go back to this? Because this is very similar to
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  the kind of sparse, you know, the sparse presentation of like
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  July and For My Crimes. There was a lot of reasons I
• 4:56
  missed being able, in a live setting to be free to play the
• 5:01
  songs differently every night. When you play with a bassist and
• 5:06
  a drummer, you're kind of tethered to the grid.
• 5:09
  And I as a guitar player, I really like the American
• 5:13
  primitive roots, no like style where these songs are kind of
• 5:19
  will be amorphous or just I like the ability to improvise more.
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  And so I just also, it's a reflection of where I've been in
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  my life. I think your world gets smaller
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  and I just, it felt like a good time after the Path of the
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  Clouds to do kind of the opposite.
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  I feel like it would have been so much easier in some ways, or
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  even predictable to be like, OK, I'm coming out with a full band
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  record now. But because I feel like that's
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  such a natural way for a lot of artists, it's like I feel like
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  they almost kind of progress towards that.
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  But I love that you kind of progressed from those two albums
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  and then you kind of took it back.
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  So it kind of almost felt like to me that you felt like you
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  said, more comfortable being in this more of a intimate, you
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  know, kind of secluded sound as opposed to there's seven people
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  in this song or like, that's like now there's two, you know,
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  and I love that. Sometimes some of my favorite
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  records of all time are really sparse records.
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  The ones I really connect to are the intimate ones.
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  And I do agree a lot of artists will get slicker as they
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  progress. And the production can get
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  slicker and harder to connect with.
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  I like a slick production for certain things, but for my kind
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  of music, it's nice to hear the string buzzes and the intimate
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  intimacy. Oh, see, I love that too because
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  it was like, you know, even going back to, I don't know,
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  David Crosby, Neil Young, you know, you know, even Kevin Kenny
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  from driving and crying, who are all like my favorite singer
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  songwriters. I've always preferred to hear
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  them in in a much less controlled environment, you
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  know, where they could be a little more free.
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  And being a musician myself, like, I also find it's kind of
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  surprising when I hear especially Someone Like You who
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  has a little more comfort in being solo on stage because it's
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  such a vulnerable state to be, you know?
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  And like, that vulnerability sometimes is scary, but I feel
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  like it can sometimes push us, make us a little stronger than
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  feeling like we have like, I don't know, like bodyguards on
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  stage of sorts, like as a band. Yeah, I feel like, you know, I
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  won't. I don't know what kind of record
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  I'll put out next, but it felt just like the right time to do
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  this one. Would it be like a thrash record
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  or anything? Or like no just.
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  Kidding, I like to keep things different and you know, I do
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  live in Nashville, so maybe I'll employ some of those.
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  There's so many great musicians here, but I don't want to do is
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  I don't know yet. We'll see.
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  We'll see how I feel after the grueling tour schedule ahead of
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  me, you know? Oh gosh, the US and Canadian
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  tour is like 3 or 4 months. Wow.
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  It's like a different, it's like 3 months on and off so I gotta
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  start like lifting weights and getting ready.
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  Start getting used to, you know, like build your tolerance up for
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  like candy and junk food on the road, you know, and.
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  Well, perhaps that that I've also building my tolerance up to
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  like lift amps again, but we're looking into the lunchbox amps.
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  Maybe like it's just with that many shows the load in and load
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  out is, you know, it can take its toll.
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  So I've been looking at those modelers and things, but they're
• 8:43
  we'll see and try to. It's hard to eat healthy on the
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  road, but I try. I miss cooking when I'm on the
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  road though. You do love to cook.
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  Yeah, I'm a really good cook. You are.
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  So. I've yet to find out, but maybe
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  next time I'm in Nashville, you know?
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  Yeah, I'll bring the ingredients.
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  You can show me how to cook something.
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  OK, so actually you're talking about the tour?
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  Actually, yeah, can. We talk about your fan again.
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  Can we talk about your fan collection?
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  Well, I just have two. It's because I put the overhead
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  fan off to do the interview so that there isn't a sound.
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  But it's Nashville, you know, it's 100° like every day for six
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  months of the year. And it's, I don't, it's part of
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  the reason the record is so insular.
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  I don't go outside, you know, at very, I mean, you can't really
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  go out too much in this weather. Oh, it sucks because actually,
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  you know, because you're originally from Boston, right?
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  Yeah. And so like, how did how did a
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  Boston kid like now you've been in, you know, the Southeast for
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  a few years now, right? Like have you gotten acclimated
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  at all to this heat or you're like, this just sucks?
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  I'm not a fan of the heat. No, it's, it's almost comical in
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  a way. Like, you will go walk outside
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  and my glasses will just completely fog up and it's
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  oppressive. And you know, the seasonal
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  affective disorder happens in the summer too.
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  Like I feel it more in the summer than the winter.
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  That's interesting because I just had this conversation with
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  my therapist not too long ago where she was just like, you
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  know, you know, you know, how are you holding up for the
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  summer? Because she knows I, I have the
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  polar opposite. Like in the fall and winter
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  months is when I feel more like alive and inspired and like
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  throughout the summer though, and spent, like it's like you
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  said, I think oppressive is like the best word.
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  But with that kind of being said, do you find yourself ever
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  being in like kind of finding that the climate, environment,
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  the weather, whatever plays an influence at all into your
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  writing? Yeah, I talk about weather a lot
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  in my lyrics and I and setting and new.
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  Growing up in New England definitely influenced my visual
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  and lyrical aesthetics. Just those, the starkness and
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  bleakness of the winters and just.
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  And here there's different kinds of beauty, like the crickets and
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  the rolling hills and all the flowers.
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  It's all different. But yeah, I try to have an open
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  portal into the universe when I'm writing lyrics, I try to
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  write them like short stories or vignettes.
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  So in the past, you know, if you've talked about this, not
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  just with me, but in general, is that you have like a series of
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  techniques and things that you like to approach writing with.
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  So with this one, like what was your technique or did you kind
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  of mirror? Did you kind of have like a
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  hodgepodge of techniques that you used for this album?
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  I had more of a hodgepodge, I guess, because I think I've told
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  you the strangers. I did almost entirely on the cut
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  up method, which I mean, I used it as a jumping off point and
• 12:00
  then continued to analyze and interrogate the language until
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  it arrived at something. This one I've really a lot of
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  the songs are very first personal, first person
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  confessional, like if it's an if it's an illusion, sad satellite.
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  They're they're even bad dreams summertime.
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  It's not hard to figure out what they're really about.
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  But I was reading a lot of a lot of outer space imagery on this
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  record. And because I teach painting at
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  night when I'm not on tour to adults, since I have a lot of
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  books with like reference books with pictures, and I'll just
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  read while they're on my desk, I'll sometimes get sucked in and
• 12:48
  read the stories of astronauts. And, you know, keeping that open
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  portal, you just kind of accidentally arrive on
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  interesting writing techniques. Like the record starts with it
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  hits harder. And it's I'm up in the air in a
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  airplane, in a Cessna. It's not really about an
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  aviator. It's not a song about an
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  aviator. It's a song about detachment,
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  looking down and well, all sorts of stuff.
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  But there's all sorts of ways into a song or a story.
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  And I love that because, you know, one of the things I love
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  that you pinpointed is something that, like myself as a writer, I
• 13:25
  feel like sometimes I have to watch out for this, is that
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  they'll be like a subject or something that I find myself
• 13:30
  completely obsessive about. Like my ADD will kick in.
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  Like I'll watch Ancient Aliens for like 3 months straight like
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  every night and then all of a sudden I feel like that's kind
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  of where my psyche is. So when you kind of like you
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  said, like you find these little things, is it hard for you to
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  kind of compartmentalize those things so that you're not honing
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  in on just one thing that your brain might be or that you might
• 13:54
  be super excited and obsessed about?
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  But knowing like I can't write 10 songs about aliens like you
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  know? Yeah, you got to kind of
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  separate the the subjects and sometimes there's more Song can
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  be about all sorts of things, but.
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  So I know you also say you like to disconnect from music,
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  listening to music in general, like when you're working on an
• 14:17
  album so that it doesn't influence you in a certain way.
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  Is there a specific amount of time for you that takes the kind
• 14:23
  of like detox of sorts? You know what I mean?
• 14:24
  Like to where like, OK, I need to stop listening to some music
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  now. But like, how long do you have
• 14:29
  to give yourself before you feel like you can go in with a clear
• 14:31
  head? I.
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  Think as soon as I'm done recording.
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  I mean, it's not that I don't listen to music when I'm
• 14:36
  writing, but I won't listen to like songwriter like people that
• 14:43
  are in the same vein as me just because we're people are just
• 14:48
  innately spongy. I'll listen to I'll still listen
• 14:52
  to my favorites and things, but as soon as I'm done recording,
• 14:56
  it's all game again. And I still listen to music all
• 14:59
  the time. But I just I'm a cognizant that
• 15:03
  in my early years, like everybody's early years, some of
• 15:06
  their first, some of my first records, like I, I remember who
• 15:11
  influenced what. Like I met Josephine Foster
• 15:16
  right before my second record and she was a classically
• 15:21
  trained opera singer. So I was on tour with her super
• 15:25
  young. And it just these you get
• 15:28
  absorb, you absorb the certain warbles and affectations of
• 15:33
  youth and which so that record does a lot of vibrato on it,
• 15:38
  which I don't really use anymore.
• 15:41
  Not too much, not like in that way.
• 15:43
  So that's interesting you brought that up because you've
• 15:46
  toured with like a pretty extensive, like a broad genre of
• 15:51
  artists. Like, you know, you've toured
• 15:53
  with her, you've shared the stage with David Byrne before,
• 15:57
  but you've also like toured with Ghost and Pallbearer and Earth
• 16:01
  and all these bands. Like those are significantly
• 16:03
  different audiences than what you would play to.
• 16:07
  Like, how did you go into that? Like, were you uncomfortable or
• 16:10
  like and how did they react to you in those situations?
• 16:14
  Well, the David Byrne thing was just a one, one time amazing
• 16:18
  thing. I, I say yes to a lot of side
• 16:21
  projects. I've done so many of them over
• 16:24
  the past two decades. And my friend Brian Carpenter
• 16:27
  from Ghost Train Orchestra, I know him from being a radio DJ
• 16:32
  based at BC College in Boston. I didn't know he was like, also
• 16:38
  known as Mr. New York and knew all these people.
• 16:41
  I just knew him as going on his radio show.
• 16:44
  And one day he wrote me and said, did you want to sing
• 16:47
  vocals on this collaboration with the Chronos Quartet?
• 16:51
  We're doing Moon Dog songs. And I said sure.
• 16:57
  And then when we did, it was very cool.
• 16:59
  And then when we went into the studio, it was actually my first
• 17:03
  time getting this sing with a live quartet.
• 17:06
  Fancy. I was super nervous because
• 17:08
  they're all trained musicians and I'm self-taught and you
• 17:13
  know, but it went really well. And then David Byrne thing was
• 17:16
  super cool and surreal. The Ghost tour was like probably
• 17:21
  one of the more memorable weird opening acts because I remember
• 17:25
  when they announced it, people were like, she's not metal.
• 17:30
  And I don't really think Ghost is very metal at all.
• 17:34
  I mean, but the, and so there was a lot of comments on the
• 17:38
  Internet and then I was really nervous because the crowds were
• 17:42
  huge and my sound is not huge. We had Milky with me and Milky
• 17:49
  Burgess and we that whole tour, like late at night followed the
• 17:54
  bus kind of thing. It was grueling.
• 17:58
  I ruptured 2 discs in my back on that tour.
• 18:01
  So but the but you know, you know, I learned that was like
• 18:06
  the tour I got over my stage fright.
• 18:09
  But once and for all for good because it's those sink and swim
• 18:12
  moments. Am I going to shrivel up and
• 18:15
  melt on stage in front of all these people, or am I going to
• 18:18
  rise to the occasion? We put some drum beats down.
• 18:22
  I did my Black Sabbath cover of Solitude.
• 18:25
  It was cool. I like the early years as I got
• 18:28
  to tour with Earth and stuff because we shared a booking
• 18:31
  agent, Angela Means, and I got really lucky.
• 18:35
  My very first tour was with Jack Rose, the late, great, primitive
• 18:39
  guitar player. I don't know.
• 18:41
  I don't really like that word, actually.
• 18:43
  His work was nothing, nothing. It was very complex.
• 18:47
  And so, yeah, it's been fun. I feel like that that is
• 18:51
  something 'cause I know ghosts. I guess it was a Papa was a fan
• 18:54
  of yours and was that like, is that how it happened?
• 18:58
  And basically was just like, hey, hop on our tour on.
• 19:01
  The radio in a record store in Sweden and wrote my name down
• 19:06
  and put it in his pocket. And I back in the day when I had
• 19:11
  a manager like this, he just reached out to him and I said I
• 19:17
  actually was my. I had my elbow twisted into
• 19:21
  doing or whatever the expression is.
• 19:23
  Yeah. Yeah.
• 19:26
  But some of those ghost fans were among my favorite kids.
• 19:30
  You know, I really identify more with the weirdos and the dots
• 19:34
  and metal heads. I mean, that's I'm not an indie
• 19:38
  rocker rocker at all. And.
• 19:42
  And so I've had shows opening up for bands like The National and
• 19:47
  my music didn't go over as well as opening up for Ghosts, which
• 19:50
  is weird. You'd think it would because
• 19:52
  it's stripped down. But I don't think that the indie
• 19:56
  rock world is really embraced me, which is fine, you know?
• 20:03
  But I love that because you know, in a sense that you were
• 20:06
  talking about like the indie rock you're you know, you say
• 20:09
  you more identify more with like the goth and the, you know,
• 20:12
  metal kids or whatever, the kind of the outcast dorks of sorts.
• 20:16
  You know, like those are the people that I you know, because
• 20:20
  because I was that. And so as a singer-songwriter,
• 20:24
  it's like I almost look forward to more so playing to those
• 20:28
  kinds of people than I did say like the sit down folk audience.
• 20:33
  Because I feel like those audiences tend to be a little
• 20:36
  more closed and tight. Whereas like I feel like
• 20:39
  generally, even just in my experience of being a fan of
• 20:43
  heavy music, some of the most open minded and accepting people
• 20:47
  have been metal heads and people who are into that kind of music.
• 20:51
  So it had to be kind of really welcoming in a sense to you.
• 20:54
  But like, scary. I'm sure that's at the
• 20:55
  beginning. Yeah, I got heckled a lot on
• 20:57
  that Ghost tour. I had to put in ears in for my
• 21:00
  for the first time to block it out, like because yeah, it was
• 21:04
  tough, but it ended up going well.
• 21:06
  And I still have people write me that were like, I got into your
• 21:09
  music through Ghost. It's like when I did that record
• 21:13
  with Zaster in O6. I still have this huge black
• 21:18
  metal fan base because of that record.
• 21:20
  Weirdly, that's one of the weirdest side projects I've
• 21:24
  done. But yeah.
• 21:25
  That was the cool project though.
• 21:27
  That was like, that was like super interesting.
• 21:29
  I never like I was like it. It oddly worked though, which
• 21:33
  was crazy. We did it in person too.
• 21:35
  I was living in Los Angeles briefly and he was in Alhambra.
• 21:39
  And I like, went over. It was just a yeah, it's wild.
• 21:43
  So. In the past, you've covered
• 21:45
  songs like, You know, like Metallica's Nothing Else Matters
• 21:49
  and Solitude by Sabbath. Even played one of my favorite
• 21:53
  King Crimson songs which is Moon Child's.
• 21:55
  Oh yeah, the moon child ones. Really.
• 21:57
  Yeah, it's incredible. Like I've actually heard, like I
• 22:00
  shared it with King Crimson people that I, that I know are
• 22:02
  friends and they were just like, that's the best King Crimson
• 22:05
  cover I've heard. Because it was.
• 22:07
  Yeah. They.
• 22:08
  Love it. How Milky that He did a great
• 22:09
  job on the instrumentation on that one.
• 22:13
  Oh, you totally should, because like I I even shared it on the
• 22:16
  King Crimson subreddit like a year or so ago and people were.
• 22:19
  Like. That was I know I'm.
• 22:21
  Like. I'm like, I'm like I was on the
• 22:23
  subreddit and I share your. No, I got to get into redditing,
• 22:28
  it looks fun. It's better than Facebooking,
• 22:31
  but that's a whole nother story. Also, would that be so with the
• 22:35
  covers that you did like and you're kind of more formative
• 22:39
  teen years? I guess like was, was that kind
• 22:41
  of music kind of part of your process or like what was the
• 22:45
  music that got a younger Marissa through?
• 22:49
  High school or whatever, I was really into music from a young
• 22:52
  age, but I really loved grunge music because I grew up in that
• 22:57
  era and I liked riot girl music. I I was really kind of punky,
• 23:04
  but then I got into Leonard Cohen through Nirvana, like a
• 23:08
  lot of people through Penny Royalty.
• 23:10
  Because I would back then you would just pour over the liner
• 23:14
  notes and because there was no Internet and I was like, who's
• 23:19
  Leonard Cohen? That's how I got into him.
• 23:21
  I got into Nina Simone through the point of no return movie
• 23:25
  like which I still love that movie, but I was into whatever I
• 23:31
  got into. My brother was in a jam band in
• 23:35
  high school. I was into got into Blues and
• 23:40
  like Blues singers, jazz singers and had my first heartbreak.
• 23:46
  This guy really messed me up, but he did get me in a Black
• 23:51
  Sabbath and Mazzy *2 bands. That really changed my view of
• 23:58
  music. I really fell in love with both
• 24:00
  of those cassettes. Yeah.
• 24:04
  So it's so funny that you mentioned that, because I think
• 24:07
  that that is probably one of the best descriptions for me when I
• 24:11
  think of a perfect musician, like of our genre, you know, our
• 24:15
  style playing is that somewhere between Mazzy Star and Black
• 24:18
  Sabbath. I think that is like a perfect
• 24:21
  bookend, you know, of just that describes you and what you play
• 24:26
  because in my opinion, that just broadens the spectrum that you
• 24:30
  can work in as opposed to like, oh, I'm just a folk singer or
• 24:34
  I'm, I'm a goth singer. But like you've got this larger
• 24:38
  space to work within. So like, do you feel some
• 24:41
  comfort in that? Or do you sometimes wish like,
• 24:44
  OK, maybe I I wish I didn't have so much space to work with that
• 24:47
  it would be easier to work in a smaller space?
• 24:50
  No, I think it's nice to be in between genres because then I
• 24:54
  couldn't. I could pull out next record
• 24:58
  with a totally dry vocal and make an Americana record, or I
• 25:01
  could make a metal record. And I like the freedom of I
• 25:06
  mean, I don't think I could make a metal record, but I could make
• 25:08
  something heavier probably. It's nice to be able to change
• 25:12
  things up. I have some interest in doing
• 25:15
  some jazzy. I don't you know it's as a
• 25:19
  artist, you never stop growing and when you do, that's when it
• 25:23
  becomes not fun anymore. Like my favorite musicians have
• 25:27
  been chameleons and even though I haven't maybe liked every
• 25:30
  phase of certain musicians careers, like if you look at
• 25:35
  David Bowie or Joni Mitchell, the metamorphosis stylistically
• 25:39
  is really inspiring. And, and the, the amount of
• 25:42
  growth that, like you said, with that metamorphosis comes the
• 25:45
  ability to reach out and to connect with fans of different
• 25:49
  styles of music. Because I know that there's
• 25:51
  people who love Bowie, who love 80s Bowie, you know, like let's
• 25:55
  dance and stuff like that. But they might not necessarily
• 25:57
  love, you know, yeah, Ziggy Stardust or yeah, young
• 26:03
  Americans, you know, and stuff like that.
• 26:05
  I think that's a perfect record 0.
• 26:07
  Oh, without a doubt. Five Years is my favorite song
• 26:10
  of that record. So good.
• 26:12
  I played that in my high school band.
• 26:14
  We was this a girls band and I could really scream back then.
• 26:20
  I don't know what happened, but I want to get that back.
• 26:22
  I think I might have to do like Primal Scream therapy or
• 26:26
  something to open up the, you know, when you're young there's
• 26:29
  a lack of inhibition or something.
• 26:33
  Now a total OK, so I have to now that you've brought this up, I
• 26:35
  got to ask you, what was the name of your band?
• 26:38
  You know, we, I'm not even going to say because we just had a
• 26:41
  collection of really bad bands and they only, we played twice
• 26:44
  live. Once was in the high school
• 26:46
  cafeteria and I remember, like, screaming and I, yeah, we
• 26:53
  weren't too serious because it was senior year.
• 26:55
  And then everybody went off to do their own thing.
• 26:59
  I would have loved to have seen that.
• 27:00
  I bet that was amazing. Yeah, I played electric on
• 27:03
  first. Really.
• 27:04
  Or not first, but I had an electric by then and was not not
• 27:08
  great. The first time I ever played in
• 27:13
  front of people was when I was in 8th grade and we played at a
• 27:16
  talent show and we did the Sex Pistols version of, I'm not
• 27:20
  sure, Stepping Stone. And they just didn't get it at
• 27:24
  all. Like, you know, I mean, I was
• 27:26
  also in Catholic schools that probably didn't help, you know,
• 27:31
  so well. So I was looking at your tour
• 27:32
  dates coming up and like, you've got a really extensive tour
• 27:36
  coming up in like in Europe, right?
• 27:38
  It starts in October and it runs through November like this is.
• 27:42
  And then you've got dates that are going to be in the US, I'm
• 27:45
  assuming too after probably what, after the new year.
• 27:48
  They start in February, early February and go to mid-april.
• 27:53
  Like crap. Yeah.
• 27:55
  Is this is this your longest tour in a while?
• 27:57
  Might be, I have a new US booking agent anniversary group
• 28:01
  and it's great. But I mean, what else am I going
• 28:04
  to do? Like it's what I do and it's
• 28:08
  yeah, we'll see if it, if it becomes too much, you know, you
• 28:12
  can, you can't help getting sick or whatever.
• 28:14
  But I think it looks like a fun road trip with working road
• 28:17
  trip. I mean, your mood seems to have
• 28:21
  changed a good bit over the years as far as like a year,
• 28:24
  your mood towards tour worrying and stuff.
• 28:26
  So what is it about this tour coming up?
• 28:28
  Cuz even just looking at you like when you were talking about
• 28:31
  it, you're like all smiles and like you're like I could tell
• 28:34
  you're genuinely excited. So, like, what is it about this
• 28:38
  run that's exciting I. Don't know.
• 28:40
  I just, I, I know it's going to be more fun that it's, I don't
• 28:43
  have to travel with a band. It'll just be Milky and I be
• 28:47
  like a, there won't be drums. It's just, I think it'll be a
• 28:52
  great way to Polish my chops. And I don't know, I think I just
• 28:56
  have started to worry less and live more in the moment because
• 29:01
  you drive yourself crazy worrying about things all the
• 29:04
  time. I can tell that that that that
• 29:06
  vibe is going to carry into the and so I think people are going
• 29:10
  to get some awesome shows out of you.
• 29:12
  Hope so. So being solo I guess, does that
• 29:15
  mean it will? Be a good Milky but.
• 29:17
  Well, well, yeah, I mean, but like without the band and
• 29:19
  everything, like, are you going to find a way to come?
• 29:21
  Like do you change up your set lists from night to night when
• 29:24
  you're doing it solo, or do you like to try to keep like a
• 29:27
  static set as much as possible? I, I like to change it up.
• 29:30
  I hate a static set and we're going to try to throw in some.
• 29:34
  Well, this new record will get played, but then also I'll pick
• 29:38
  my favorites from the last 11 records.
• 29:41
  And we're going to do some cool covers too.
• 29:44
  We're about to start practicing today.
• 29:47
  Not start, but really get into gear practicing for everything.
• 29:51
  That's going to be so much fun though, so well, hopefully as
• 29:53
  soon as they get the dates released, you know, we'll get
• 29:56
  them posted up so everybody can know where you're going to be
• 29:58
  playing at. So are there any particular,
• 30:01
  what particular places in general are you super excited to
• 30:04
  revisit again I. Don't know.
• 30:08
  Everywhere is great and it really depends on the night.
• 30:12
  It depends on what happens. I love the desert, I love
• 30:16
  California, I love the Pacific Northwest.
• 30:19
  Every place has their beauty. It's beauty if you look at it
• 30:23
  the right way. I'm looking forward to this
• 30:25
  festival in Turkey. It's going to be fun because
• 30:28
  that's about as far that's probably the most exotic
• 30:32
  location on the tour. You'll have to pick up a fan for
• 30:35
  your collection, yeah? Collecting them.
• 30:38
  No, it really is hot in here. I'm not doing this for dramatic
• 30:41
  whatever, but it's just because it's the fan makes this really
• 30:46
  annoying so well. Cool, well that is all I have
• 30:49
  for you right now, but I feel like I could ask you a gazillion
• 30:52
  questions as always, but thanks for taking the time to do this
• 30:57
  pleasure. Also, Marissa Nadler's new
• 30:59
  radiation drops on August 15th via Sacred Bones.
• 31:03
  So head over to marissanadler.com and pre-order
• 31:07
  a copy now and again. Thank you so much for taking the
• 31:11
  time to chat today. It's always, it's always great
• 31:14
  talking to you. Yeah, you too.
• 31:16
  Thank you.