Our Lady Peace

course the Immortal Clumsy. Now he and his group are readying a sequel to their seminal concept album two Thousands. Spiritual Machines do out later this year. Spiritual Machines two picks up or the prior installment left off, predicting the direction of our world with a little help from the futurist author and thinker Ray Kurtzwild. The LP doesn't have a release date yet, the fans got a taste with a new lead single, Stop Making Stupid People Famous in

case the title was in a tip off. It's a socially conscious song with a sense of humor about itself. The debut track also debuts a new sound for the band, an electro dance, funk fusionist assisted by Dave Siddek of TV on the Radio and a guest feature from Nadia Pussy Riot. Prior to the pandemic, my guest did some excellent lockdown training by holding up on a small remote island off the coast of Canada with his wife, the

singer songwriter Chantelle cravy Azak. Together, they wrote songs for a new partnership calling the duo Moon Versus Sun. They filmed the sometimes tense sessions for the wrong and revealing documentary I'm Going to Break Your Heart, sort of like the Beatles Let It Be film, but the combination of their musical and marital partnership makes it even more intimate. I'm so happy to welcome the lead singer of our

lady piece. Rain. Need to so much to ask you about, But first off, I want to start with a new album, Spiritual Machines too. It's a sequel, of course, your album Spiritual Machines from almost exactly twenty years ago. What led you to revisit it? Was it the politically charged mood of the last couple of years, or was it just the more of the shock that it was twenty years ago and was to make a good, good time to

revisit those thoughts. Yeah. Well he said it was based on ray Spiritual Shemes book, which is like this incredible, you know, really highly touted futurist. He made tons of predictions in that book, and it just felt like, twenty years later, let's take a look and see what he got wrong, what he got right? And Uh, anyone that knows Ray, who I think works at Google right now,

he doesn't get a lot wrong. I'll just give that. Yeah, I think I saw on a press release he said something like eight seven percent of his predictions were we're we're correct something like that. It's true. And and the thing is he actually he didn't get he really didn't get anything wrong, the stuff that whatever. That is just more like he's such a perfectionist, right, it's all about timing. So he says that he got like autonomous cars wrong, but it was really because he's only a few years off,

so he doesn't didn't really get anything wrong. What is it like working with him? I mean, how involved was he in the process of his new record? I mean he's kind of like the Muse just in terms of and I have to say, like with the with the with the new songs, stopped making stupid people famous. And even the tone of the record British Machines One was kind dark, and I think even Ray's book was talking about, you know, the diston future that that humanity might have.

But I guess twenty years later, which is kind of cool, is that it's definitely more upbeat. And the record that we made we made it with Dave Siddek, whom you know, he's from TV on the radio, just an incredible producer like Matt Genius kind of musician and with his kind of influenced and what we're going for like this, this record has some has hips, like it's a little bit more dancy. It's it's kind of an anti rock record, but it has a lot of guitars just presented in

a different kind of way. And the cool thing about raised new predictions. I think he gives five or six on the album. This thing is like technology is gonna actually really help it and help everything we think that's happening, even like a little war like that, there's there there's ways that technology is gonna exponentially help this with like

shortages of food poverty. He sees like a you guy coming in, So I was kind of surprised, like going through all the culture and he's like, yeah, it's like this is this is not as did we make it out to be, which is great. You know, we have a future. So I was gonna say, whenever I hear maybe it just says more about me than it does about other people. But whenever I hear that there's a project set in the future, I always assume it's going to be this dystopian hell escape nightmare. And as he said,

I mean, this record is not like that. It's positive, paints this really upbeat view of the future, and he touches on things like universal basic income or you know AI and like you said, combating the climate crisis, which is great, and and you mentioned also, I mean this upbeat sense really does come through, at least on the lead single it has it's almost to me it almost sounded like Scissors Sisters meets Talking Heads or something like that, or like a little bit of Gang of forurth thrown

into something. But what what was it like working with with with Dave on this? But how did he how did he change the vibe of the sessions? The thing with Dave Siddik is he and he'll I think he'll admit this. He is a slave to his speaker, so he'll tell you whatever he's working on, whatever he produces, whatever he is kind of you know, whether he's programming beats or whatever he's doing. At the end of the day, he just sits in front of the speakers, like, gu

I am right here. He closes his eyes and if what's coming out moves him, then it's like, let' it's go and you and he hits a green light and let's work on it. If it's not, it's a total failure, and he kind of throws things away. So I love the idea because COVID was tough because we weren't actually working together. But he would just send tracks and I would literally sit here, you know, link up, download whatever

he sense me. And I gotta say, like ninety nine percent of the time I was just like it was kind of like that Max lf. My hair would fly back and I was just like, oh my god, I can't wait to sing this. And so he's just got that thing, you know, like he he just has a sense of taking whatever we gave him as a demo or just an acoustic track or a piano vocal building something where you just like, oh my god, this feels so fresh and new, although it still has like a

sense of us it was perfect. We've never made this sort of reinvention on a record like we have on this one. I mean it sounds incredible. I mean fresh is the perfect word for it. Getting back to the message of the song, stop making stupid people famous. I mean that really says it all. Tell me about the genesis of that track, you know, I think everyone has that person or a collection of people that they could fit in there in terms of why am I giving

bandwidth to this person? Why why are they famous? You know? Um, But at the end of the day, I think the cool thing is it's more tongue in cheek. Like I think five or ten years ago me with this song it would have been a little probably too earnest and just not come off right. But with with the way the track is, like, your references are amazing. I love all those all three of those banks so Ganga, four

Scissor Sisters, definitely talking heads. It's like and Burne had a great way of doing that right and his music growth like, hey, it's heavy, but let's not be so heavy. And the way to do that is, give it a great rhythm, make it slightly dancy, and it kind of takes a piss out of it a way. So I love the fact that it's saying that, but it's not. It's not supposed to be heavy. I love that there's a sense of humor in it. And I think that's some of my favorite David Byrne stuff where he's the

alien anthropologist. You know, he's taking like why are we doing this? Like why are we all collective we indulging in whatever insane thing we as humans are doing at that moment, you know, I mean it, and it kind of highlights the absurdity of existence at that moment. And that's that's what I love about the message of this song for sure. And you know, my well, right before COVID saw David Byrne here in l I with that

that crazy tour he just finished. It was inspiring and it definitely you have those profound moments in your life as an artist where you see someone You're like, whoa, that was just next level. So I'm not saying we're able to like grab that, but definitely that stuck with me. It was so incredible watching the band in the way to perform that it was art right, So we're hopefully

you're trying to bring some of that into it. And I love that you had Nadia from from Pussy Ride in there and it really gave it such a punch. I mean, talk about somebody who became, you know, famous for the right reasons. Can you tell me more about how she got involved with you because you you go back to well south By right when you were launching the record mob ab Oh my god, you know your stuff dude. Um. Yeah, so you know, I love tech.

It's kind of like a real side hows ondly forever And yeah, we had this basically a crowd source anyone that has that citizen app that scares you, you you know, a man walking down with the machete with some of the notifications you get. But we kind of built that app about five years ago. It was crowdsourcing, you know, if you're at a at a protest or saw riot happening or a crime that we kind of built this app. Anyway, we launched in the South Plain and we felt like, okay,

we gotta do a launch party. And uh, in terms of who fit that was a musician that had that kind of gravitas as a as an artist and like social activist blah blah blah, not yet. So she came and she just she dj the said and hung out and was part of the launch. And then when it came for the song as well, it was like, yeah, we need some equity. Be really great to have a female singing on this song. Who's that artist social justice?

And there's a few, but with the relationship with Nadia and actually Dave worked with her a couple of years ago, so day was like, oh, yeah, sure, let's call her and she heard the song and two days later was done. So, you know, really honored to have her on it. And she's a badass. It's such a great track. The video is so cool too, because I love that it gives a spotlight to activists that late people might not often know. I mean people like Sophia Mathr and em and Gousti

and I mean so many wonderful people. Can you tell me more about how some of those uh folks wound up in the in the video? Yeah, we just you know, we just kept tried to kept like pushing forward with this isn't you know. What you hear in the title is almost like clickbait, and so the depth in the in the song comes from, you know, adding people like

that show. Even the dancers in the video like incredible, you know, unheralded kind of dances around l A and then some of these Future Famous, which is a campaign we've actually started and are hoping just to you know, have this thing be an annual thing. We just met some incredible people. And I just literally talked to Alyssa Carson a couple of days ago, who was nineteen years old. She's basically had to dedicate the next eight years of her life. She'll be the one of the first um

young females to go to Mars. So I nineteen, she's already said I'm doing it, and like he's literally living in Houston at NASSA for the next eight years getting And so when you hear a story it's like that, it's like, Okay, that's who deserves a platform. And then you know, you have someone like Sophia who's a you know, just a great kind of climatologists, and there's just so many great people out there that, like you said, deserve

the platform gives you hope. I mean, like you said earlier, hey, we have a future right, and then you know what, It's a great point, Jordan, because I feel like all this stuff is like intersecting where it's like, yeah that there is there is so much more hope than when you turn on the TV and everything seems dealing in gloom. It's like if you just listen to Array You and you follow these young people, it's like, man, we're in

good vans. Last year, obviously you weren't able to go out and do anniversary concerts for for the first Spiritual Machines, but you released a remastered recording and also acoustic live versions of some of the tracks. What was it like for you revisiting those songs? You know? I mean I always love asking musicians. You know, they always say that every character in your dream is always you, you know, Is that that way with lyrics? You you kind of

revisiting those songs that do you learn something about yourself? Yeah? I think because we're in the middle of making Spiritual Machines too, with with with Dave Siddik, being able to go back dissect especially when you when you break down a song that you said acoustically like you obviously the

lyric becomes incredibly important. Then you know, melodic notes over chords, because you're not you don't have all this other stuff to rely on in terms of like sonically, um so you get to like the core of the song, which is usually how these songs were born. So it was I think it was a great exercise for me to understand where I was lyrically then how we are writing compared to like the difference that Spiritual Machines Too was was starting to take. And I think it was very drastic.

Like I said, this is actually like a total reinvention for the band. But um, I think it was a thing. Was amazing to do that just the exercise of understanding, hey, that was then was twenty years ago. The world was a different place. We were different musicians, our sound was different, and the fact that it's evolved so much kind of made sense and it almost validated. It's like, yeah, we should be We shouldn't just be trying to copy just because it's a follow up to a concept record. We

shouldn't be trying to copy any part of it. Really it should You would hope something evolves over twenty years, right, And speaking of evolution, I mean the way the delivery mechanism is evolving too. I know that you're releasing one of the singles through uh n f T through your the app Saying, which is a Seattle based tech company

that that you've recently become involved with. As you mentioned earlier, you've been involved with with tech for a long time now, and it seems like a common thread in all that you do in the technological sphere is about really championing

independent creators. How can n f T s benefit musicians. Well, I'll start by saying this, because I know there's been a lot of stigma around n f T s and the fact that you know, the Stevioakes and Blouse are making these big bags of money and it feels like it's for the one percent again, But I think that's like such early days of this blockchain technology, which really what it does it allows us to talk to our fans directly and build these communities without any gatekeepers, which

if you just put that on paper as an artist, you're like, damn, that's what I love to do. Of course, I'd love to maybe not have to sign a record deal and maybe not have to have a publisher, where if I can get my stuff to our fans direct and there's some sort of exchange there I can actually

survive as an artist. And so if you think of it like that, I would propose that if you're an artist, not embracing this and figuring out how n f t s and blockchain can help the artist community is like the biggest crime um for artists because this paradigm show back to where artists have control of their their their art again in the way they monetize it distributed and build their communities is what we've all been waiting for.

You know. It's like if you know, everyone bitches about like the rates of Spotify and now you don't make money from that anymore and we don't sell c d s, it's like great, so that day's done. Man, Like this is new and technology has ability to help us against So it's if it's because you know, you feel like blockchain and bitcoin and n f t s like are harmful to the environment, then fine platforms that don't harm that are carbon neutral. Sing the one that I'm involved

with is carbon neutral. There is an answer to every every excuse can an artist can make, So there's really no excuse for an artist not to embrace it. You just gotta figure how it works for you. But you've got to look at the long term n f t S and what all p will do with this record.

We'll probably actually not not just one song, Jordan, We're gonna release the whole album as n f T S and you so as a fan, you're able to get that and buy it first before it gets on the Spotify as an Apple, and you'll get a ton of other like really cool stuff, like I mean, exclusive artwork for for each song. You'll you'll get like commentary on the songs. Who knows, we're still figuring out by it's gonna be way more interactive and if I was a fan of a band and they were doing this, I'd

be like, depe, I can't wait to participate. Oh totally. I mean I just as a music fan, just watching the whole stream platform system evolve over the last decade. It's been scary because I talked to so many musicians because say, this isn't sustainable. You know, I'm worried about the generation musicians under me, how they're gonna actually survive

and do this. And it's really frightening to think of, you know, how can people actually make a living doing this and continuing to create our involve and it makes me feel better. I mean again, it gets back to what you said earlier. We have a future thinking about these young artists in ways that they are able to monetize and survive, if you know, if touring doesn't completely

cover it. Yeah, man, I mean, I know the art world was on it first, right because they just they live in that digital space and they and I know young artists that you know have like seven thousand Instagram followers, so they're not famous, Like they're not these huge people that can just demand that people come by the or are for some they're making a great living now with n f T. So it just shows you like, let them lead. But if we're not like right on their tails,

where the suckers? Man? Really hopeful. I wanted to ask you prior to to work or maybe concurrently with your work on the new album. You wrapped the project with your wife, this extremely just intensely personal, really rather harrowing musical project Moon Versus Son, where the two of you went to this remote island off the coast of Canada and wrote an album while being filmed for this documentary.

I'm Gonna break your heart did that experience being sort of that open and vulnerable push you into something like a spiritual machines too, Which is not to say it's not personal, but it's giving you a narrative to shield yourself a little bit, whereas with Moon versus Son you're pretty exposed and out there. Did that somehow impact this new album? I think so. I think that's a pretty cool point, to be honest. No one's brought that up before. Um yeah, making that album kind of like just letting

it hanging out. I think at the end of the day, what my wife and I showed was really like process and like we're partners, we're parents. Were like, you know, obviously we're lovers and and have been together forever. So it's like all that stuff coming together and then trying

to write music together. It was really intense. You can never have just shown oh wow, they're they're way off, like four thousand miles away from their home in l A on this little French island in the middle winter, and they were just able to write these great songs. There was a reason those songs happened, and a lot of it usually was like a fight that we had

to come out of. But through that like stress and that torment, this song is born, and so it just would have been authentic or inauthentic to not have that stuff, and so we just showed it all. Like some of it's I know it feels a little uncomfortable probably for viewers to watch, but I don't think it's anything crazy. No one gets pushed off the island, no one breaks the door slams the window like it's it's kind of tame if you really look back on it, but showing

the process is cool. And then I think with Spiritual Machines, it was just for me. It was doing things that I've never done before. And that record was Shantell and the doc I'm Gonna Break Your Heart I've never done. I've never exposed myself like you said like that before. And then in terms of when we talked about, hey we get to work with Dave Sitek on this, this is amazing, What a great opportunity. We can't just kind of like take baby steps. We gotta make We actually

have to reinvent ourselves. And so because I went through that as an artist, I was just like, well, yeah, we should, we should go as far as we can to where it feels uncomfortable, kind of like that film and that album feel Uncomfortable with I'm going to Break Your Heart on my wife. I just wrapped a big project on on David Bowie and there's that great quote he says, I paraphrase and something like the best art comes from when you're uncomfortable uncomfortable situations. Did you find

that to be the case? I live by that quote,

you know, I quoted that. Yeah, if you were look back through the interviews, especially with my wife and I have the project we have, you know, releasing, and I always quote that because I think it is like I didn't really understand it growing up, you know, in the first ten years of being an artist, but more and more calm to understand, like what is really uncomfortable and and it and it it has to be to where you almost you know, not feel embarrassed, but you uncomfortable

as a weird word, because it's you have to get to that level where it's like almost terrifying and for the for the outside person, it just feels uncomfortable for an artist, almost feel terrifying. What was it like for you because you began writing together and you've been been together. I think several decades now, but you started writing together fairly recently. What is it like writing with a musical

partner who's also your life partner? Mean, are you is it more of a conversation in lyrics than it would ordinarily be with with somebody else. Did you find yourself like almost having a dialogue as you were as you were writing these songs. Yeah, that's why I like that, because I think that's what we tried to do. Like She's written you know, Shute's written for I mean from like Drake to Kendrick Lamar and Gwen and all these huge artists, and we've written for artists together as well,

but never something for us. So the thing was, I think we're a way and waiting waiting toward its like now are we gonna stay together? And we should do this? But like, where do we get to where Okay, we can just be really raw say ship that no one else would ever say, as even as a couple, because only because we've lived and have that luggage and and

have all that stuff. So it was really about can we do all those things and and like you said, make it so it's like a conversation, and make it so it's it is like people feel like, wow, I just kind of like the documentary are we just sitting in a room with them and they're just talking through this stuff, and you know, I think we got pretty close to that. My wife's right here blugging me right now, can I help with that perk for the ladies to this is mine? This is my time? All right? Yeah?

I mean it really is that, like we have like this amazing you know, when you when you've worked with someone on so many different levels, you get a shorthand

in the writing. And what I got to tell you what what I love about it is we right quickly now like songs are just kind of born and they're like what they come out of in like ten minutes is I don't know, it's pretty amazing, Like it's pretty It's incredible as an artist to feel like, wow, this is almost fully formed and now we just need to take a little bit extra time and it becomes this

amazing stuff like that. We've written a bunch of times during COVID and I'm just like, holy, that is like one of my favorite songs I've ever been involved in. So this evolution of like what that documentary and that album I'm gonna break your heart for Sean telling me means it was like kind of the tip of the iceberg. But as soon as you do it, it's like, oh now this is easy. So I can't wait for the

next stuff we we actually released. I was gonna ask what did it teach you about yourself, either as a musician or as a husband, after you know, two decades in of of of marriage. I think when did that that experience teach you? Most of all, Well, that Bowie quote is it it's like that that's where the best art is made. And our Lady piece has moments where I felt vulnerable and stuff. But with with I'm going to break your art with Seant tell, it's all like

incredibly vulnerable. But that's why I think it's so special. So I think for everything we do now, and like you said, even with spiritual machines, I had to put myself where I was like, man, this is weird, Like this isn't what I do or I've never done this before. How do I insert myself here? And that was it you.

I just have to like push through and and get over that terrifying feeling and all those butterflies, and even when you know we were talking earlier about you asked me about Dave Sick and what it was like working with them. I would get these tracks and if I were if I were not to be like courageous and say, yeah, of course I can sing in this part of me like probably would have been like, oh this is this is too progressive for our lady piece. I shouldn't do this.

But it was like, forget it. This is what we're doing. I have to be a little bit scared and that's

what makes it fun. Talked about how new songs are born now in a way that's been different than than it used to be for for you and Sean Tell, do you find that that that the best songs come faster, the ones that are almost sort of delivered from on high, fully formed, or or do you find it more fulfilling for the ones that you really you know, maybe six months a year, almost like a sculptor, getting every little

bit right, Which is most fulfilling for you? Yeah? I probably have a d D. I love it when I feel like these things were just channeled through me and the and the first song that that started Chantalell and I Write any Other was a song called I love it when You make Me beg? And literally that was another one of those. It just it was two a m. In the morning. We're in here. I picked up a guitar, she was sitting the piano, and we wrote this course

for I Love It when You Make Me Beg. And it's kind of like orchestrated bump bump, bump bump, and it was just like, how did this happen? But it took like another ten minutes to finish, and that because of that, just that dynamic and the fact that it was quick, it was like, oh, we can do this easily, you know where if I think if if it would have been a struggle and like you said, you have to sculpting and take months or or weeks, I don't know if you would actually made out. There's something about

catching that moment right there that is so beautiful. Somebody who's loved music his whole life and has never been able to write a song ever, that just sounds like sourcery to me. I mean the fact that it can come that quickly and that then it can just happen. I mean, where there was once nothing, now there is something that was literal magic. You're actually pulling a rabbit out of your hat. There's no trick. Yeah, but it probably it probably took fifteen years to get there, so

a lot of wood shedding. First, How has the last year and a half been for you? I know, obviously it's been. I almost feel like the going to that island must have been good training for the last year. I should say, yeah, I mean it was because you know, we I think everyone was on their own island during COVID, and so I mean, look, I'm sitting in a studio.

We unfortunately, you know, we haven't had the same hardships as some families, but I do know we have had close friends that that passed away from COVID, some engineer friends of ours and people in the industry. Yeah, so that that was that was just tough, you know, But ultimately we're always looking for those silver linings. And um, you know, we have three young boys. My oldest started. It's weird, like we live in l A. It's all basketball. All my kids are ballers and that's all they care

about it. And one of my kid plays on this incredible travel league, like literally the number one kind of team in the nation called Comto Magic and takes up a lot of his bandwidth. When that slowed down, he was able to go bands. Within that year and a half,

he turned into this like incredible artist. Like literally you talk about like the way that generation consumes like Kendrick, like a playlist still have Frank Sinatra, Bowie Kendrick my god, from like James Blake to Daniel Caesar and for him, it just all comes out, but it sounds like him, and I'm like, whoa, what is this? So he's been

able to really become an artist. And I I if I were to think, wow, if we didn't have COVID and he was just doing his thing and starting high school and playing basketball, dabbling a little bit of music, who knows, but he wouldn't have been where he is right now. And right now we're sitting on a you know, an EP that to me is my God, it's mind blowing, Like I listened to it and I'm just like, you gotta be kidding me this, Who is this kid? And so you know, you just you gotta, you know, you

find ways. And I think at the end of the day, what Covid probably did was me everybody, no matter what you do, happen to your creativity a little bit more and reconnect with that. Even though if you felt like you were never creative in your life, I think it just forced you to try to be creative. Whether it was like how do I make money to pay rent? Or how do I like not just binge watch Netflix

first seventeen months or or whatever. It's just like you were forced to somehow be creative again, which is kind of interesting. Yeah, that is I hesitate to use the phrase silver lining, but that is a really wonderful positive to come from the last year and a half. That is amazing. It's been really humbling the last ten years or so to to meet teenagers who have better taste in music at fourteen, fifteen, sixteen that I do now at age thirty four, because they just have access to it.

I grew up in a small town in in New England where you know, there's one record store and you'd be lucky if they had something, you know, slightly left the center. And how they just have to complete access to record a history of sound right there. And that's and the influences that they are able to synthesize at such a young age. It's so cool. I mean that

that also gives me hope. Yeah. I was always worried with with you know, with Spotify and stuff and Apple watching kids because they don't even finish the song, like they listened to like in the first course and then it skipped through no one listened to albums. I was like, damn, how is this gonna work in terms of the new generation of artists. But I think what I saw with my kid, it's like, yeah, they they can put the best pieces of all these different artists in the playlist.

So what they're getting is like literally like when you talk about like from Sinatra to Daniel Caesar to Kendrick to to Bowie to James Blake, it's like the best of the best and the best songs for them from those artists. Well, so they're starting at a level creatively where it's like he'll write a panel riff. I'm like, how did like did you steal that? Where did that

come from? Do you know what I mean? I'm just like this is incredible, Like please tell me this is And he's like, if I swear dad, this mine, And so yeah, it's just it's it's pretty inspired. Like you said, there's a lot of hope for the next gen artists and those creatives, they just get it, you know, the dust to digital social media account and I think it's

on Instagram and Facebook. I was lucky enough to have a jet with the guy who runs it, and he was saying, he has this theory that every thirty years there's a new genre that that supplants. The next you get jazz in the twenties and nineteen fifties, start to get rock and roll, and then around nineteen eighties start to get hip hop. And then he was saying, you know, I was thinking about what's the what's the new genre, and then it occurred to me, it's everything with a

capital E. It's and that. And he says, right on the money, here's thirty years after, you know, nineteen eighty when hip hop started becoming mainstream with people like you know, Blondie or Grammars Flash or whatever. Uh, it was right there, right when Spotify came through, and it was it was an interesting, interesting way to think about it. Yeah, I

agree with that. Yeah, it's it's funny. I'm trying to actually, I'm trying to buy in, you know, I'm trying to make playlists now of tried and true, like I love to listen to albums all the way through and get lost. But you know, I go on these long drives and I'm like, you know, okay, I'm gonna I'm just gonna pick a bunch of great artists and put it on shuffle. I'm like, damn, it's it's actually because you're you're you're

getting you know, bounced around as a creative. I'm like, okay, I I just heard something that was you know, Nick Cave, really mellow and beautiful strings and as low, you know, kind of baritone. And then I'm listening to jor or you know, some other new artists and and it's just like, you know what, Okay, there's actually ways these things can intersect and filter together. And I don't know if I you were able to do that before as easy as

you can now. It's just finding those connections. It's really fascinating. I mean, speaking of albums, is there a release date set for Spiritual Machines too? I know you're getting that question a lot. I'm sure we are, so definitely, it

looks like end of October. We want to do this n f T thing in September so fans really get to feel what that's like and hopefully be a use case to be honest, I'm so deep in the n f T the world and I and you've heard me, like how passionate I am in terms of how I think this is the future for artists that I want to I want our lad Peace record to be an easy use case for other artists to be like, oh,

I get it, Like that's easy. I'll release these packs with all this bonus content and at the end of the day, it makes I've never felt so creative because now I know that our album won't be just some thumbnail on on your phone, right, It's gonna they can live and breathe and bigger pieces of art and in different types of mediums and collectible stuff. So hopefully yeah, over the course of September, we can release the album as an f T S and then it comes out

kind of worldwide on the DSPs in October. Well, September, we can't wait. Thank you so much for your time today and your music has been such a pleasure. I really appreciate it. Georgian Man, what a great interview. You Uh, you scare me, you know so much, but I appreciate it. We hope you enjoyed this episode of Inside the Studio,

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