INTERVIEW | EARTHQUAKE LIGHTS
Updated: Nov 10, 2020
You can listen to or watch this interview below. If you prefer to read, keep on scrolling!
When I heard that Jack Stratton was auctioning off Vulfpeck's last track on their upcoming album, I laughed. I was definitely shocked in a good way, but something like this is just so Jack, so I wasn't thrown off. Framing album space as "prime auditory real estate" is probably one of the funniest things I've ever heard of, and it is also one of the most innovative marketing tactics I've ever seen.
The track ended up selling for $70,100.00- something nobody expected. Oldhead 'Pack staples were shocked at the steep incline in bidding. Words like "sellout" were thrown around by people new to Vulf's stunts. Times were crazy, y'all.
The listing (classified as "Other Real Estate") was drenched in classic Vulf-shenanigan-flair: mentions of beans, immortality, and even Baby Theo. The most exciting addition, however, was the deadline.
"The Buyer will provide the Seller with the track’s title and the track’s recording data within 30 days of purchase/closing."
Thus commenced thirty days of speculation and gumshoeing.
People scavenged for leads. The winning bidder's username showed up as "m***s," so people assumed John Mayer or Maggie Rogers based on an Instagram story of Cory Wong's. Other people immediately credited it to hunk boy Mushy Krongold, one of Jack Stratton's alter egos. Others claimed McDonald's bought the track as ad space- just one of the many things Jack proposed.
Some thirty-odd days of divisive discourse later, Jack announced he had received Track 10.
This set the fanbase aflame. Bets were on. Fights were frequent. Who could it possibly be? Tensions grew higher. Things calmed down finally, for about a week. Until...
The track dropped October 23rd, as promised, with international audiences getting the first listen. "Off and Away" by Brooklyn band Earthquake Lights was the winner, which certainly shocked speculators.
The first reactions tended to be those comparing the song to a Ben Folds' piece, a James Bond theme, or even a Radiohead song. Some felt the track fit perfectly with Vulf's genre-defying anthological release, others needed time to get into the mood.
To seek out how the band themselves felt about the sale, I was asked by my fellow moderator, Loïc Marchat, to facilitate an interview with Myles Rodenhouse, the lead singer and founder of Earthquake Lights.
After a brief misunderstanding, where it was assumed an Amazon Alexa would be conducting the interview, I hopped onto Zoom with Myles and Loïc for a fun conversation on the Brooklyn music scene, the band's history, and how a purchase like this isn't unheard of in the music industry.
Alexa: Okay, um, obviously, thank you for participating in this! I'm also really glad you know that I'm not a robot at this point. I'm sure that's a lot more comforting than interviewed by a tube.
Myles: Haha, yeah.
Alexa: I think this is going to be a really great opportunity for the fandom to get to know you a little bit better and officially welcome you to the Vulf family. Loïc and I have curated a lot of fan questions because there is this burning curiosity as to who you are and who did this. So, to erase the mystique of it all, let's talk about you a little bit because you do have a connection to Vulf through Mark Dover.
Myles: (Visibly concerned) Yeah. How do you know that? Who told you that?
Alexa: Mark actually reached out to me that!
Myles: No way! Are you kidding me?
Alexa: He did! He couldn't believe it.
Myles: Oh yeah, it's funny, he was in the studio three weeks ago for his group Imani Winds, who are an incredible woodwind quintet. So I worked with him pretty recently, and I've done a couple of records with him before, and actually, the string players that were on this track, he knows very well, they're all friends, and he was on a session with them. Yeah, so I know Mark pretty well. And yeah, and then sort of, I vaguely know a couple of the other guys, I did an assisting session on a record many years ago. with Joey Dosik as the keys guy, I'm sure he wouldn't remember me. You know, he won't know my name. But he was, uh, yeah, he was the keys guy. We were there for a month. So I kind of know him. And then I know, some other friends and a lot of people from Ann Arbor and stuff. I mean, they wouldn't know this, you know what I mean-
Myles: But I am sort of, I'm sort of connected to some of that world. You know, and that's really that's how I heard about it, you know, through that sort of exposure to them.
Alexa: There's always a tie back to it, which I always find funny. I feel like Ann Arbor is the center of the universe, especially in the music scene.
Myles: Yeah, I guess so. I've never been- I really don't know much about it. But you know, a lot of friends tell me about their connection to Ann Arbor and the school there, and so since this, you know, so.
(I feel it's unnecessary and embarrassing to add this next part of the interview in the transcription, but thus commenced several minutes of Alexa realizing that Myles' studio, Douglass Recording, is where the Jukebox the Ghost Wild Honeypie Buzz Sessions were filmed. )
Alexa: I was really thrown off about that. But um, you guys are tied to artists like Esperanza Spalding, Foreigner, and so many other amazing artists. How did Douglass come to be?
Myles: Ah, so Douglass- I founded Douglass, but my brother runs a studio in California in Los Angeles called Perfect Sound, which I got involved with way back many years ago now, I mean, more than a decade ago. And Douglas is actually sort of like the East branch of the Perfect Sound thing, we'll be uniting the studios, and Perfect will be sort of an umbrella group. We're kind of still figuring it all out, but, but there's a connection to Yeah, Douglas has a connection to Perfect Sound on the west coast. And that's really kind of where it started just as an extension of that studio.
Alexa: That's awesome.
Alexa: So before we get into all the track 10 stuff, obviously, we need to know who Earthquake Lights is. Who are you guys? I know that a lot of people were shocked when you guys popped up, and nobody expected it. But similar to Vulf, you guys met in college and started at Hofstra. So how did you guys come together as a group?
Myles: Man, I mean, we met mostly at college. Cam and I went to high school together. Steve and I were roommates, and I think that's kind of you know, him and I started when we were roommates. We did a, you know, we did a ton of recordings and song covers and stuff like that. And that sort of spawned into us writing some songs and then we developed the band from there, and we asked Cam, and then Jim and Evan to join us. We knew them through our jazz combos, you know, we just all sort of studied together and so that's it. Yeah.
Alexa: Very cool! How would you describe your sound? Because, there are definitely those heavy jazz elements in it, but you're effectively, like a rock outfit. And people, especially with this latest track have been describing you as both Radiohead with Ben Folds-esque vocals. So where do you think you lie?
Myles: I mean, I think all those are very astute assessments. You know, I, I think Ben Folds Five was something I was so into was one of the first bands I like, fell in love with, you know?
Myles: And Radiohead, too, was huge for me in high school. And so I don't think there's any way to get away from the fact that there's- we do draw some heavy influences, influences from there. Ben Folds, you know, Reinhold Messner was like, a great, that was a production. That was like, sort of a reference for us for the production of Distress Signals our record.
Alexa: For sure.
Myles: Although, the songwriting isn't necessarily I don't pull as much from the songwriting there. And, you know, most of the songwriting does come kind of from older American Songbook type stuff, or yeah, I mean, the rock repertoire or Radiohead is definitely in there. I mean, there's no escaping it. And so I think that's a pretty fair, yeah, assessment, you know, but yeah, I mean, we, you know, I grew up playing classical piano, and a lot of the other guys who are really into classical music. And so I draw a lot of inspiration from that. And, obviously, so today, and so does our orchestrator, Mitch, he and I are super nerds about all sorts of things with classical piano music. So he and I kind of really get down rabbit holes when we're arranging the strings for this stuff. And we get really excited about old classical records. And actually Frank Sinatra stuff. We love all the arrangements on some of that old swinger stuff. And João Gilberto, and you know, so the jazz world is obviously got a huge impact on us, but I would not call us jazz.
Myles: Because we're not, we're not good enough to be. That's, that takes a lot of effort and time and love.
Alexa: For sure! So we briefly touched on the Ann Arbor connection. How did you come about Vulf? Like, what's your Vulf story? And do you have any tracks that you love?
Myles: Mostly, it's one of those things that I just heard everybody around me talking about, and with my connections to, you know, guys like Mark, and then a dude, I produced a record for a while ago, Brian, who always talked about him. And then, of course, the guys in the band have been into him. Steve, the drummer, always finds the cool stuff before I do. So I usually hear about them through them. Right? But yeah, I mean, I think the first track I really got into was Dean Town, and I'm sure that must be a huge one for them. But that was one that my orchestrator showed me, and, you know, I like that track. And I think when I really started paying attention was at my orchestrator's wedding. He had, I was the best man with two other guys, we were kind of all sharing that. And he had us sing Game Winner like he had the band do Game Winner.
Alexa: (Visibly amused) Haha, chyesssss.
Myles: And the three of us were singing on that for him. And that was kind of when I really started to pay attention to them and listen to them more. So I obviously love that track. And I like a lot of this stuff in the circle. I think, obviously, as a piano player, Woody Goss is doing some stuff, I think, is really beautiful and very close to home for me, even though I don't make the same kind of thing.
(Alexa enthusiastically nods, vigorously)
Myles: My piano work tends to be a lot more, I think simple, you know? Maybe not moving forward, but, uh, yeah, I mean, all those guys and Joey too. I was just listening to running away the other day, and that's fucking dope. Am I allowed to swear? I'm sorry.
Alexa: Yes, you're totally allowed to [fucking] swear!
Myles: (Laughs) So. Yeah, I mean, you know. Yeah, I think they're great. And I think it's just, I've been exposed to them through all sorts of different places.
Alexa: Copy, copy. That being said, How did you come to find out about the track auction? A lot of people have this question. Was this a personal investment as a band? Or was it like an upper management type decision to do this because Jack's shenanigans are known to garner attention? Or was that an afterthought?
Myles: Oh, no, that was definitely an important aspect of the decision, actually. So my drummer Steve, he should be here. I mean, he sent me, he sent me the link, and then the next guy sent it to me was Mitch. So when we saw it, it was a personal investment from the band. And the reasoning is, you know, we were attracted to- I don't know how much you want me to get into this yet-
Alexa: Go for it!
Myles: But we were attracted to the publicity stunt, obviously we'd all heard about Sleepify, and thought that was amazing. And I think we're all really attracted to the way Vulfpeck is reinventing sort of the approach. And being in the music industry myself, I've worked with a lot of people that have a lot of difficulties finding their way into the industry.
You know, being that we're all fans of Vulfpeck, when we saw the track up for auction, we thought it was a really cool idea from a band that we love, and that we wanted to support. We know that the fan base is incredibly engaged and listens to sort of, even though we're not funk, and this was- this is something that we thought about, you know, I mean, we thought about this for weeks, we didn't just like decide to go in on this, we thought about this for weeks like "is really worth going in on?" And even though we're not funk, I think a lot of the fan base is, you know, very musical and really engaged with Vulfpeck, and they want to play and there's everyone shares sort of their musical ability, which is awesome. And in our own promotion. In our own, you know, attempts at promotion with the band, we found that we actually do best with that type of fan base. And we think that we actually share a lot of sort of harmonic and melodic sensibilities with Vulfpeck. So, we thought that we weren't the worst fit for this record.
And also, I think, you know, I think this is something that everyone feels differently about. But I'd rather see, I would rather have seen a track at the end of that record than an ad for Burger King, you know, what I mean? Like, I'd rather have seen music, so we thought it was an okay fit.
The other thing, too, is, uh, you know, this size of a spend- you really, you know, we had to think about. And the first thing I thought when I saw that, was that's worth at least 50 grand, you know, I mean, this is not an unusual thing, even though it's set, it feels it is so new because they're putting it up on eBay. And it's so public. This kind of deal is not unusual in the music industry, you see people buy bigger artists to feature on their record all the time. And in this case, would be featured on the Vulfpeck record. So I think that that for us really made it an interesting thing and the payback, you know, there's way more ability for that track to have lasting power, you know, to get great exposure than if we had Vulfpeck feature on our track or something like that. And yeah, I think that spend too, is an equal spend in advertising and press. And we've done both- we spent, we spent money on ads and press and I, you know, I despise the ad stuff.
But as an independent artist is quite difficult to gain attention from labels, you know, label support is still super important and relevant in the industry these days. And with Distress Signals, you know, I got a few people in front of the record from labels. And one of the guys that, you know, was in the studio, and we were talking about the record was saying to me, "Hey, man, I love this stuff. But we're just, you know, we're working, we're signing artists, we're signing writers, we're not signing bands, you know, so much money to develop a band of five guys and send them out on tour." And, of course, with the streaming revolution and stuff, the music industry, you know, more than half and 10 years after the development of Napster. And so I think labels are feeling that. And it's, you know, it's difficult to get them to pick up, it's difficult to give to get them to give you attention. And then I think when you do get their attention, it's difficult to get a really good deal from them. Until you really have a lot of clout yourself. You know, I think it's, it's just a really, it's a tough game.
And I know a ton of amazing musicians in New York. And I've worked with so many great players and songwriters and some amazingly talented people who just don't have any chance to get hurt. And I think the placement on this record was just a really good sort of combination of all sorts of things. I think, you know, no one factor was worth that, that amount of money, but sort of when you look at what an equal spend on ads and press would get you which I think the engagement is a fraction of what the engagement of this is. When you look at the difficulty of getting on record labels these days, and the types of deals that they get you in and the type of cash advances you might get that you ultimately owe back to them. And then the fact that we own royalties on this track, we do. Jack was kind enough to cut us in on the album, you know, so and they have a very progressive model with that. And so, you know, that I'd hoped for something like that with this kind of spend and I didn't need I didn't even push it. You know, he was super cool about it. So we've got that. I think honestly, I think the value of this is much more than what we paid.
Alexa: Totally. Fantastic. Thank you.
Alexa: So, going kind of into that, because Vulfpeck really exists from its online fanbase and interactions, I've dug around, and you've previously mentioned in another interview that the band isn't necessarily big on keeping up with social media. So that's such a contrast. On the topic of the auction, I know that afterward, there was loads of speculation. Did anybody in the band keep up with that?
Myles: With the speculation?
Alexa: With the speculation on who it was that won or just the stunt in general?
Myles: I think somewhat, you know. You're definitely right. I mean, we are not, we're not a social media band, you know, we really stay away from it in general. And I think we kind of knew that this is a publicity stunt from a band that's famous for publicity stunts, you know.
Myles: So we knew that there would be interest, you know, we knew there was some- that they really built an incredible story around this, this thing, so I think we'd seen it here and there, but we weren't keeping tabs on it or anything, you know, mostly I was, I was super focused on getting this track done, we were all- we were strapped. I mean, it was a sprint, we didn't start writing the song until after we got the bid, you know, so it took us a month to write and produce it. So I think we had better things going. (Laughs)
Alexa: That's another thing that people were wanting to know. Did you write it specifically for Track 10 with it in mind? What is the significance?
Myles: Well, when we won the bid (which we didn't expect to) we were thinking about what to put there. Obviously, there's, there was a huge urge to put a huge job there, obviously, but there's no way we're going to put that money into this. And, and, and do that, you know, it's really dumping it. So we decided the best approach was to create something very much us that we thought fit sort of our vision of something that a lot of Vulfpeck fans could get something out of, and we did our best to deliver, you know, a combination.
Granted, we're not even close to a funk band. We're like a sad, depressed rock band, you know what I mean?
Myles: So, we knew it was going to be a different thing. But I thought that was, you know, part of the statement, we kind of thought the whole point of this was these guys are selling real estate, you know, they're selling, that they're inventing this new approach with the industry. And clearly, they were open to anything, you know, clearly, they were open anything, I think it could have been, it could have been a law firm, or whatever. I know, Jack was really totally serious about that. And I think whatever it was, he would have been pretty stoked about it.
I think that this, although it's a little bit different, we thought it was in a realm where it would work for some, you know, it's different, but try it out. So that was the idea initially. And I think in terms of the actual songwriting, it kind of just, you know, the first week, we pumped out a bunch of ideas. And that was the one that stuck. And I think there's some relevance to, lyrically, there's some relevance to how it relates to the music industry. And I don't know; we don't need to get too into that. But yeah, for us, it means- this track means a lot and we think it means a lot about the approach to this style of promotion and what this is doing in the big picture of the music industry. Is that too cryptic?
Alexa: No, not at all. Yeah, I totally think that's fitting for a band like Vulfpeck, to have that sort of message.
Myles: Yeah, totally. I mean, I think it's an amazing thing, and it fits really well with their whole brand for me. You know, this crazy publicity stunt thing.
Alexa: Obviously, the album really came to life when the job of real estate (selling it as real estate on eBay) became the joy of music when Jack ended up donating funds to Donor's Choose. A lot of music education classes benefitted from the sale. So how does that make you feel?
Myles: Yeah, this is a super easy softball that we thought it was amazing. I mean, it's just so cool that you know, so much of that money went to someplace really positive. I do hope to I hope that some of it went to the band again. The initial thing was, well, we get to support a band of love, you know. So I do hope that they, they got to use some of that. And I think it's amazing that so much of it went to charity. And I mean, everything about this whole thing has been a huge win for us everything.
Alexa: I'm really glad. Weird kind of unrelated question: during the speculation when people were scavenging the eBay account to see who bought it-
Alexa: You bought bar and beverage equipment, like the night before, or at least bid on it? What was that?
Myles: Good lord! (Laughs)
Loïc: Yeah, she's good!
Myles: Well, I'm somewhat involved with bars and that sort of thing. But for the most part, I'm an alcoholic.
(Alexa and Loïc laugh)
Myles: And I was putting a bar in my family's basement so that we could all play bar together. (Laughing)
Alexa: I am so happy to have that thread tied off.
Myles: (Concerned laughing) Now I really have to take a look at what else I bought in the past on eBay.
Alexa: Don't worry, it only shows the last 30 days. So be careful.
(Note: It was me. I was the one who scavenged the eBay account.)
Alexa: So, I know it's so soon after the release, but have you seen any traction? Or sort of, ROI on your end?
Myles: Oh, yeah. I mean, I think it will take months, or years even to see the full extent of ROI. But the initial jump has been great. I think we can look forward to some sustained growth for the band. But you know, the ad space for Douglass Recording is great. The ad space for yeah, for our LP is great. And I think the placement is important because we get to be seen by all these fans that really appreciate music and playership and interesting harmony and melody, but we also get to be in a place where maybe we can be easier to find for people looking to sync us, you know, place our music and everyone says movies, I've seen James Bond 4 million times. And it's not the first time I mean, people have said that about Distress Signals. And I think that's maybe an aesthetic we should lean into.
So we're looking forward to that sort of thing, because that will really drive the ROI thing home and, yeah, but I think with the royalties, too, and all that being cut in on the royalty structure, this is something that it's impossible to tell the full impact of something like this in a weekend, it really will take it'll take months or years, you know, and I have no doubt we'll make the money back. And I think once we have the money back, we've got all the exposure. And yeah, I think that answers the question.
Alexa: Yeah, I've definitely seen just from the musings in the Vulfpack, the fan group, people are really digging it. I think it's very James Bond-theme.
Myles: Yeah, great- that's great. I hope they buy it from us.
Alexa: (Laughs) The more I listen to it, the more I'm like, "this has really grown on me."
Myles: Yeah! Great. Thank you so much. I hope that that's I hope that's how it works for people. I mean, I think, you know, if everyone tries it a couple of times, maybe they'll find it works for them, and maybe not, you know, but it's not the most accessible thing ever to put at the end of a record. But I do think people can connect with it. And we put a lot of soul into it and love.
Alexa: Distressed Signals, you recorded at Abbey Road. What was that like?
Myles: Oof, that was amazing. I mean, scary as hell. Yeah, that was amazing. I mean, we were in room two, which is the Beatles room. And, you know, that's obviously why we wanted to be there. A lot of the orchestral stuff we love. I mean, that studio does so much orchestral tracking for movies and TV and also all sorts of things. So we went over there and we just got a great contractor to put together a bunch of players and the union thing over there's very friendly compared to America.
(Loïc nods shadily)
Myles: It's incredibly prohibitive here and in the states and there's definitely stuff you got to deal with there too. But it was actually not too difficult to pull off and the day in the studio was you incredible, you know, we just did two three-hour sessions with those guys. So it's six hours totals, what it took to get that whole record out of the way.
Myles: And they weren't, you know, the players are just [?] down the music and nailing it. We got amazing players. So it's really, really special to be there. And the engineer John Barrett was a total monster, great guy. Um, you know, I learned from the setup, how they recorded things. So, super cool. Got a lot out of it.
Alexa: Fantastic. So do you guys have anything in your back pocket so to speak? Do you have anything coming up that you're doing other than track ten?
Myles: Ah, I mean, we're working on a bunch of random little things. And I think with this, the idea will be to really turn some stuff out. We've been working on a few singles, and I really would like to have a proper, maybe full length or at least EP soon, you know, I mean, I think in the next, for sure, in the next year, I think that's really doable. So I'm not entirely sure what the timeline would be. And this year has sort of changed a lot for us. But yeah, we'd really like to have something to follow it up. And for sure, you'll see a couple of tracks real soon, or hopefully, an EP or an LP before the end of 2021.
Having wrapped up our burning questions, Loïc and I scanned the Vulfpack for some very specific fan questions.
Loïc: Well, I was wondering, how do you compose and write music? Is it just like doing it alone and then sharing it with the band?
Myles: It kind of depends on the tracks. And I think everything kind of everything happens differently, in this case, because of the bid, because I'm the, I think, the one with the most accessible everything, since I run a studio and all that, typically, I'm the primary sort of songwriter initially, right? So with this track, I spent the first four weeks coming up with a few different options, and the band sort of heard these options. And we all decided what was the best approach and the next week, flush that out. So it was basically just a piano sort of demo on Pro Tools or whatever. And then the third week, what happened is we took this song structure to the band, and everyone arranges that we arrange it together, we talk about how the form should evolve, or people want to address any melodic or harmonic choices or whatever. And then yeah, then the fourth week, we produced it recorded and mixed it and all that stuff.
So I think typically, it does start as sort of a trio thing, it'll start with the bones of a song, they'll start with a piano, bass, and drums, although not always, you know. And then, from there, we'll sort of arrange it out. I think an important an important element of our style of songwriting is we tend to write melody and harmony first. And actually, lyrics are the last thing we get to.
Loïc: Oh okay!
Myles: We always come up with a concept of what the song sounds like, reminds us-
Loïc: How it feels?
Myles: Yeah, what the feeling of it is, and what the intention and then we sort of brainstorm overall concepts for the lyrics. And, and then we squeeze words into the melody, and it's a complete pain in the ass.
Myles: And we've gotten a little better about being somewhat, you know, changing the melody here and there to fit certain things. But yeah, that's typically how we do it. Does that answer it?
Loïc: Yeah. Every band is like, working differently. So it's always cool And interesting to know the other ones' processes. I'm checking the woofer questions. Hey, do you like slow-cooked beans?
Loïc: Okay, maybe another one. What's your favorite Vulfpeck album?
Myles: Ah, I like The Beautiful Game. Quite a lot.
Alexa: Yes. Definitely agree.
Loïc: And your favorite track? Is it still Dean Town?
Myles: Man. I don't know. I don't think I have necessarily a favorite track. But that's definitely I mean, that's the one I've listened to the most. So maybe, maybe that makes it my favorite track. Yeah, yeah.
Alexa: Are there any artists you'd like to collab with moving forward?
Myles: Ah, yeah, definitely. I can't think of many who would collaborate with us back. But like, do you have any parameters for that?
Alexa: No, I'm purposefully making it as vague as possible for you.
Myles: All right, I'm gonna take that to the extreme and just say, I would love to work with Nigel Godrich on a production. I mean, going back to the radio thing, but everything that guy does is total gold. I mean, he's an engineering genius. So I'd love to do something with Nigel Godrich train under Godrich.
Alexa: Are there any artists, that as an engineer, you'd like to work with?
Myles: Oh yeah. Man. These are good questions. And, I just have to think about them. That's all. I mean, anybody. I really like all sorts of music. Robert Glasper. I would love to record Robert Glasper, Robert Glasper Experiment, or anything that guy does. Maybe Brad Mehldau would be cool, too. I mean, some of my influences in the piano/jazz world be amazing just to interface with and see how they work. Something like that.
Alexa: Touching more on the post-win interactions with Jack, were they very transactional or?
Myles: Oh, yeah, that's a good question. Jack is the man. He is a super nice guy. Everything has been great. It hasn't been like, you know, I haven't talked to him a ton. It hasn't been. I would definitely not say it's been transactional. But it hasn't been too far from transactional, but I've definitely got, I mean, he's super responsive and very patient and he was incredibly flexible with all this stuff.
You know, and I think with the, with the bid, I initially reading through it, I thought this could be, well, fuck, we could be really stepping into some difficult territory here. You know, and he was just super cool about everything. And he told me, you know, a lot he intended to be very vague with that stuff, just so that they could be protected if it was like a corporate thing, like Burger King or whatever. But so yeah, I think he's, they certainly weren't trying to fuck us over anything like that. And I think he was super friendly to us because we're artists, and we're, we're really trying to do something that we can be proud of. And, you know, yeah, most but mostly just emails and one phone call with him for a good period of time, where we got a couple of laughs and then. Yeah, that's it!
Alexa: Do you, as a band, have a collective favorite season of Seinfeld?
Myles: God! That's a tough question. I wish Jimmy was here. My basis love son. I mean, we all love Seinfeld, but I don't know enough about it to pick a season personally. Mm-hmm. I'm sure Jim has said something about that to me, but I don't know.
Alexa: If you find out, let us know.
Myles: Okay, we'll post it right on the page.
Alexa: A lot of rumblings have surfaced in the Pack about whether or not the drums were "Vulf-Compressored."
Myles: We did not use the Vulf Compressor as much as I, looking back, wish we had. No, we didn't do anything. Anything with the Vulf Compressor and I'm incredibly sorry to put that to bed.
Alexa: Thank you for clearing it up.
Myles: But it's funny. One of my friends was just telling me about that thing very recently before we won the bid. And yeah, he's telling me it was fucking great. I'll have to check it out. We'll have to get it at the studio.
Alexa: Yeah, Goodhertz plugins. Yeah, this is a plug. Fantastic.
Myles: Yeah. Yeah, but we had my buddy Andrew Morey mix the track and there's no way I mean, I've mixed I'm next quarter to midnight. But I just it's tough to with an important release, especially with a record it's tough to track. It's tough to write. Arrange with everybody and track a song and then come around to mixing it and still have fresh enough ears to have a good perspective. So I really prefer to hand it off when we can and Andrew mix the record and mix this track. And he's a monster. He's an incredible mixer, and he's done some amazing artists, you know, so. But I would be surprised if he had the Vulf Compressor and is it I'll ask him, maybe I'm wrong. Maybe he put the Vulf Compressor on there. Fuck! It's a good idea.
Alexa: I truly appreciate your time. Definitely learned a lot, more than what a Google deep-dive could teach us.
Loïc: Thank you.
Myles: Yeah, for sure. Thank you for having me, and asking the fun questions.
Alexa: Seriously, thank you for being accessible, and putting up with the Vulf fanbase.
Myles: My pleasure. I mean the Vulf fanbase is amazing. We've seen a lot of things, but a lot of great support. It's just cool to be in front of people who care, and are engaged with music, with real music, and players- people who are musicians themselves. It's just been amazing to be put in front of all those people. It really has been a pleasure.
Alexa: Well, welcome to the fam!
You can follow Earthquake Lights on Twitter at @eqlightsband