Vollständiges Transkript von WASTOIDS With...Limbeck

--> 00:05:17.279 M. 00:05:17.759 --> 00:05:23.279 And we smartly changed it because it ended up being a really Googleable band name in the end. 00:05:23.519 --> 00:05:26.000 And that's what world, that's what you want. 00:05:26.240 --> 00:05:29.519 That's why we achieved such great success as a band. 00:05:30.240 --> 00:05:35.600 So uh you usurped the original men verse and were able to take over the band. 00:05:35.920 --> 00:05:39.360 Yes, yes, we did fully push them out a whole takeover. 00:05:40.079 --> 00:05:44.879 Was it a hostile takeover, or was it just kind of like, oh, things are going on, we're gonna move this in a different direction? 00:05:45.199 --> 00:05:46.959 Yeah, it was not us. 00:05:47.279 --> 00:05:48.000 It was not us. 00:05:48.160 --> 00:05:50.399 Okay, it didn't have anything to do with us. 00:05:50.560 --> 00:05:51.519 What, the takeover? 00:05:51.759 --> 00:05:53.439 We were just the only ones left. 00:05:54.879 --> 00:05:56.800 You mean as as where we are now? 00:05:57.040 --> 00:05:57.279 Yeah. 00:05:57.439 --> 00:05:58.240 Yeah, okay, yeah, yeah. 00:05:58.399 --> 00:06:00.000 No, I'm just saying it wasn't a hostile takeover. 00:06:00.240 --> 00:06:00.800 Oh, for sure. 00:06:00.879 --> 00:06:00.959 Right. 00:06:01.199 --> 00:06:02.319 We're pretty friendly. 00:06:02.639 --> 00:06:10.959 Rob joined, and then Rob and I were playing uh together in high school, like just a uh fun high school band that let us get out of class. 00:06:11.040 --> 00:06:11.360 Yeah. 00:06:11.600 --> 00:06:19.120 Um and we uh Rob That's how I like knew that's how I knew Patrick had some chops. 00:06:19.439 --> 00:06:27.360 Yeah, and we we like did harmonies and played guitar with each other in the last band, so he's like, Oh, I'll add it'd be fun if Patrick was in this band. 00:06:27.519 --> 00:06:27.680 Yeah. 00:06:27.839 --> 00:06:29.040 So then I joined Limbeck. 00:06:29.199 --> 00:06:59.600 Oh, because because the original the original songwriter left, and that left me as the new songwriter, and we were looking to fill the fourth, because I was the fourth spot when I joined, and then we still wanted to have four people, so yeah, when well there was another guy named Tom that was in the band for a while, and then and then and that we had none none and nothing to do with any of this, but then uh when he left or was kicked out or whatever happened, um, which we didn't do, is when we needed to fill the fourth spot and we got. 00:07:00.800 --> 00:07:04.480 I'm so glad we met when we were kids. 00:07:07.040 --> 00:07:10.879 And I'm so glad you never moved away. 00:07:13.759 --> 00:07:16.079 You can always stay. 00:07:17.199 --> 00:07:19.040 Never be away. 00:07:20.399 --> 00:07:31.120 You guys have very in a non-hostile way taken over the band Limbeck, and now you're forming new members around it, um, around you two, Patrick and Rob. 00:07:31.439 --> 00:07:48.399 Um, I'm curious, knowing your peers um and the different bands that you've toured with

and different bands that you've played with, I'm wondering how what I view as a pretty distinctive limbec sound originated. 00:07:48.480 --> 00:08:08.879 Like, how much of a decision was that that we're not going to go in a in kind of the the punkier, like emo-y realm that it seems like a lot of your friends' bands were playing in, and instead roll up with some very like almost for lack of a better word off the top of my head, like some indie American twang to a certain degree. 00:08:09.040 --> 00:08:10.800 Like, how much of a decision was that? 00:08:10.959 --> 00:08:14.879 Like, let's let's do this, let's pivot to this when everyone else is doing that. 00:08:15.120 --> 00:08:18.240 First, I have to disclaim that we are totally there in both of those places. 00:08:18.480 --> 00:08:25.680 Our first demo tape sounded like Green Day, and our second demo tape sounded like we didn't release it because of how it sounded, I think. 00:08:26.000 --> 00:08:33.120 No, maybe maybe we didn't think we might have recorded it with high-speed dubbing, but I don't think we officially right in that pocket of emo. 00:08:33.519 --> 00:08:34.480 Emo, but not very good. 00:08:34.720 --> 00:08:35.519 Yeah, really terrible. 00:08:35.840 --> 00:08:40.240 And then our first record was was still sort of emo pop punk emo-ish. 00:08:40.480 --> 00:08:40.799 Yeah. 00:08:40.960 --> 00:08:50.000 And um, but then uh I I always say that it's because I lost my CD book and I started buying records from the thrift store, which is true. 00:08:50.240 --> 00:08:52.720 I don't know if that's really the reason that the sound changed. 00:08:52.879 --> 00:09:01.200 I feel like the thing that really happened was um I wrote the song Brand New Orange, and I was like, this sounds like country music to me. 00:09:01.360 --> 00:09:02.799 Should I be embarrassed about this? 00:09:02.960 --> 00:09:10.799 Yeah, and I sort of uh decided to try not being embarrassed about it, and I showed it to everybody else, and they were okay with it. 00:09:10.960 --> 00:09:12.559 So we sort of tested the water. 00:09:12.720 --> 00:09:14.320 That's how I sort of remember it. 00:09:14.559 --> 00:09:25.120 Well, I and then we and then we did that little EP that was the uh with Ray, our friend Rachel, who ended up singing on a bunch of our records. 00:09:25.360 --> 00:09:30.799 Uh Rob and her split a little EP that wasn't under Limbeck, it was just like Robb. 00:09:31.039 --> 00:09:33.440 She's me and Rachel and Rachel and then Patrick was on it. 00:09:33.519 --> 00:09:36.159 Yeah, and I played guitar on it, and it sounded much more focused on the other. 00:09:36.320 --> 00:09:39.679 That was like Ohio and Brand New Orange, yeah, and something else. 00:09:40.000 --> 00:09:51.679 Kind of the where those songs came out, and then I guess we were like, well, shit, let's make these Limbeck songs, and start there started that direction for us, you know. 00:09:51.840 --> 00:09:52.399 Yeah, yeah. 00:09:52.559 --> 00:10:01.519

And I would say, I would say also just as another little point in there in the shift was uh going out to Lawrence or Eudora, Kansas. 00:10:01.600 --> 00:10:01.840 Yeah. 00:10:02.080 --> 00:10:10.480 We we made that that like weird middle space gray area record with Ed Rose um at what was then Red House uh studio. 00:10:10.799 --> 00:10:12.639 Learned about a lot of cool music during that record. 00:10:12.960 --> 00:10:13.120 Yeah. 00:10:13.279 --> 00:10:15.360 I wished that we were making stuff like that. 00:10:15.679 --> 00:10:20.480 Yeah, like midwest, kind of more Midwestern kind of guitar Americana stuff. 00:10:20.639 --> 00:10:23.600 And he and I think he just kind of put that in our ear. 00:10:23.759 --> 00:10:36.159 And then next thing you know, I think maybe it was a year or so later that we came back to do demos to kind of like, I mean, that you know, it was a different time of music, but we were making demos to try to get a record deal. 00:10:36.320 --> 00:10:36.559 Yeah. 00:10:36.720 --> 00:10:38.879 Uh so we went out there and did an EP with him. 00:10:39.200 --> 00:10:41.120 We still hadn't really changed our sound though. 00:10:41.200 --> 00:10:42.159 Those demos were still. 00:10:42.799 --> 00:10:45.279 But it but it was we were on the way, yeah. 00:10:45.360 --> 00:11:00.559 We're on the we're on the way, and and we made a little five-song uh demo EP, and and and uh got a max copy of Maxim Rock'n'Roll and a copy of um I don't know what like more indie zine we would have had. 00:11:00.879 --> 00:11:01.360 When? 00:11:01.600 --> 00:11:04.799 Like we know we were we were sending we were sending CDs to record labels. 00:11:04.879 --> 00:11:05.919 That's how you did that's how you did our. 00:11:13.360 --> 00:11:14.159 We sent them all over the place. 00:11:14.399 --> 00:11:14.559 Jade. 00:11:15.039 --> 00:11:16.240 We even sent one to Victory. 00:11:16.399 --> 00:11:18.399 Yeah, we didn't have the wrong label to send it to. 00:11:18.879 --> 00:11:19.120 Totally. 00:11:19.279 --> 00:11:41.759 And we got a we got a lot of uh got a lot of non-answers, and we got some uh some turned down letters and then doghouse records, uh really because we we we put kind of a thing with our band through the whole through our history and our current days, just kind of attention to detail, making sure that our our our aesthetic decisions like you know hit and make sense. 00:11:42.000 --> 00:11:50.399 Yeah, we we did a little screen print uh packaging and made this cool package because that's how you got music out in that day, you know. 00:11:50.559 --> 00:12:11.200 So uh to have our thing kind of pop amongst the noise um visually and odd audi odd oddly secondary auditorily where's the word um sonically, sonically, sonically, yep. 00:12:12.000 --> 00:12:13.440 So uh my bad. 00:12:13.679 --> 00:12:22.720 Um so yeah, uh they they were like, oh, this is this sounds interesting uh for where they were at, and they had a kind of a history of you know, Chamberlain. 00:12:22.799 --> 00:12:33.440 I think Chamberlain was maybe on the record label before us putting out records, and they had some some projects that were kind of more in that space, I don't know, and saw something in us. 00:12:33.519 --> 00:12:42.559 So then they came out and um we I'd say though, I think that High Everything's Great was a surprise to them. 00:12:42.960 --> 00:12:55.200 Like because the the demos that we shopped to them had a much different I mean we were starting starting maybe but this whole process was slow, and also High Everything's Great is not a country record at all. 00:12:55.360 --> 00:12:55.679 I'm not saying that's a good thing. 00:12:56.960 --> 00:13:10.000 I'm not saying it is I think maybe they just uh saw something, you know, a weird, somewhat unique take on it, take on, you know, indie slash yeah, totally, yeah. 00:13:10.480 --> 00:13:35.440 Yeah, it's like um here I'm about to tell you guys what what I think that record is, but I mean it's sound it's because you're right, it's not country, but there's there was like for at that point in time a very almost like refreshingly country sound to it to when um when I first heard the record, it was played for me, I believe it was mutual friend Huxh who played it for me. 00:13:35.600 --> 00:13:51.919 Um and I just assumed that this was a band from Lawrence, Kansas, from that scene that was happening there, or a band from Iowa or Nebraska, and I was blown away that um it was probably my space at that point or something, where it was just like these guys are from Southern California. 00:13:52.159 --> 00:13:53.440 I did not see that coming. 00:13:53.600 --> 00:13:56.320 Um so that that was very fascinating to me. 00:13:56.559 --> 00:14:03.759 Um pivoting to um the fact that you guys have been a band for so long. 00:14:04.399 --> 00:14:30.080 Um who twenty twenty years as a band, nineteen years as a band, um is a very long time to be a band, but it's it's an even longer time to be a human being in a sense, you know, and thinking of all of the different life things that happen in 20 years of existing on this planet, who were you guys then um at that point in time? 00:14:30.720 --> 00:14:32.320 It was probably your early 20s? 00:14:32.559 --> 00:14:34.399 Like what what person were you then? 00:14:34.720 --> 00:14:39.600 I think about that a lot and um and I feel like I was I'm not that's not me. 00:14:40.000 --> 00:14:42.480 Like I'm so different in many ways. 00:14:42.879 --> 00:14:48.639 I'm probably mostly the same, but but I just really like also I don't want to go back there. 00:14:48.799 --> 00:14:53.440 Like I I feel like I just don't even know if I'd recognize myself. 00:14:53.600 --> 00:14:55.600 Yeah if if we could meet up. 00:14:56.000 --> 00:15:02.000 Yeah, I I can't help but but just feeling like a like jaded but not I don't know like you're jaded now. 00:15:02.080 --> 00:15:03.039 Yeah, like I'm jaded. 00:15:03.279 --> 00:15:10.879 I was so much more

um wild-eyed and like thinking things the thinking things were a possibility. 00:15:11.200 --> 00:15:11.440 True. 00:15:11.600 --> 00:15:31.519 And yeah, like also, but the on the on the f I mean the same token I guess, but um if my answer sounded pessimistic, the other thing, the flip side of that is that at at that age, you didn't you hadn't tried enough stuff to know not to try them. 00:15:31.759 --> 00:15:32.159 Right. 00:15:32.720 --> 00:15:38.559 And uh uh and and that was like a real that that being naive is such a beautiful thing. 00:15:38.639 --> 00:15:38.879 Yeah. 00:15:39.039 --> 00:15:48.799 Like some like like I like to record music and some of the first recordings I ever did when I didn't know anything were way better than everything I did for the next 10 years until I finally got sort of a clue. 00:15:49.039 --> 00:15:49.440 Yeah. 00:15:49.840 --> 00:15:57.039 I guess that's where I I like now I'm jealous of that naive naivety that I had. 00:15:57.360 --> 00:16:01.200 I was gonna try to say that word, but I was like, I I can't get that out of my mouth right now for some reason. 00:16:01.519 --> 00:16:02.000 Yeah, totally. 00:16:02.159 --> 00:16:04.000 Yeah, I think that was charming. 00:16:04.240 --> 00:16:11.759 Uh and probably a good thing for us being uh young dudes playing music and traveling around. 00:16:12.720 --> 00:16:28.240 From cult horror and sci-fi to B-movies platterfest, to underground music documentaries, concert films, public access shows, indie label showcases and original programs, Nightflight Plus is the coolest place online for weird and riveting viewing. 00:16:28.320 --> 00:16:31.919 Right now, Wastetoids listeners can get$10 off an annual membership. 00:16:32.080 --> 00:16:36.000 That means access to Nightflight's library for only$29.99 a year. 00:16:36.159 --> 00:16:42.639 Head to www.nightflightplusk.com backslash promo code and enter WasteOits and Alcat. 00:16:43.360 --> 00:16:46.399 That's W-A-S-T-O-I-D-S. 00:16:46.960 --> 00:16:53.360 Enter promo code Wastetoids at nightflightflux.com backslash promo code and get back in the days. 00:16:56.639 --> 00:17:06.079 Yeah, there's a like a level of earnestness to it, like blind earnestness, where it's like, hell yeah, we're gonna shop all these labels and we're gonna send a demo to Sub Pop. 00:17:06.160 --> 00:17:07.759 Of course, Sub Pop's gonna love our shit. 00:17:08.079 --> 00:17:08.240 Right. 00:17:08.559 --> 00:17:21.920 Um But like it's I think it's kind of that that sort of like young, wild-eyed, um I don't know, the way that we operate when we're younger that allows bands to kind of thrive in that moment. 00:17:22.079 --> 00:17:45.839 I mean, obviously lots of bands don't get record deals and make fantastic records, but there's a drive there when you're younger that like you said, or I forget one which one of you said it, but um, but you get older, you get a little bit a little less jaded, a little bit less of a chip on your shoulder, and um and maybe

wouldn't go so headfirst into like full-time music. 00:17:46.160 --> 00:18:04.880 Yeah, I I I sort of feel it coming full circle though, because I I spent 10 years, I think, about or maybe a little bit more learning what I don't want to do because I was embarrassed by something that is said in the lyrics, or or like I just didn't like a song or the way that I that we recorded it or whatever. 00:18:05.039 --> 00:18:11.200 And so it kind of like kept knocking me down until there was a point where I felt like I couldn't write any songs because I didn't want to put anything out there. 00:18:11.359 --> 00:18:11.599 Yeah. 00:18:11.759 --> 00:18:19.039 But then the more time has gone by and the older I get, like you just the reason old people are so grouchy is because they don't care what anyone thinks about them. 00:18:19.279 --> 00:18:21.839 And so I'm sort of getting I'm not gonna be one of those people. 00:18:21.920 --> 00:18:33.680 I'm gonna try really hard not to, but I well no, I think that's a good point, is that it it and then now you get to where we are now, where actually I feel like we've done more in the last couple years than we have in a decade, maybe. 00:18:34.000 --> 00:18:43.039 I feel like the floodgates have opened now because I there's nothing on the line, and there's there's no reason for me to like be embarrassed about anything anymore. 00:18:43.119 --> 00:18:44.079 Almost, almost no reason. 00:18:44.319 --> 00:18:50.480 But then, and then also I feel like the appreciation of all like the young work that we did, yeah. 00:18:51.759 --> 00:18:53.680 We can't just drop that. 00:18:53.839 --> 00:19:00.559 Like now we have this excuse to travel and still do that in some form, albeit a different form than it was. 00:19:00.640 --> 00:19:04.400 Yeah, but it's it's it's beautiful, yeah, it's really cool. 00:19:04.720 --> 00:19:23.920 Yeah, it allowed you to come full circle because I was gonna ask if um Rob, you're talking about I'd if you ever got to meet who you were then, and does that lead to any I guess um we're not always proud of the songs we write when we're in our early 20s. 00:19:24.160 --> 00:19:28.400 Um so how do you contend with still singing those songs today? 00:19:28.799 --> 00:19:38.880 I like it a lot more because I I feel like what I'm sort of realizing like with the the more time between writing those songs is like at the time I wrote them I loved them. 00:19:39.039 --> 00:19:39.200 Yeah. 00:19:39.440 --> 00:19:44.000 Which is the it's nice that you record the record with the songs right away because you love them when you make the record. 00:19:44.160 --> 00:19:48.000 Then you play them for a while, you actually get better at playing them, and that's when you should have made the record. 00:19:48.160 --> 00:19:48.240 Yeah. 00:19:48.559 --> 00:19:59.759 But then you start to get bored of them, or you've had more it depends on who you play with, but sometimes we played with so many different types of bands that some nights I would love our songs and some nights I'd hate them. 00:19:59.839 --> 00:19:59.920 Right. 00:20:00.000 --> 00:20:00.160 Yeah. 00:20:00.400 --> 00:20:05.519 Because I'd be like just sort of not wanting to be an oddball on the bill. 00:20:05.759 --> 00:20:05.920 Yeah. 00:20:06.079 --> 00:20:07.039 Like, why didn't we do it like that? 00:20:07.359 --> 00:20:13.839 Yeah, so I would have there's phases of our band where I did not like the music we were doing so much. 00:20:14.480 --> 00:20:18.400 But now that I look back and I'm like, I want to be that band again sometimes. 00:20:18.640 --> 00:20:21.359 Like the ha the earlier uh Limbeck. 00:20:22.000 --> 00:20:25.920 But like I I wanna it just it's just it it changes every day for me. 00:20:26.079 --> 00:20:31.839 Yeah, but so now in hindsight I'm I'm learning to appreciate the songs that I used to sort of like dread playing. 00:20:32.160 --> 00:20:34.079 Yeah, that's awesome. 00:20:34.799 --> 00:20:35.599 Full circle. 00:20:35.839 --> 00:20:36.559 Full circle. 00:20:37.119 --> 00:20:41.359 You got through that dark period of just hating the music that you wrote at one point. 00:20:41.680 --> 00:20:47.680 It's not hatred, it's just like you know, like like everyone would always want to hear Ohio, and I'd be like, Do we have to play that song? 00:20:47.759 --> 00:20:49.359 I just don't like the way we're doing it right now. 00:20:49.519 --> 00:20:50.079 Oh yeah, yeah. 00:20:50.319 --> 00:20:56.319 And and so we try not to put it on the list, and then there was a time where everyone always did an encore, even for the bands that weren't headlining. 00:20:56.480 --> 00:20:57.200 Yeah, oh that's fine. 00:20:57.279 --> 00:21:03.279 And it was like, oh my god, we just have to put these songs on because we don't want an encore because we don't deserve it. 00:21:03.599 --> 00:21:05.359 We're playing second or whatever. 00:21:05.599 --> 00:21:13.279 But um, but yeah, so now I'm but now I'm like I'm like, I don't care, like why wouldn't I make someone who wants to hear that song happy? 00:21:13.359 --> 00:21:22.240 Like that's that's that's bet I mean that's if whatever they connected to is meaningful you can have it. 00:21:22.319 --> 00:21:24.319 Yeah, and I'm and I'll give it to you gladly. 00:21:24.720 --> 00:21:33.279 And I guess I was I was starting to feel like maybe instead of me being sort of like bored or or embarrassed about playing the song, I could I could just be happy that someone else is happy. 00:21:33.440 --> 00:21:33.599 Yeah. 00:21:33.839 --> 00:21:34.480 If that makes sense. 00:21:34.799 --> 00:21:39.680 But that in turn makes me like the song again, and now I'm like, that's actually a pretty good song. 00:21:40.480 --> 00:21:41.759 Does it take you? 00:21:42.000 --> 00:21:45.759 That song doesn't feel like it you were making up a scenario. 00:21:46.559 --> 00:21:47.920 I'm bad at making up scenarios. 00:21:48.240 --> 00:21:53.200 I've tried to like use current events and stuff to

make music, and I just suck at it. 00:21:53.440 --> 00:21:58.400 I've tried to sometimes I've tried to dip my toe into like being political, and I just can't do it. 00:21:58.559 --> 00:21:59.759 All I can do is tell you something that. 00:22:00.160 --> 00:22:01.119 It just happened. 00:22:02.240 --> 00:22:03.039 Where you're driving? 00:22:03.279 --> 00:22:05.039 Jeremiah Jeremiah went to work. 00:22:09.200 --> 00:22:13.759 Has Limbeck ever stopped being a band? 00:22:14.240 --> 00:22:26.079 I know that there have been times where you weren't active or or weren't, you know, there was a little gap between releases or something, but was there a time where like we are not a band anymore? 00:22:26.240 --> 00:22:30.000 We have no I'd say we haven't even gone on a hiatus. 00:22:30.319 --> 00:22:33.519 We just sort of like that was that was purposeful too. 00:22:34.000 --> 00:22:34.880 Well we went accidentally. 00:22:35.200 --> 00:22:39.359 We did go on a hiatus, you might say, but we didn't ever say Bye for a while, guys. 00:22:39.440 --> 00:22:40.319 We're going on a hiatus. 00:22:40.480 --> 00:22:50.480 Yeah, I we don't need we don't need any hoopla, like no, this is our last like we just thought that was a cheese cheese ball move to be like this is our last tour. 00:22:50.799 --> 00:22:58.480 Right, you know, boo hoo, like come and see us, and it's just like, no, like we kind of slowed down to a crawl, I think. 00:22:58.559 --> 00:23:28.240 That's we we there was a couple tours, and then maybe one that was a little shorter, and then we did a little week-long thing, and yeah, and then it was just like things would pop up as as our lives changed and we got jobs, and you know, there's a while where to real life, but there was a while where I felt like I thought we should have like we should have called something our last show and and sort of like given people a chance to to see us before we stopped playing. 00:23:28.480 --> 00:23:34.480 Um but in in the long run it worked out better because now we could play all the time without calling it a reunion show. 00:23:34.640 --> 00:23:34.880 Yeah. 00:23:35.839 --> 00:23:36.720 That's probably better. 00:23:36.880 --> 00:23:38.480 That makes me feel better about myself. 00:23:38.720 --> 00:23:47.359 I think like I think maybe that might be a different choice for other bands, but I think it's the right choice for just our approach. 00:23:47.680 --> 00:23:50.799 Just because it's just it's it's just like we're no drama band. 00:23:51.039 --> 00:23:52.720 We're no drama, yeah. 00:23:53.440 --> 00:23:55.440 Leave the drama at home, man. 00:23:56.000 --> 00:24:07.440 Um, you mentioned you mentioned getting jobs, which was something that I wanted to talk about because when Limbeck around Hi, Everything's Great, and which is that's gotta be one of the best titles for a record. 00:24:07.599 --> 00:24:08.559 Just I love it. 00:24:08.720 --> 00:24:12.079 Um, but then um the following record was uh Let Me Come Home. 00:24:12.559 --> 00:24:15.839 So were you you were full-time band at that point, full-time music. 00:24:16.160 --> 00:24:18.400 I think it was yeah, full-time gig. 00:24:18.640 --> 00:24:22.000 Because you guys, yeah, I remember you guys just touring constantly. 00:24:22.240 --> 00:24:30.240 Um but then things slowed because you do have jobs, but like Patrick, you mentioned your work at Volcom um as a creative director. 00:24:30.480 --> 00:24:30.960 Art director. 00:24:31.279 --> 00:24:35.359 Art director, and then uh Rob, what occupies your time? 00:24:35.680 --> 00:24:37.039 I'm a software developer now. 00:24:37.279 --> 00:24:37.839 Is that true? 00:24:38.000 --> 00:24:38.720 Yeah, wow. 00:24:38.960 --> 00:24:42.400 I got there via uh being a clerk at the record store, which is really cool. 00:24:42.559 --> 00:24:53.279 Because I I started working at the record store, and then they asked I I knew I knew a little bit about computers, and they asked me to figure out something with the the point of sale system, which is like a database. 00:24:53.440 --> 00:25:06.079 And so I started and I was like, you mean instead of filing records and standing behind the counter and answering questions about bands that I have to pretend I know about, you mean I can go sit in the closet and like dork around on the computer? 00:25:06.319 --> 00:25:07.599 Yeah, and so that's what I did. 00:25:07.680 --> 00:25:20.000 I sat in the storage closet with like products falling on me as I worked and learned how to do the database, and then I was able to like take that education and turn it into a nice like talking point on an interview for a for a software job. 00:25:20.720 --> 00:25:21.599 That's amazing. 00:25:21.839 --> 00:25:36.640 Um the reason why I ask is because your songs on your first two records and even the third, because you know, um, because you guys write how you do, you're in so many different locations. 00:25:36.799 --> 00:25:38.559 It sounds like a band on the road. 00:25:38.640 --> 00:25:45.759 You're in Arizona, you're in you're waking up in downtown Minneapolis, you're over the Colorado River, you're in Ohio on some steps. 00:25:46.480 --> 00:25:52.799 How does now having full-time jobs, software developer or an in-house art director? 00:25:53.039 --> 00:26:05.599 Um, how does that influence your songwriting when you're not on the move all the time, knowing that Limbeck songs are very, you know, all all around the world where like a or not the world but all around the country, you're on the move. 00:26:05.920 --> 00:26:07.839 For a while it made me just not want to write any songs. 00:26:08.079 --> 00:26:10.559 I'm like, I don't actually want to tell people what just happened right now. 00:26:10.720 --> 00:26:11.519 Yeah, yeah. 00:26:11.599 --> 00:26:12.799 So not very exciting. 00:26:13.119 --> 00:26:20.720 So do you feel so then is there this pressure to go into a previous headspace when you were kind of more itinerant? 00:26:20.960 --> 00:26:23.599

I've done that occasionally, but that's not really where I go. 00:26:23.839 --> 00:26:26.799 I feel like I've started using more metaphors. 00:26:27.599 --> 00:26:31.039 Um and I for a while I would just talk about my cat. 00:26:31.440 --> 00:26:36.079 I wrote a lot of songs about my cat when I was getting back in like past my writer's block. 00:26:36.240 --> 00:26:42.240 And then um Patrick bought me uh how to write one song, the book by Jeff Tweedy. 00:26:42.799 --> 00:26:46.240 And he talks a lot about free writing, and I was like, brilliant. 00:26:46.400 --> 00:26:48.880 So I just I I started free writing. 00:26:49.039 --> 00:26:59.839 If I had a song that was starting but wasn't really going anywhere, I would just take whatever like ring or verse that I had and I would write that down and then I would just keep going, and it would it would bring me somewhere else. 00:26:59.920 --> 00:27:09.359 And then I was just sort of like I I don't I don't know if what I what what I it it uh you never know where it's gonna go and you pick some really good stuff out of that free writing. 00:27:09.920 --> 00:27:15.680 How often how often are you involved in the the music part of it? 00:27:15.759 --> 00:27:19.920 Um or not the music part of it, but you know, you're you're sitting down, you're writing, you obviously have a guitar. 00:27:20.000 --> 00:27:25.599 Do you ever roll up with a song or a a situation that you want to have him then put lyrics over? 00:27:26.400 --> 00:27:26.799 Not usually. 00:27:26.880 --> 00:27:32.400 It's more like Rob will have some structures or some loose ideas. 00:27:32.640 --> 00:27:38.160 Either uh either a s pretty close to final idea idea or some parts of an idea. 00:27:38.480 --> 00:27:42.799 We do talk about ideas sometimes before or anything. 00:27:42.880 --> 00:27:46.240 One one time you actually we haven't done this song yet, but it's really good. 00:27:46.559 --> 00:27:52.480 Patrick sent me an idea of a guitar riff that was really awesome, and I came up with some stuff on it that we like. 00:27:52.960 --> 00:27:59.759 But I'd say the where Patrick comes in is like like I can't I I'm not gonna do something by myself. 00:27:59.920 --> 00:28:00.079 Right. 00:28:00.319 --> 00:28:03.599 Like I I just feel like I'm not I don't know. 00:28:03.759 --> 00:28:07.920 It's I I I I don't want to be a a one-man show. 00:28:08.400 --> 00:28:17.440 And I feel like Patrick is the one that like makes sort of like an okay melody turn into a really interesting song. 00:28:17.839 --> 00:28:18.079 Okay. 00:28:18.799 --> 00:28:28.079 How is the current music landscape uh different now from when you guys were starting out as Limbag? 00:28:28.319 --> 00:28:29.279 Oh, it's fucked, Mike. 00:28:29.440 --> 00:29:12.240 I no, I well I I it's I fe I feel fortunate that we had the path that we did because our path going from sending out CDs to record labels, which is not a thing anymore, yeah, uh, to to selling CDs and cassette demo cassette samplers into uh you know vinyl starting to be a thing for us, and then and then it went uh to Napster Land, where that was I think it was it was I was on the fence about being very frustrated with it at times because we play shows and not sell any records, and that that was really hard. 00:29:12.400 --> 00:29:12.720 Yeah. 00:29:13.119 --> 00:29:24.880 But also like in a kind of flip that to being like uh you know, fuck Lars Ulrich, and like that's how people hear about stuff is passing it on. 00:29:25.039 --> 00:29:35.039 Maybe this is a blessing for us to have music travel a little bit more freely because obviously this was pre-streaming, so having our music out there, maybe this will get us more fans. 00:29:35.119 --> 00:29:35.279 Right. 00:29:35.440 --> 00:29:38.079 So I I feel like I flip-flopped in my head all the time. 00:29:38.319 --> 00:29:44.640 I constantly start conversations like a question like you just ask, and be like, man, it just like totally devalues music. 00:29:44.720 --> 00:30:03.200 And it's like like sometimes I feel like music isn't that big of a deal because like we're writing it, but then I think about all the times where I'm like incredibly bummed out, and the only thing that can like get me back to where I need to be is like a record that I really like, and I'm like, actually, music suit is super valuable, even though it's free to everybody now. 00:30:03.440 --> 00:30:09.759 So I start getting in that headspace and like so annoyed that somebody is collecting money on this and it's not the bands, yeah. 00:30:09.920 --> 00:30:15.119 But then I'm like, but that's only really bothering really large bands. 00:30:15.279 --> 00:30:21.440 Like for the rest of us, it's probably way better to get faster exposure and get people to come see you play and buy a shirt. 00:30:21.599 --> 00:30:21.759 Right. 00:30:22.000 --> 00:30:24.319 Because you actually get that money, yeah, yeah, for sure. 00:30:24.480 --> 00:30:35.759 And also, you it seems like your following is so loyal that there's not enough vinyl copies of High Everything's Great out there to satisfy your fan base. 00:30:36.160 --> 00:30:43.359 Yeah, like like I I just looked an hour and a half ago just to see, and like they're on eBay for$99. 00:30:43.920 --> 00:30:44.160 Yeah. 00:30:44.319 --> 00:30:47.279 Um, which is wild,$70 on like discolor. 00:30:47.599 --> 00:30:48.319 That's pretty cool, totally. 00:30:48.400 --> 00:30:50.079 Um what was the username? 00:30:51.440 --> 00:30:54.880 John John underscore G Magic is rad at eBay. 00:30:55.279 --> 00:31:06.480 But I think the the other the other I to you know further that I think I've been more excited, and Rob and I have talked about a lot of these ideas about how how we move forward in in the future on music. 00:31:06.559 --> 00:31:14.880 And we we have this this thing that we did for our like somewhat ongoing side project that we call the Young Dudes. 00:31:14.960 --> 00:31:16.079 Uh oh yeah, I remember that.

00:31:16.480 --> 00:31:17.519 It's kind of whatever. 00:31:17.599 --> 00:31:19.359 I I don't know, uh whatever. 00:31:19.519 --> 00:31:43.039 But we did this thing where big guys bad man we did uh uh screen prints of like a LP cut, like a 12 inch by 12 inch uh art piece, yeah, and had that be kind of like the the the physical the physical existence of the song or the yeah of this EP that we did, and then you know you get the download code when you buy the art. 00:31:43.200 --> 00:32:04.880 Yeah, so I I feel like that's exciting where we could go just because where my head's at, like in like uh being aware of certain artists and stuff, and I think like having Jesse Ledou do our last record cover and stuff, like what could we do with art that gives a physical uh existence to music in a different way, right? 00:32:05.039 --> 00:32:16.240 That Spotify can still exist and be its own thing, but then you know, owning I guess I guess that means I mean, because we can't always press vinyl, like it would be awesome to press vinyl all the time. 00:32:16.559 --> 00:32:19.200 Well, and also like not everybody wants the vinyl. 00:32:19.680 --> 00:32:21.119 I mean, a lot of people do well. 00:32:21.200 --> 00:32:27.759 It would be fun I mean it'd be fun to do uh short pressing, but that's always that's expensive and it's it's time consuming and blah blah blah. 00:32:27.920 --> 00:32:40.799 So I think like I think there's an excitement for me and you you too, like on what we can do to make make releasing music exciting and a little different than yeah than just throwing stuff on Spotify and saying, Oh, it's here, here's our single, you know. 00:32:41.039 --> 00:32:41.680 Yep, yeah. 00:32:41.759 --> 00:33:09.119 And to that point, um you had mentioned that you've you've been more active now, like in the last little bit than you have in the last 10 years, which brings me to kind of a a a wrap-up question of um what is next for Limbeck, as it sounds like you're kind of brainstorming on how to how to how to cleverly get people to continue to pay for your music so that it can benefit you guys. 00:33:09.519 --> 00:33:10.960 We're just saying how should we have done it? 00:33:11.359 --> 00:33:11.920 Oh, right. 00:33:12.160 --> 00:33:13.599 But that tonight is our last show. 00:33:13.839 --> 00:33:14.799 Okay, oh, okay. 00:33:15.039 --> 00:33:15.759 I'm just kidding. 00:33:15.839 --> 00:33:16.400 I'm just kidding. 00:33:16.960 --> 00:33:25.920 No, what I because you at the beginning of the year you teased you teased some new music and new dates, and that's why you're here in Madison, Wisconsin, um, inside of this minivan. 00:33:26.079 --> 00:33:29.119 So what's what is what's on the horizon in the next week? 00:33:29.440 --> 00:33:37.119 We're working on a record, um, but slowly, slowly, but I want to say surely, but we're actually not really working on it. 00:33:37.279 --> 00:33:40.559 But we did start, we did start, and we just need to get going again. 00:33:40.799 --> 00:33:47.279 Um, I had sort of like some stuff come up that is that stopped me from working on it, so it's kind of falls in my court right now. 00:33:47.359 --> 00:33:48.559 We record a lot of drums for it. 00:33:48.720 --> 00:33:49.279 Yeah, too much. 00:33:49.599 --> 00:33:50.880 I think we'll work on a record. 00:33:51.119 --> 00:33:59.519 No, I mean I think I think it's tricky to figure out the dynamic because like half of you wants to do what we used to do and go to a studio and be able to spend a couple days. 00:33:59.680 --> 00:34:16.559 Yeah, I think there's like the reality of time being not so plentiful, so the ability to that we have to do stuff at our own houses and on the fly, uh that that may not be the most uh the best sonically or you know, whatever. 00:34:18.239 --> 00:34:22.400 But but maybe that's how we have to get there, and I I feel like we're still figuring that out. 00:34:22.480 --> 00:34:23.760 Like, yeah. 00:34:24.320 --> 00:34:29.920 Yeah, right now we're calling what we're doing, we're not calling them anything because they might be demos or we might be working on the record. 00:34:30.320 --> 00:34:32.719 It's the stuff is I thought you were gonna drop the album name. 00:34:32.960 --> 00:34:33.599 Do we have one? 00:34:33.920 --> 00:34:34.480 Oh yeah, yeah. 00:34:34.719 --> 00:34:35.199 Should we drop it? 00:34:35.360 --> 00:34:36.000 Yeah, we should. 00:34:36.159 --> 00:34:38.320 Okay, it's called the old stuff. 00:34:39.440 --> 00:34:43.360 It's because everyone always says, like, oh, do you like Limbeck? 00:34:43.519 --> 00:34:45.440 And everyone's like, Oh yeah, I like the old stuff. 00:34:45.679 --> 00:34:53.119 I don't know if people do that as much as they used to, but in a while ago, I just remember that's always the answer you'd get because the new stuff was never cool. 00:34:53.280 --> 00:34:54.559 It wasn't cool to like the new stuff. 00:34:54.800 --> 00:34:58.079 It was cool to be the one that listened to it when the old stuff came in. 00:34:58.320 --> 00:35:02.000 And then the the album after the old stuff is called the first record. 00:35:04.639 --> 00:35:17.760 I want everybody who is listening to this to know that um that Limbex manager John Cheese is sitting next to us in this van and was shocked that Rob just told the title of the newcomer record. 00:35:18.079 --> 00:35:19.519 That's been that's been in the work. 00:35:19.760 --> 00:35:22.239 I mean, we've we've been holding on to that title for a while now. 00:35:22.800 --> 00:35:29.840 The format told us the name of their record before it came out, and then we we named a song the dog problems. 00:35:29.920 --> 00:35:34.480 We say we named a song Bird Problems, and we tried to get that out before the record did. 00:35:34.800 --> 00:35:35.599 It's a power play. 00:35:35.679 --> 00:35:39.199 But it but our our producer shelved it on Let Me Come Home. 00:35:40.239 --> 00:35:43.360 So it didn't come out until the the third record. 00:35:43.599 --> 00:35:44.159 That's amazing. 00:35:44.400 --> 00:35:45.440 Third fourth. 00:35:46.239 --> 00:35:47.360 Um awesome. 00:35:47.519 --> 00:35:49.920 Well, uh, I appreciate you guys taking the time. 00:35:50.400 --> 00:35:50.880 This was fun. 00:35:51.039 --> 00:35:52.239 I know that this was very fun. 00:35:52.400 --> 00:35:56.719 I think it's more fun than if we were in that bar inside of the kids. 00:35:57.119 --> 00:35:58.400 Getting yelled at yelled at. 00:35:59.039 --> 00:35:59.440 Yeah, yeah. 00:35:59.519 --> 00:36:00.239 Um awesome. 00:36:00.320 --> 00:36:01.199 Thanks for thanks for doing this. 00:36:01.440 --> 00:36:02.000 Yeah, thanks, Mike. 00:36:02.239 --> 00:36:03.119 All right, cool. 00:36:03.760 --> 00:36:06.000 Leaving ow. 00:36:09.199 --> 00:36:11.119 And it's so nice. 00:36:11.599 --> 00:36:12.000 Ow. 00:36:16.960 --> 00:36:20.320 I think that I could blind myself. 00:36:21.440 --> 00:36:23.760 Watching the sun go down. 00:36:26.559 --> 00:36:28.320 Thanks for listening to Waste Oids with. 00:36:28.480 --> 00:36:29.519 I'm Jason Woodbury. 00:36:29.599 --> 00:36:30.480 I produce the show. 00:36:30.639 --> 00:36:40.239 This week's episode features original music by Sam Means and selections from the High Everything's Great B-Sides collection, which you can get from Limbeck over on Bandcamp. 00:36:40.960 --> 00:36:43.599 We want to thank Mike for hosting this talk. 00:36:43.760 --> 00:36:46.880 Find him online at MikeBorenz.com. 00:36:47.119 --> 00:36:55.920 That's M-I-K-E, B-E-H-R-E-N-D-S.com, and you can follow him online at BanjoTe. 00:36:57.360 --> 00:37:07.760 We've got lots for you to check out over at wasteoids.com, including a great pop punk themed episode of our show Click Vortex, an incredible live set from Texas Shugay's band Blushing. 00:37:08.320 --> 00:37:13.599 Head over, and if you like what you see, be sure to follow us on Instagram, YouTube, and TikTok. 00:37:14.159 --> 00:37:17.280 Want to share your favorite Limbeck song or anything else? 00:37:17.440 --> 00:37:19.920 All you have to do is call us to get in touch. 00:37:20.159 --> 00:37:22.400 One-eight seven seven Waste Oids. 00:37:22.800 --> 00:37:27.119 Give us a ring, and we will play your message on an upcoming show. 00:37:27.920 --> 00:37:30.079 All right, take it easy until next week. 00:37:30.239 --> 00:37:32.559 Thanks for tuning in to Waste Oids.