SPEAKER_00: 0:41

Welcome back to another super awesome mix. My name is Matt Sithom, and today we're doing something special as I will be hosting Solo and joined by our guest. He is an actor you may have seen on Law and Order SVU and Criminal Minds Evolution, as well as the upcoming Hulu True Crime offering Murdaw Murders. But he's here because he's also a singer-songwriter, also known as an indie sorcerer, who has an EP coming out next month titled Till the Moon Fades Away. Please welcome Winter Andrews to the show. Welcome, Winter.

SPEAKER_02: 1:13

Hello, Matt. I think I would like to be introduced as an indie sorcerer for every event from now on. Like even if I'm doing like a QA or a red carpet or something, I want that to be like my name tag and my title.

SPEAKER_00: 1:26

I love that. I saw that in something, and I was like, indie sorcerer. I'm gonna call him that.

SPEAKER_02: 1:30

That's I don't know where you saw that, and I don't need to know. It exists now solely in this moment for me, and I am thrilled.

SPEAKER_00: 1:38

It's great. It's great. All right, so I gotta ask you, because I mean, you've done, I mean, you've done the acting in some major, major roles, and and now you're doing singing. So what obviously you've been part of the arts probably your whole life, right? But like what came first? What was drawn, what were you drawn to first?

SPEAKER_02: 1:55

You know, when I look back at it, because I've asked myself this question too, like, what am I? What what do I identify more as? What started it? And it they really both began at the same time for me. Um I think I I think they both kind of came from the same place, which was one, I was just like a very emotional, sensitive kid, but I was also a huge mimic growing up. So I loved music, I loved these great singers. Like I would just be again imitating them all day long. But the same thing was true of like great acting performances, you know. So it's like I was equally moved by like Celine Dion and Green Day as I was by like Robin Williams, you know what I mean?

SPEAKER_00: 2:38

Um do you still do impressions or anything? Do you find yourself doing that at all?

SPEAKER_02: 2:43

You know, it's it that's I kind of surprise myself times sometimes because it's not a thing that I like actively practice anymore because I feel like an impressionist is very much its own thing, which I am I don't identify as that. And then sometimes like I'll I'll hear someone do something a certain way, or I'll see a certain physicality or a performance, and then I'm just like, oh, what is that? And I like tap into it again, and I and I'm like, oh, I am pretty good at this. Like, you know, it's like it I mean it's just it's just I I I was reading somewhere about it being like kind of a thing with like it being a reflection of like you just your mirror neurons firing, you know what I mean? And like I've always that's just like I've always been a very visual learner, and like I if I see someone do something, I can kind of do it. So it's I think it's just that, you know. So it's not a skill I practice, but it's kind of sitting back there, you know, and it helps me.

SPEAKER_00: 3:30

Well, it it's interesting because I've heard, I mean, Dana Carvey who does a lot of impressions, right? Like he's talked about, and he's also a drummer. And so he's talked about how there's when he thinks about impressions, he thinks about a rhythm to it. So I was just kind of curious when you said that, because obviously you're a musician and you're an actor. So I just wondered if there was kind of that you're picking up on rhythms with the way people talk, and that's what you're kind of doing.

SPEAKER_02: 3:54

100%. You know, the way they it's it's rhythm, it's tonality, it's like vocal placement, it's but then even beyond that, it's like there's a uh psychological aspect to it too. Like you can kind of I guess so I guess it's also a reflection of just like empathy or something where it's it you you someone's point of view will inform your impression of them as much as you know, their their uh the and the anatomy of what they're doing, you know. Right, right. Yeah, yeah. And I and I think that's that one certainly plays even more into the acting, you know.

SPEAKER_00: 4:27

So in regards to music, what was the first instrument, or do you play multiple instruments, or is it just one, or what was your first intro into music? I do singing.

SPEAKER_02: 4:36

Singing 100% for sure. I think I think it's funny. I like I love guitar. I identify as at least a songwriting guitarist. I think I think I'm compelling, I think I'm good, but it's like I could never sit in on a session, you know what I mean? Like, and I I'm so in awe of those who do. And so I I feel it's funny, I feel bad about that sometimes. I'm like, oh god, I wish I were better. I wish I like did more piano. I do I dabble on piano too, and I've recently been dabbling on drums, but then I think back, I'm like, you know what? I'm a pretty okay singer. I'm doing all right. But so singing, I think, is really where it where it started.

SPEAKER_00: 5:10

I'd say you're a pretty good singer. Were you always able to sing, or was that something that you kind of I mean, obviously you're gonna get better once you sort of dedicate yourself to to a craft, but were you naturally sort of a good singer?

SPEAKER_02: 5:25

I think I I think I was, you know, to be to be honest. Um I I don't come from I don't come from a musical family in terms of my parents, my sister, they're all that's my one sibling. Um they're all I'd say very unmusical. Not they're not like unlike my my mom has you know, she'll sing around the house constantly, but it's like she has no training whatsoever. Right, right. My my dad has a actually both of them kind of have what you'd consider large voices, you know, and so I think from that, just like genetically, I kind of was given like a bigger voice than other people might have, yeah. So that kind of combined that kind of helps me stand out, I think, or it did growing up. Um, and then that combined with like the mimicry and like listen, like the singers I was listening to just happen to be great singers. So it's like when I was like seven in the boys' chorus, I remember Dr. Ackerly being like, and here he is, a rare case of a natural vibrato. Like, I don't know what that means.

unknown: 6:20

You know what I mean?

SPEAKER_00: 6:21

Yeah, you were just trying to sound like what you had heard, right?

SPEAKER_01: 6:25

It's exactly it. Yeah, yeah, yeah. So I I I think it's something that is I I've always been noticed for my voice.

SPEAKER_02: 6:31

Yeah. Yeah. And then I've spent a lot of time uh uh working it. It's it's I kind of on the top of like having a bigger voice, it's been a it's kind of like a hefty monster to wrestle with, and so it's I've had to really like beat it into like flexibility, you know what I mean?

SPEAKER_00: 6:48

Yeah, well, you've got some flexibility for sure. And we'll get to your tracks later because I was I was pretty blown away. Uh but but let's get into it. We we've got eight tracks here that you brought as kind of inspiration, and then we've got four tracks from your upcoming EP that we're gonna go through. So I'll just I'll just introduce them and then you can kind of tell us a little bit uh about each one. We could talk about it and just just go from there. So so track one, you picked Samson by Regina Specter. So talk about this one. I thought it was a great opening track.

SPEAKER_02: 7:17

Oh, phenomenal, great. I was like, this could this is gonna go really well or really poorly, right off the bat. Um I love this song. I'm gonna say that on all these songs. I love this song so, so much. I heard this for the first time when I was in college, and I just had it on repeat for days, and I still will go days where I just have it on loop. I think it's just so beautifully written. I think my favorite poetic device in writing is allegory, and I feel like this is just like the most pristine, gorgeous example of it. It's so intimate and raw, and yet so epic at the same time. You know, it's like it it's so haunting. I feel like with allegory, especially in music for me, for whatever reason, it's just it it so elevates what would otherwise like feel like so mundane or banal or something, you know, about like just general life. And it it feels like it matches the scale of our emotions in a way. Like I feel like our emotions are much grander than maybe the reality we're facing a lot of times, you know. But I feel like that's when you have this ability to like lyrically connect those to something greater, it just it it moves me in a way, you know. And I like I said, I think the song is like the most just gorgeous example of that.

SPEAKER_00: 8:37

Yeah, I uh I really enjoyed this one. I mean, and just obviously it refers to the story of Samson, right? Doesn't call out Delilah, but I mean that's that's the companion there. Absolutely. And I just loved, and I think this is true of your music and and a lot of the songs that you brought today, just the the vocals kind of give you the emotion, right? Instead of sometimes you listen to a song and it's and it's the instruments behind it. But I think in the case of this, I think when I was listening to your music and and some of these other songs, it was that it was just the voice that stood with me. And obviously Regina Specter is amazing, but I I agree with you on on just sort of the emotional range of this one. Uh yeah, 100%.

SPEAKER_02: 9:19

And I I think I think you're right on the voice too that I'm looking at a lot of these. I I I do think, again, being in a singer first, it's kind of where I where I go to, you know, like when I work with some producers or things or musicians I really love, they're they're talking about the bass sign. I'm like, oh, I didn't even hear it. You know what I mean?

SPEAKER_01: 9:34

Like um, I'm getting better at that.

SPEAKER_02: 9:37

But but yeah, there's just uh I'm always amazed when like not I don't need a song to be super sparse in this one all the time, but I'm always amazed when it can be, and yet you are still so completely captivated and move that just the singer's delivery and their performance and their like nuance is just so their connection, you know, it's so um captivating, and this is just that to like uh the superlative degree, you know.

SPEAKER_00: 10:06

I agree, I agree. Now, speaking of emotion, this next one, this next one got me. Uh this is Shrike by Josier.

SPEAKER_02: 10:13

Mm-hmm. Uh once again, just I guess this one's not allegorical. It's there's nothing like biblical or about you know, gods or things or or mythic figures, which his his songs often have. There's so many of songs of his that I could have or would have picked, but sure. But I feel like this one doesn't get enough love, and it's one that I listen to all the time, you know. Um but for those who don't know this song, it's uh it's kind of based around the metaphor, um, or the metaphor within it is that uh he's had this love that has fallen apart um and it's effectively annihilated him, it's destroyed him. Um her her cruelty or whatever, his, I believe it's hers. Um could be a man, I don't want to be a misogynist here. Um based on personal experience, you're gonna say her. Exactly, yes, yes. So her her, you know, cruelty or volatility has has just like so eroded him to where it's he's still in love with her, but he's like died and had to leave it behind. And it's like he's just wishing to come back as uh something that can make use of her cruelty, something that can live in harmony with it. So a shrike in nature is this bird that uh will kill its prey and then mount them on thorns to attract a lover. And so the the big uh lyric in the song, you know, uh, like basically is that I hope I'm reborn as the shrike to your sharp and glorious thorn. Oh my god.

SPEAKER_00: 11:52

Yeah, and what a way, I mean, Jesus, shrikes really uh they're like the Attila the Huns of birds, huh? I mean, what is what is that?

SPEAKER_01: 12:01

No, I know I had no idea. Then you look it up, it's like the sweetest looking bird.

SPEAKER_00: 12:05

Yeah, they're not big birds, I don't think.

SPEAKER_02: 12:09

Yeah, I think the main photo of it, like at least I think on Genius at least, there's a photo of a shrike, and it's like very cute bird, and like an equally cute and sized bird just impaled on a thorn next to it, you know?

SPEAKER_01: 12:22

It's like wow, wow, that what amazing backdrop for an incredible song, you know.

SPEAKER_00: 12:27

Yeah, I think it's funny. It's like this is how we're gonna keep our species going, right? We're gonna randomly kill something and then attract a mate as a result of that. Yeah. Um, but this song, yeah, this song was it it really interesting. And I and I kind of, when I listened to it, I sort of thought that obviously the relationship had gone wrong, but I almost thought she was the one dying now, and he kind of was going through these sort of regrets of like this is he's never gonna have that moment where like things are good or there's there's no opportunity for redemption. But you're right, when you brought in the reincarnation, because there are those reincarnation call-outs that he has in there, so I'm like, when I heard you say it, I'm like, yeah, maybe it is more like that. But in any case, it's it's I mean, obviously his voice is beautiful, and it's a great song, like all his stuff is, you know, but it's just I it was a really cool song. I think it can go in a lot of different directions, but there's definitely an element of regret of of how this relationship went.

SPEAKER_02: 13:24

Oh, 100%. I I also love like musically in it, just like the the guitar is so it's beautiful, it's like haunting, it's but it's kind of wistful. There's something, there's there's a pleasantness in it. It's not just pain, you know what I mean? It's like it it I don't know, so it uh I just like that juxtaposition, you know. This this could have been a much angrier sounding song, but instead it sounds like he's almost at peace with the death of this relationship, you know, or or whatever interpretation, you know.

SPEAKER_00: 13:57

Right, yeah. However it goes, I I think there is that there is an element of that. Yeah, it's a really it's a really interesting song, too. I think it's one that you can listen to three, four, five times and kind of get something new every time, you know. I completely agree. And I love music like that. Yeah, yeah, yeah. Um, okay, now this next one, after I listened to the whole mix, including your songs, and then I went back through it again. This one was like, this was a curveball for me. Okay.

SPEAKER_06: 14:22

So track three.

SPEAKER_00: 14:24

Track three, you've gotten numb by Lincoln Park.

SPEAKER_02: 14:27

No, I know. I know, I know. I I and there's a very specific reason for that, and that's that I feel like I these really are kind of songs of like angst and yearning and things that inspired me very much. So, and I feel like I cannot possibly make a list of songs like that without including Lincoln Park that was so inspirational to me as a kid, and like gave me so much uh again. I talked about like uh I think with Samson, how like allegory like kind of gives um I don't know, it it it validates the size of your emotions, you know what I mean? Or like uh the scale of them, and I feel like as a kid, I had a lot of anger and a lot of sensitivity, and then I listened to Lincoln Park and it's like ah, it all makes sense.

SPEAKER_01: 15:19

Um yeah, so and and to be fair, I could have picked many Lincoln Park songs here.

SPEAKER_02: 15:25

This was this was kind of like a we'll go with numb, you know what I mean? Like type thing at the end. But I I also, funny enough, I don't think anyone would pick it out in my music, but there's a lot of Lincoln Park production-wise that actually I sneak into my stuff. And maybe not as much in the things I've released thus far, but in things that are coming out more. It's not you're not gonna hear it and go, that's a Lincoln Park song. But it's just like it's something that lives in me in a way that I can't get away from, you know.

SPEAKER_00: 15:55

That's really cool. I love that. I mean, and that's I I love that there's just sort of elements in there with sort of what you do. And I I mean I like the song. I didn't think it was a bad choice, but as I'm going through it, I'm like, no, where does this fit in? I'm gonna have to dig in a little bit on this one. But that's like, I know for me growing up, my older sister was into like way into heavy metal. Sure. So I listened to a lot of heavy metal and and like hairband kind of stuff as that evolved. Like, I mean, I think I'm probably significantly older than you. So this we're talking about like early mid 80s type stuff, right? Sure. Um, now I don't listen to any heavy metal, but still every now and then a song will come on, and I'm like, this is pretty cool. And I think it is sort of that sort of element uh like what you're talking about, just sort of sprinkles through of my life a little bit because of that.

SPEAKER_02: 16:41

Totally. Yeah, well, 100%. It's one of those things that's like you feel like you've gotten away from, and then like you said, you hear it again, you go, Oh wait, this is a part of me somewhere. Yeah, yeah. Um, and I do think too, going back to just like vocalists and and you know, kind of this haunting quality that someone has that draws you in. I do feel like Chester also is that like I don't I don't really enjoy most metal or things in this genre, yet his voice just despite you know his his like virtuosity, his range, his power screaming, like that no one can can match, he still has this like there's just this intimate yearning in the quiet parts that I feel like that I do feel like you hear more obviously my music. Not that I'm not that someone again, you're never gonna hear me and go, that's Jester, you know. Right, right.

SPEAKER_00: 17:26

But but no, I I hear what you're saying. I I think that's what made them stand out amongst other bands of that era, right? Was like his vocals in the same way that like a Stephen Jenkins of Third Eye Blind, right? Like that's the differentiator for a band like that. Or like when you listen to Blink 182, they can actually bring a lot of emotion to their music or things like that. It's just it's that vocalist sometimes that's the differentiator between like a band just being a touring band for decades and being like a mega huge band, you know? 100%. Yeah, it's the thing that's gonna move like the heart the most, you know? Yeah. All right, track four. This is hide and seek by Imogene Heap. Yes, a return of the form of the playlist. Okay, now this one tracks a little more, yeah.

SPEAKER_02: 18:13

Right, right, right. Yeah, this one I first heard in high school when I was in choir. Like the the seniors, like every year the seniors would do like a senior number, and like people could pick stuff and they do things, and uh someone did this song, and I don't know if it was good. Those harmonies are hard, you know what I mean?

SPEAKER_01: 18:34

I don't remember, but I do remember just being so I shook, moved, stirred by this thing.

SPEAKER_02: 18:42

I'd never heard anything like it, you know? And like my again, my I don't come from a musical family, so it was just kind of like whatever was on the pop was on the radio, right, you know, growing up, um, and occasionally some classic rock, but this song just like woke me up, you know, um, and I just listened to it endlessly, and I was so confused by it for so long. I feel like that's that is a thread for me and music that I love or music that inspires me, is like I feel like it's so beautiful in your move, but you don't know why. You know, you can't put you like I can't wrap my head around what's happening or what's going on or what this means, but you're just grappling with this thing for a long time. And so this this song just I feel like I've grappled with for so long, and and just I I can't get away from it, and I feel like I'm always referencing it in anything I do. I know it's basically just a vocoder, so there's not much to reference, but still.

SPEAKER_00: 19:39

Yeah, but I'm with you. It's like this is very much a song, the first time you hear it, it's a what am I listening to sort of reaction, but you want to keep listening to it, and I can't even imagine someone trying to recreate it. So I don't know how that went in the uh chorus there.

SPEAKER_01: 19:56

No, totally. Um no, and it was I was not like it at arts high school. These are pretty normal, normal kids, you know what I mean. Um so uh God be with them, um whatever they believe in.

SPEAKER_02: 20:08

Um but I mean, just uh talking about like grappling with it, you know, I I had a totally different interpretation of this song. I think when I was younger I didn't know what it was about, and as I got older, I'm like, oh, I feel like this is like kind of just grappling with the alienation like at the end of a relationship. And then literally last night I was finally like looking it up again, and I was like, oh, this is quite literally about her parents' divorce. And all these lyrics that were so right? I know they were like some of these lines were so nebulous, but but moving before are still just as moving and still have this incredible uh mysterious quality to them, but it's like, oh, now I actually am following the through line of the story even more, and I was just like weeping last night, you know.

SPEAKER_00: 20:54

Yeah, I you know, yeah, because I in my head I was like it it almost felt like somebody had died. And because the song has such an ethereal quality to it with the production and the voices, like it's almost like ghostly. Like that's what kept coming into my mind as I'm listening to it.

SPEAKER_02: 21:09

Yes, I think that's that's a perfect word for it. I mean, because I think I love the word ethereal, and I use that a lot of for a lot. A lot of the stuff I love is ethereal, but I think you're right, ghostly in this one particular. There's just this it's haunted, it's haunting, you know.

SPEAKER_00: 21:21

It's yeah. Um But divorce, if you're a kid, probably does feel like that. You know, my parents didn't get divorced. I mean, yeah, no, same.

SPEAKER_02: 21:30

I I I'm very yeah, we're very lucky in that. Yeah. Um But uh I mean, just like I think it's I think the song is just truly a masterpiece. Like I I don't mean that like in a way it's like it's showing off, but it's just like I was listening to uh a podcast with Tony Berg yesterday, or like a clip came up with him. He's he's one of Phoebe Bridgers like main producers, also producing for like Somber and a bunch of I mean he's huge. Um but he was talking about like what actually is a masterpiece of a song, and he was saying that it's something that like that stays on through time, basically, right? It's timeless, but also it's something that like feels like it teaches people, like people not not necessarily about life, but like that people get inspired by, you know. And I feel like this song is just like we're all quoting this song. It is just it's such a masterpiece, you know. And and even like lyrically, like I I just wrote down this one line. I mean, this is out of context, but the takeover, the sweeping and sensitivity of this still life. Just let's just pull that out of like the actual framework of like a divorce and just like apply that to like modern life, yeah. The sweeping and sensitivity of this still life. I'm like, my god, like just this one small line is like still so prophetic and like would be the best line in anyone else's best song. And yet it's just one small part of this incredible piece, you know?

SPEAKER_00: 22:55

Yeah. No, I I totally agree. And I mean, I I love that description of a masterpiece being timeless because you do, if if you listen to the song, you know, like if I played for you some Duran Duran, you'd be like, this was 1985, right? Right. Yeah, exactly. It's like, whereas this, it's like you're not thinking about a certain year or time or place. It's again just thinking about where did this come from, you know? And I think at any point anyone hears it, they might think it's from the future, like whatever year they're in.

SPEAKER_02: 23:25

So yeah, I completely agree.

SPEAKER_00: 23:27

Yeah. Um, all right, track five, you've got After Rain by Dermot Kennedy. Mm-hmm.

SPEAKER_02: 23:35

As I've said with all these, I love this song. This was this was again a song that I feel like woke me up in a way. This one was more recent. I think it's one of the most recent ones on here. Yeah. Um I so again, kind of talking about this, like, like I said with numb, it's like you have these parts of yourself that feel disconnected or something. And so I was going through a phase of my life when I was first really getting into folk music, I think, where I'd kind of let go or I I had lost touch of like I guess my angst for lack of a better word, you know, or my my kind of raw passion or anger or things. And I was just listening to like a lot of like basically like folk pop, and I and I liked it, I loved it, but anytime I tried to kind of write something, this was when I was first starting to write music, it it just felt flat to me. It felt untrue in some way, you know. I felt like I was putting something on, you know, and then I heard this song and I heard Dermot Kennedy, and it was just like the light went off. It's like, oh, you can have folk and you can have this like really intimate, sparse thing, but you can also have it like you know, imbued with this fucking passion, this rage, you know, and and this this be there can be beauty in that. And so this this to me, like I said, just just really like I felt like it like opened my mind and like it this huge corner that I was able to like suddenly explore, and I think is uh a really affected, inspired a lot of my music.

SPEAKER_00: 25:04

This is the song that did that. That's really cool. So when you sit down and you're like, okay, I think I'm gonna start writing music, right? I mean, do you do you kind of sit there and go, well, I I guess I'll write something like and you've got a song in your head that you're almost trying to replicate, or did it just start, had you written poetry before that? Like what I don't know, what led to su I didn't I've never sat down and written a song written a song, so that's totally I asked the question. Yeah.

SPEAKER_02: 25:32

I think I have always loved writing. I think I've always been a writer. Um that's something that I that I like. I mean, growing up, teachers are always like, you have a gift, like you should really do something with like your writing, you know. Um and so I think more than anything else, like well, I guess like acting too, but like it was always like writing, acting, and music were the places where I felt like I I just I just had a knack for something, you know, and that people seemed to recognize. But so I've always been a writer, I've always loved writing, and I do do poetry, but like songwriting often felt like a bridge too far to me until eventually when I was like in college, I started like really picking up guitar. And it was like it was a very quiet, private thing. Like it wasn't I wasn't like I'm gonna go start a band and like perform for people, but it was just like I think I saw I saw videos of like Jeff Buckley and Matt Corby, and I'm like, oh my god, I have to do this. You know, it was just it it just moved, it woke something up in me. But so all that to say, all these things kind of combined to where I was like then playing guitar quietly to myself, and then it just evolved right out of that. So it's like anytime I'm sitting down with my guitar, I'm usually not learning someone else's song or trying to sing someone else's song. I'm just kind of messing around, and then something compelling pops out, and then I feel like like lyrics or melody just like like insists upon coming out, and then I just kind of start humming or mumbling, and I'd I'm smart enough now, like I've learned just like throw on my voice recorder because you may not be able to repeat something. Right. But then I often just end up going for like 10 minutes, and and many times two-thirds of the song comes out in that, you know. If I I I can try to get heady with stuff, but I find 90% of the time the times when things really feel like they're working is when like it just I just kept playing and singing and something came out that just worked, you know.

SPEAKER_00: 27:23

Yeah, you just kind of let it evolve a little bit.

SPEAKER_02: 27:26

Yeah, exactly. And so and I I think that going back to After Rain, I think I think when I was just trying to like when I again I was first starting this, like during when I was into folk pop, it was like I think I was a bit more in my head about it. Whereas I heard him, and I'm like, oh, I can just be like unbridled, I can just let it go. And then suddenly like I'm like yelling more when I'm like making stuff up, and like I said, and then suddenly things like open up when we're working, you know.

SPEAKER_00: 27:53

Yeah, no, that's really cool. Yeah, I agree. I mean, a very emotional song, and I think it it is a a pretty good direct line, as we'll get to your songs here in a bit, and and I think it it it that does kind of make sense, so yeah. Um all right, track six, you've got The Zombie by Youngblood.

SPEAKER_01: 28:11

It's so good.

SPEAKER_02: 28:12

It's just so good, dude. Once again, this one's like a bit of a curveball compared to the other stuff on here. I think I think it connects more than numb, but I was like, okay, I can't just have numb. I feel like I need something else that has a bit more of this like modern angst, you know, but still has a uh this one's not haunting as much, but again, his voice just pulls you in. There's a pain, but it doesn't feel like metal or something where it's like so in your face, you know. It's it's there's a vulnerability in it, I guess what I'm saying. And and a grandeur, you know, like in the strings and the way he's he's singing. So I I I think this is kind of why I picked this one, is I'm drawn to both vulnerability and grandeur. And I think this song just does that so well. I mean, it's just so good. Like if you haven't listened to it, it's new. Oh my god, like you will not stop listening to it. I have a feeling, you know.

SPEAKER_00: 29:05

It's it's really good. And what I what I was so impressed by is that if you strip out the vocals, and we've talked a lot today about vocals, right? If you strip out the vocals, it it's got kind of like you could put some happy lyrics to this, and it's a completely different song. Totally. And it's his vocals that kind of take it in the direction that it that it goes when you listen to it. But I I was so impressed by that, you know, and and you said at the top, like your main instrument is your voice, and I think this is a good example of another artist who does that because again, it's it's not the music. The music becomes, I don't want to say a distraction, but it's like if you only focus on that, it's like this might just sound like a pop song.

SPEAKER_02: 29:43

No, exactly. 100%. I love that duality. I love when people just exactly like you said, it's like you have something that sounds happy, and then you're sing the saddest lyrics of your life over it. You know, I so you know, some of some of my songs, I don't think I have ones that are out that quite do that yet, but like some of my things do that. I just I just love that device. It's like it I feel like that's life too, you know. It's gray, it's twisted, it's it's like I like Phoebe Bridgers, I feel like does that all the time, you know.

SPEAKER_00: 30:11

Um, I think this next song is a perfect example of it. Yeah. Right. Yeah. It's a good transition because this next thing is You Missed My Heart by Phoebe Bridgers. And you talk about a sweet sounding song that is anything but I mean, this is it.

SPEAKER_02: 30:26

God, I know it's devastating. So so this for the people don't know this, this is like I think it's the last track on her debut. Album, Strangers in the Alps, and it's it's actually a cover of an artist named Um, I think Mark Kozleck. I'm probably butchering his last name. Um but for those who haven't listened to it, it's this like six-minute long ballad. That's if if you're listening to Winter Andrews, six-minute long ballads are not unfamiliar.

SPEAKER_01: 30:53

Short by my standards.

SPEAKER_02: 30:55

Um but it's it's this it's based on this dream that Mark had, and and he basically transcribed it, and it's this incredible story with this like stunning through line that that's this lyric, You missed my heart, which which has different meanings uh in each verse and chorus, but it's still so tethered and connected in this this it's just so moving. Like I said, it's it's it's kind of like the voice, it's something that just pulls you in. I feel like I am I'm stuck there, just like, oh my god, what happens next? You know, like both vocally and and the the story itself.

SPEAKER_00: 31:34

Yeah, this was like this is like an episode of Dateline, right? Like if you listen to this, I mean it really is. That's this song.

SPEAKER_01: 31:41

That's so good.

SPEAKER_00: 31:43

But then when you listen to it, it's just her voice is so beautiful, and it's just if you're not paying attention, you will just be like, what a what a beautiful song, or whatever. And then you really dig into it, and it's just like, oh my gosh, like this is dark. Yeah, it's so dark.

SPEAKER_02: 31:58

No, I and I I but it's like you said, it's just so it's so beautiful. I I love dark and beautiful, if that's not abundantly clear. Um I you know what's what's funny to this, I guess this uh this one's not exactly about this song. Uh it is to a degree, but like I have to share this moment. I was in the car uh with my mom recently. We were going up to like the mountain, I was like visiting home. We're like going up to the mountains, and so like we're just driving up together, and she doesn't listen to Phoebe Bridgers, you know, she's just like whatever's like I said, whatever's on pop radio, and right it's like nighttime, like in the forest. And I was like, I'm gonna can I play this album? She's like, sure, you know, and she's never a person who like listens to lyrics or things. I mean, she does sometimes, but um, she's you know, usually got her phone doing a bunch of things at once, and just throughout the album, she was just transfixed listening, and I just kept her like hearing her just go, wow, like at certain lyrics, you know, in certain moments. It's like that was so magic for me that to like have the experienced my mom, you know what I mean? Yeah, yeah. And like this song came on, and she was just like, this one does connect up, but she was just sitting like same thing, like what happens next, like just so transfixed by the story and the delivery. It's just so again, stirring, haunting.

SPEAKER_00: 33:16

These are my favorite words, but it's so applicable here. I love that. I love that scene, especially because I I love introducing people to music. Obviously, that's what's part of the reason we do this show, and and you know, getting people to really listen and and kind of be like, no, no, no, you're gonna just just stay with it or whatever. Right, exactly, yeah, exactly.

SPEAKER_01: 33:34

Wait, wait, wait, we're right there. Wait, don't do now. Oh my god, you missed the best line. Yeah, yeah.

SPEAKER_00: 33:38

I'm not asking you to watch eight seasons of blue bloods, okay? I just want you to listen to a six-minute song. Hang in there.

SPEAKER_01: 33:45

Right. But then I will keep playing the next six seasons. Yeah, no, no, you're right. It's a full example. It's a full example.

SPEAKER_00: 33:51

But still, still, yeah. All right, so your last pick that is not your song, and I'm so glad this guy made it on here. It is Morning Theft by Jeff Buckley. Jeff Buckley, my prince, my heart.

SPEAKER_02: 34:05

I I just like I said, Jeff is like the the guy who made me go, I have to be playing guitar. Like it it just so moved me that you could make a sound like that. I mean, that's that's so dumb sounding, but it but it's just again talk about haunting. He's like he's he's this figure that I like can't get away from, you know. Um and again, uh talking about mysterious too, and like wrapping your head around things. I cannot tell you how many times I've listened to all of his stuff, Grace and you know, this, this and his live at Sheena, all these things. And I still feel like every time I am completely like rediscovering the song, the music, his voice, the delivery, everything. And and um I feel like gr like I kind of said with like Shrike with Hosier, it's like I feel like he all his other songs have plenty of uh uh you know, people are very familiar with his other work, but I feel like this song doesn't get enough phrase. Like I feel like if this were on Grace, it would have been considered one of his best songs, you know.

SPEAKER_00: 35:12

I I hadn't heard this song actually before uh you put it on this mix, so it's really and I mean listened to it a few times already, but yeah, I mean the lyric that just stands out at the end, it's I miss my beautiful friend, I had to send it away to bring us back again. I think that's such a great line about being apart, whether you're apart physically or emotionally, and then coming back together. Like, I think that's so great, and it's true, like being apart actually kind of will either like make it easy to break up in a relationship or actually make the relationship stronger. 100% agree.

SPEAKER_02: 35:46

Yeah, that's that's funny that you called up that line. It's like that's actually the one line that like I'm like, I want that Jeff Buckley tattoo. That's the one I'm gonna have. I already have like that's so like you, so I guess let's get the tattoo together. There we go.

SPEAKER_06: 35:58

Let's do it, let's do it.

SPEAKER_02: 36:00

Yeah, but it's like like again, lyrically though, I I love this song so much. And I also like kind of talking about like we did with with Zombie, especially once it gets going in the back half, it's just the the music is so um uplifting's the wrong word. That sounds like I'm talking about a church. Um there's I don't know, there's just something uh happy, dry, like it feels like you're going towards something better, you know? Yeah, it's hopeful. Yeah, it's hopeful, exactly.

SPEAKER_00: 36:29

Wow.

SPEAKER_01: 36:29

Could have just gone there. Yeah.

SPEAKER_00: 36:31

We really should work together more, I feel like. Yeah, 30 minutes in. I think this is gonna work really well.

SPEAKER_01: 36:36

Yeah, I think so too.

SPEAKER_02: 36:38

Um yeah, it's so it's just it's it's one of the few times I feel like I hear Jeff being hopeful, but it's it's yeah, this just again, it's this haunting lyric. I'm sorry I've said that word so many times. I said I said at the beginning of this podcast before he hopped on. I'm like, I'm gonna swear a lot. I don't think I've sworn much, but I've said the word haunting like 17 times. So let's just censor. I think it's accurate. I'll beep it out. I'll make it perfect. Yeah.

SPEAKER_00: 37:02

People will be like, I don't even think that makes sense. Does that he say the F-word there? I don't why didn't they bleep the other one? Makes sense. Um all right, well, let's get into your music. So I'm really excited about this. Obviously, this is what kind of uh brought us together was we were sent some of your music and I dug into it and I was like, this is this is good stuff. Um so you the first track you bring in here, and these are all on your upcoming EP, which comes out I think November 21st, correct? That's correct. You got it. I got right, I got it right. We got the notes right. Um, so the first track we're gonna talk about is Wildfires.

SPEAKER_02: 38:12

Yes. So this is the uh this is the first song on the track. Um sorry, on the on the EP. Um this is one that I felt like was a very nice way to kind of set the tone of the EP. It starts out, the first half is I think more intimate, more sparse, and I think hopefully draws you into the story a bit, and then it builds and builds, and suddenly you're you're kind of hit with this um just more bombastic, climactic. There's this there's this break where it's like there's like a snap, you know? Um and I feel like I said, I feel like that like sets the tone for for what I wanted for this to be. It's like you are gonna be drawn into story, you're there's gonna be some surprises, there's gonna be like big builds, there's gonna be again this like climactic, huge grandeur or anger, you know, and then it's gonna come back away and pull back into like this mist, you know.

SPEAKER_00: 39:13

Yeah, I think this one was this was probably the closest to and maybe why it's the first one. So like kind of more of a love song of the ones instead of the range of emotions I think we get from some of these other songs. So um, and I love the the call and repeat part kind of in the middle. I thought that was really well done and and kind of starts to kind of pick things up a little bit. It's really it's really interesting, and I'm and I'm glad it's kind of the first track because I think it works well, especially as you go through these other tracks, because it really is. Did you set out to create sort of a because nowadays I feel like artists are just putting out one song? And I kind of love when artists are like, I'm putting together an album or a beginning and a middle and an end, which this felt like, but I don't want to make any assumptions. So so did you kind of seek to do that a little bit?

SPEAKER_02: 40:06

That is 100% what I saw to do it. I'm actually so glad that's like the first thing you're saying about. I'm like, okay, good, someone gets it, you know. You know, um that's that's relieving for me to hear. Yeah, 100%. I, you know, again, this this is this is the actor in me, this is the writer in me. Like I'm very drawn to story, you know, I'm very drawn to an an arc, you know. Um and and like you said to speak, like it is an arc of beginning, middle, and end. And this CP to me is really giving you spoiler I've been said this anything before, but it's really like I consider it like half of my first album. Like it's so this this is kind of it's setting the tone, it's establishing some like motifs like lyrically. There there's that is something I'm kind of pulling from like the world of like maybe like a stage player or something, or or yeah, like act one. Yeah, exactly. Is like there there's kind of certain recurring um characters in a way or metaphors, there's like certain lyrical elements that that you will see throughout and that I think become clearer when the rest of the songs are out. I I think it it builds enough of the the world right now that you're you're kind of seeing you're seeing the shape of it from the CP, but I feel like when the other half is out, you'll go, oh, this is the world he's built. You know, so but all that to say, yes, it was very intentional that like I am I'm very much trying to build an experience in the world and and not just an experience, I feel like that like an experience sounds very corporate to me, you know.

SPEAKER_00: 41:30

Like I say this because like I I we're gonna launch a soda along with the CP.

SPEAKER_02: 41:37

Yeah, exactly, exactly. Um I say this as a person who's spent plenty of time like catering in restaurants, like doing fine dining, and you just always to them, we are building an experience for our guests. And it's like, dude, you're making fucking food. Like, you know, like they're gonna sit down and have dinner, and you don't need to like all the buzzwords.

SPEAKER_01: 41:58

So this I don't mean that in the buzzword sentence.

SPEAKER_00: 42:00

They can't they can't price it as high if they don't call it an experience, right?

SPEAKER_01: 42:03

Right, exactly.

SPEAKER_02: 42:04

So I I I wasn't trying to do that to get listeners, I was doing that because it was just sincerely what I wanted to do is is is to build this world, you know.

SPEAKER_00: 42:11

No, I I think it's cool, and I don't think enough artists do that nowadays. And I very much, you know, uh longtime listeners of this show will know I'm a I'm a massive Bruce Springsteen fan, and that's what that's what Springsteen did with a lot of his albums. Um I always call out Tunnel of Love, which was the follow-up to Born in the USA, which is very much like the beginning, middle, and end of a relationship, right? And it kind of takes you through from, and that's you know, like a 12-song album that that he did, and it was a completely different direction from Born in the USA, which is which is not that, right? Right. Um, but it was very intentional in that sense. And so I don't know, I I love it when artists do that, and I love listening to whole albums like that. And so I I just thought it was cool, and I was like, well, I I hope that was the intent. Either way, I'm gonna listen to it this way, you know.

SPEAKER_01: 42:58

Well, great, great. No, like I said, message received. I'm I'm perfect, perfect, thank God.

SPEAKER_00: 43:05

All right, so continuing on, okay, track 10 here, your second song from Yuri Pete, it is The Lovers.

SPEAKER_05: 43:12

But if I could pull the dirt from the ground And spin us to go I'd weave you shiny And if I'm the bee of my heart sign I would give you my love You could wear it like a cry Yes Um so you were speaking of like uh wildfires being a romantic love song.

SPEAKER_02: 44:00

This this one is is certainly the most romantic one on the ch on the EP. You know, a lot of my other ones are are quite angsty, you know, for for lack of a better word. Um but this one and this one uh if we actually get into the lyrics, it it's it gets there. But um this came about when I was kind of in the middle of, I'd just say like a very unfulfilling relationship, you know. And talking about songwriting before, like coming from like this quiet place for me where it's very private, and it's like stuff just kind of comes out. This kind of emerged like as a very private moment in that time. And I think it was in retrospect, it's like, oh, this is me like really like wanting something like beautiful and true and deep and like that feels faded, you know what I mean? Because what I'm in right now is is certainly not that, you know. Um so this song itself is uh kind of a story in three acts too. It it it kind of uh represents like a relationship over the course of a lifetime, basically. Um I wanted to have kind of like a timeless feel, like you don't know if this is happening in the fucking 1500s or you know, now or the future or when. Um and so the first verse and chorus is kind of like they call it unrequited love and like kind of like childlike yearning, you know, adolescent yearning, you know. And then the next verse and chorus kind of represent like uh I guess like the consummation of that love, you know, it's it's it's coming together, basically. Um uh and then the the bridge to me is really which is like where the strings come in, and that's Rob Moose Plan, who's the the violinist for like Phoebe Bridgers and everyone. He's my favorite musician of the planet, and I'm so so glad he was gamed for my to work on my stuff. Um but so where the strings kind of take over there, that to me like really represents like the passage of time, aging, basically. And then the last one is because I can't write a I can't just write a happy song, it's gotta be sad. It kind of represents like the death of the lover, you know what I mean? Yeah, um but it's but it's it's all uh packaged in this kind of wistful thing. So I I don't necessarily need someone to listen to it and go, oh, I get this story, you know what I mean? It's not like a a book report or something, but yeah, yeah. Um but that was the inspiration with it.

SPEAKER_00: 46:20

Well, you know, and it's interesting to hear you describe it as unfulfilling because the word that I kind of hooked onto in this was if you wrote these like kind of beautiful lines and then it was like if, and I was like, Well, that's interesting. I wonder if this is like this isn't actually going on. Yeah, and so that's so if you take away that word or you overlook it, it is like you said, it's a kind of a straight-ahead, like very like love song, and kind of tells a story, and obviously, you know, it gets a little more emotional there at the end, but uh it's it was that word that kind of I stuck to, and I was like, I don't know if this is as happy a relationship as we think. And so hearing you say it was uh born of this unfulfilling relationship, I was like, ah, that's it, that's it, I knew it. That's so that's so fun.

SPEAKER_02: 47:07

I I love I've you know, I've never heard someone pick up on that. I think you're you're so right, it really is. It's like, oh god, yeah, the if is really what makes this whole thing a fantasy, you know?

SPEAKER_00: 47:16

Yeah, it's aspirational, like you're in this, you're in this relation. You're obviously in this relationship, the character in the song, but I'm like, right, it's not it's not great. It's a there's a little bit, there's something off here. And so you say it was born of this unfulfilling relation. I don't know. I think good job. Totally. I mean, really. Thank you.

SPEAKER_02: 47:35

Thank you. It's good writing. Thank you. I I will say too, because that kind of makes me think, um I feel like there is something, there is there's kind of this element of like fantasy and myth in a lot of my music. I guess that's what I'm trying to say. Um and I'm tapping into that. And this one has some of those like lyrical elements, but there will be even more you know, motifs, uh lyrical motifs that that I do think tie very much into this like feeling of powerlessness and wrestling with fate in a way. So but uh which I feel like the the this song starts to get at a little bit, in that the story of the song is a person who feels especially in that first verse, you hear it, um, like implying this person doesn't have the facility to actually make this this relationship with this person work. Yeah, you know, um it's like if I could do these things for you, if I possibly could, but I am so powerless against fate and time and the odds and the gods, everything. And so I all have to say, I think that is an element that is present. You'll see more of that in my music.

SPEAKER_00: 48:42

Very cool, very cool. All right, track 11, and this is the track that I think was initially sent to us that I was like, I've got to talk to this person. This is this is fable. This is Babble. Talk to me about this one.

SPEAKER_02: 49:46

This one is very much about, I'd say, shame. You know, it's about like shame, infidelity, pride, uh self-loathing. Ugh. Um but i it came from a place in my life when I I was just very lost, not proud of myself, um, and I had these huge, huge feelings. You know what I mean? Like I don't mean to like make fun of that, but um I guess I am making fun of it. Um But all I had to say, I I was writing guitar, and this the kind of that intro part just came out on its own, and it was like, okay, I have to do something with this, and then I think writing is kind of like becomes my diary in a way, and then then some of the poetic language becomes a way to hide what I'm really feeling or what I'm really trying to say. But I think this was this was just very much a reflection of that time. Um, and so it's just kind of like if you haven't listened to it, it's it's like I said, it's about infidelity and pride and regret and shame, but it's kind of taken to this like Macbethian level of grandeur and darkness, you know, it just keeps building and building and building, and it's uh it's really about like the destruction of self, you know.

SPEAKER_00: 50:55

So when you are this is my question, yeah, and maybe this is the actor in you that makes this happen, but when you're recording a song like this, like in the studio, because I imagine performing it live, you you can feed off the crowd a little bit or something like that. But sure, when you're in the studio and trying to record something like this, and to me, listening to it, it feels so emotional. And you know, your voice is going to these different places. When you're just in the studio recording this, how do you do that multiple times? Or was this one take and this is how you did it?

SPEAKER_02: 51:28

No, God, this this was so I'll be honest, this one in the lovers were so hard to record. Funny enough. They like like you're saying it's like it's it sounds like it could be one take type thing. That's what I I I set out for, you know, but I kept trying to do that, and it just wasn't it goes so many places, the tempos change, all these things. It's like how do if I were just doing it alone, I could, you know, but once you want to add these other elements, you really need more structure in there, you know. Um, but so all I had to say, it was a fucking beast to record. It really was. It was it was probably uh like a year and a half working on this song, and and I'm gonna mention lovers with it too, like where I feel like I spent 70% of my time at the EP, like working on these two things, just chiseling away, adjusting the teming, the timing, the tempo, all these things, and then redoing vocal takes that new tempo, um, like trying so many different harmonies and and versions of it, like and also like even the the vocal delivery, like you said, it's so emotional, but it took me a long time to find that. I think this was the song I was actually most scared of when I first started recording this EP. It's it's one that I sent to the uh producers who were co-producing this with me as like one of it was an option, but it was one I thought they wouldn't pick, and then they were like, you have to do this one. I was like, Oh shit.

SPEAKER_01: 52:49

You know what I mean? It was kind of that moment.

SPEAKER_00: 52:52

Yeah, like I think it's it's a it's a great song, but I think also I'm sitting there listening to it, like, how do you do something like this, right? Like that was so like and so it is interesting to hear. Do you find yourself? Because obviously this is a really personal story for you, yeah, but in that journey where you're talking about it took you a year plus to put this together, right? Are you finding new emotions from that same event during that time?

SPEAKER_02: 53:17

100%. And it and it becomes about more than just that one event, you know, and that's what I kind of realized too, looking back, is like it's this wasn't just about that one event, you know. This was about so much more. Um, and and so it's like, okay, this song actually has come to mean much more to me uh in that time. And I feel like this is a song that will probably change with me through life, you know. Yeah. Um but yeah, I mean, like you were talking about like uh you say a year and a half, so I that's how long it took me to produce it. Like I wrote this thing like five years ago or six years. It's one of the first songs I ever wrote, you know what I mean? Um like I don't know how that happened, you know. Um but but it did, and so like I said, I was so scared of it, and it was something that like it took me so long to even figure out how to sing what I'd written.

SPEAKER_00: 54:04

Yeah.

SPEAKER_02: 54:05

Yeah, not not only in the production of it, like getting all that right, but it was like, okay, now how do I actually build this arc out? Because I think before I was when I first started writing, it was like I was well, I didn't have the chorus at first, it was like just the verse and the pre-chorse or kind of the song. But it's missing something. It's I kind of thought the pre-course was the chorus. Yeah. The why am I so fickle in love part? And it's like, no, there's we have to arrive to something here. And eventually that that that took like three years for that part to come out. But when I first started doing it, I was just like just belting it the entire time. And I'm like, well, this isn't I don't want to listen to just me yelling this long. You know what I mean? It's not that's not pulling you in, that's not the story, that's not taking you to emotional places, you know.

SPEAKER_00: 54:45

Totally, totally agree. I think that's really, really cool to see the evolution because again, it feels complex while while you're listening to it, right? And so it's really interesting to hear that story behind it. Now, speaking of like, because you said you wrote this five years ago, it took you like, you know, it all kind of came out, then it's like, how's this translate? Your last track, and this is the last track on the EP after the snow. This one felt like bad night with your partner, and this is the result of that. Is that where this came from? Or talk about this one? Yes, I'd say uh many bad nights, you know.

SPEAKER_02: 56:02

Respectfully, you know, I uh still still love this person dearly, genuinely, um, and I care about them very much. But uh yeah, the you know, it's funny. This is one that actually came about in a weird way. It was uh so uh a movie I had done uh called The Mystery of Her. Um this is like five also five years ago or something, but uh the director and I like really hit it off and we kind of started working on another project, like something about a singer-songwriter, basically, that it never fully took root, but I actually wrote this song for that, for this character in it. Oh wow. Which which you you know you never hear that and go, oh, this this isn't him, this isn't his perspective. But in retrospect, I'm like okay, I was using that as a way to to just write about what I was really feeling and give myself permission to go to a place lyrically, emotionally, melodically, everything that I I maybe wouldn't have otherwise. And and as a result, this song that's kind of so fucking big, you know, yeah came out of that. Whereas otherwise I'd I I may have just if I wasn't given that opportunity, I I may have been writing quieter things, you know, but it just this one just builds and builds and builds and gets more grand and epic and yeah.

SPEAKER_00: 57:23

That's really cool. No, I I love the genesis of that because again, I think people are gonna this is like a perfect song for like kind of post-fight with in a relationship, right? Like this is all the emotions of something like that. Um so it's it's really well done, but I think that's really cool how it kind of you're right, kind of channeled through this this character. I mean, that's that's so often, I think, what I you know, I tell people all the time when they're kind of learning, when they're scared of public speaking, right? I kind of tell them, like, well, just go up there and pretend you're someone else. Yeah, play a character, right? And I know like that I'm not trying to say acting is easy or anything like that. Like, you don't have to be a good actor. I'm just saying, like, give yourself the courage by just pretending you're not even yourself, like you're this other person. And so I think when you said that, that's immediately what popped into my head is like, yes, it's it's just play that character, but yes, all the personal stuff will come out through that.

SPEAKER_02: 58:22

Exactly. You've nailed it completely. Yeah. And I th I think that's been on that note, that's actually been a huge gateway with the CP just into music for me, is because acting is so like my dad once said to me, he's like, I feel like you'll go, you'll go act anywhere, any time. Like someone hands you a script, you'll go bust it right there, but you will not go sing at any time. You're so like protective over that. And I was like, You're right. And I've I thought I've still grappled it for a long time. It's it's it's a much more private thing to me, basically. Yeah. But so acting is so comfortable for me, and and becoming something else is very comfortable for me. That you're so right. It it's been this gateway for me to to sneak in, you know? Yeah. Um and that's something that that's uh I think uh true of the EP and and eventually the greater album as a whole. You know, I talk again about these like story motifs and lyrical motifs and things, and it's like I do think in retrospect, I was moved by those ideas and am moved by those ideas, but I also think it was like kind of a a way for me to sneak in. It's like, okay, it isn't about me, this is about the moon, you know, and this is about these figures that control our fates or something as opposed to me. I don't I don't have to fully step into exposure in a way, right?

SPEAKER_00: 59:45

That is so cool. Um well man, thank you so much for coming on the show. Um the EP is called Till the Moon Fades Away. It comes out November 21st. Um, so you're gonna want to go and check that out. And also, uh, you've got the Hulu, is it a show or a movie? The Murdoch Death.

SPEAKER_02: 1:00:02

Yeah, it's it's a miniseries. It's a miniseries, okay. Yeah, Murdoch Death and the Family. It's out, I think right now the first three episodes are out. I've got this this one, I've got a very small part in, but I think it's memorable. Um, but yeah, yeah, go check it out. It's I mean, it's a really cool show if you're in a true crime, then I'm sure you probably already know about it.

SPEAKER_00: 1:00:18

Excellent. Yes. Yeah, no, I definitely think it'll be on my wife's watch list for sure. Uh so I'll I'll be checking it out as well. So where uh and then where can people find more about you, whether it's your music or where you're acting or anything like that.

SPEAKER_02: 1:00:34

Yeah, I mean Instagram is probably the best place. I am at It's Winter Andrews. I have like a few things on TikTok and I will very shortly be having a lot more. I've been so busy this year. Like I did a movie in Murdoch and finishing my EP and now it's like, okay, now I finally have time to like go and you know do the the the reels and the tick, you know, all the all the social media things that I've been yeah hiding from, you know.

SPEAKER_00: 1:01:00

Awesome. All right. Well everybody go and follow him and check out the EP when that comes out we'll be sure to uh get links to everything in the show notes and uh get the word out there as much as we can to support you and uh maybe we'll have you back on once the full album comes back on.

SPEAKER_02: 1:01:16

I would love that. Thank you so much Matt this is great.

SPEAKER_00: 1:01:18

No, thank you. And so we'll get to work on our next mix. So for winter this is Matt and we'll see you next time