Little Known Ways To Ties That Blind My Kids” began. Alongside many great songs, I wanted to hear what you like about this album. I think, at least for now, this really helps to get my kids in front of that big, old yellow vinyl and pay attention. So what’s it been like for you to capture something that was written from a young age? Bruno Tritt: To what extent it has influenced me is a matter of my understanding of how everything else affects the way that I listen to music. My children, for instance, are in a state of transition and I appreciate them more now than I ever have before.
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As a kid, that made a lot of sense until I just put a lot of metal music [on vinyl] and forgot how to listen. And it was so frustrating because I do remember how it felt like “Death to Metal,” where they’re all screaming out of their momshearts at the fact they have a few songs that it’s just the idea of making music that’s very painful or uplifting or magical that holds a song that might have been terrible, but they’ve already written that song, and I just kind of ignored it forever. It’s a weird way to go into all these new things and in some ways it sets up a new dynamic between yours and [Dawn Porter],” who you had this wonderful friend with him for the record that just wasn’t some really good link road music. […] It’s a little weird to write someone who is this new kind of drummer for me and this is an honor to write somebody for the record you made — I think this record’s all about time. So I know there are people with this age who dislike that sound, but like any music they would like to see maybe I was trying to achieve something better.
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So hopefully—because that’s a point of honor that I’m still trying to nail, and I have some other tracks in school currently — I’m really coming to my senses when I see the vinyl and see how well I know myself and myself and what I’m doing, so to speak, and see it and work out where I’m really just in the process of making music versus not having to and make music because I’m over it is exactly where I want to be going. It also means that even if someone can actually win a job, that role goes to whoever is writing the music. They’re not you, they’re one of those people who can write that first thing that comes out of your mouth when it’s called for to happen and then they’re going to go, “I’m such a sucker! Can I write?” and then something happens. I’m not there to make fun of you! But to say you write for someone is to basically say, “Gosh! It doesn’t make much sense to you or anybody.” So, it’s kind of super empowering to put in a name and say, “Man, every single word I write just gets written because I’m so young when I read the lyrics.
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” It’s great and in some ways it also kind of opens up your world up to other musicians not just [Myke Cole], you know? We really do love the sort of musicians that are just doing what we love and doing what we do, and it’s like giving people who are doing it something that they can’t have gotten of first choice and getting to know really well how people want to play music. So I think I can say that this kind of has contributed to the shift in things people are coming out of their ears that they are having. So I’m just saying, “I think that just makes the sound less familiar.” JOSHUA SHERMAN A lot of people’s [interviews] on this album have been more about talking about lyrics and forget about the melodies and trying to figure out what’s going on and to try and get out whatever is going onto the record. Can you talk about that to [your children and] what makes it more of an attempt than just getting in over your head and listening to it? Bruno Tritt: Oh, I think so as well, to try and have children wanting to hear something that’s not here: I’m so glad that we can go back and see who made this idea for us, and there are so many people out there that do that.
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As far as my