Finneas O’Connell Reacts to These 10 Weird Production Choices

before we start with the music introduce yourself hi everybody i'm phineas o'connell um i'm very excited to be today's guest on track star so i did track star with you in october of 2024 you played cecilia he knows where it's going you played cecilia i said you were like simon garfunkel and i was like yeah maybe the two worst hairlines on two male pop stars paul simon official commented on the tiktok wow you think it was him i don't actually but whoever is like you know on the paul simon estate that's like i'm the social media manager for paul simon official earned whatever their salary to me like just wow cooking i think maybe people wow period unbelievable like i was so thrilled well welcome back to the show we're gonna do something different this time it's great to see you again nice to see you too uh i sent you a prompt yes the prompt is weird slash interesting production choices uh-huh i chose five songs you chose five songs i can't wait to hear your five songs should we start with the first one yeah we gotta crank this oh this is money by pink floyd very very classic very good what are you hearing like the cash register and the ripping of a receipt and all that that wasn't made like on an on an apple isn't that unbelievable yeah i'm so this is like i mean you you you were a film major like yeah do you think about that do you think about like just the idea that they were getting these things imagine like putting a subtitle or text on a book black image and scanning that before you could you know just create digital credit rolls or whatever it's amazing we saw a guy outside we were filming two days ago and this dude had like a like an editing machine a moviola or something like that like uh from the from back from back in the day how they used to cut with scissors and tape it together to make this magic and then the effects are just they're almost so much more special because the work that went in to making that thing happen well and two things are true right like one is like it makes it so kind of ridiculous that in this digital world you do an edit and it's like basically perfect but it isn't quite and you're like no i have to fix it because it's so crazy that you even can and then it also is so unbelievable that like a lot of those old edits are basically perfect do you know what i mean that you're like damn even without any of these uh you know bumpers on the bowling alley that we have you know you're like damn you're like damn you're like damn you're they were just strike after strike it's unbelievable i guess when you have to go through all that effort of doing of cutting it and clamping it in the hours to make the cut you got to be really confident that you're making the right choice whereas like just dragging like the timeline a little bit on your i know this in editing more but i imagine in music it's it's similar these subtle tweaks that you're making when you're working on like you're working on beef soundtrack what are you what are the tools that you're using on beef specifically i'm i'm using logic pro the daw um for for lots of the pieces of music i'm importing you know whatever the latest edit i've been sent of the actual show so i'm composing the picture i've got a a fair few analog uh pieces of gear i've got a synth called a memory moog that's getting a lot of use i've got a little modular rack unit called an se3x um and then i'm using a whole sort of armada of you know plugins vsts omnisphere and arturia plugins etc so those those are the things that i'm i'm sort of playing with so you've got a tv yes with the scene and you got like a blank canvas right you're just leaning back your computer's there that's right tools are there what do you do panic like straight like it's so often i'm like oh my god i'm just leaning back my computer's like oh my god what do you do panic like straight like it's so good for resolve for me because the deadline and the you know thing in front of you is like it is so intimidating but the only way out is through and so you just make stuff and you really come up with stuff that like i mean there were examples on this season and other things i've i've scored where you're like you know okay episode four deadline in 10 days and you've got a couple pieces that you're really stoked on and really proud of and you got a couple pieces that you're like damn i gotta i gotta make this whole new piece today and you turn them all in and sometimes the stuff that you felt like i nailed that they're like ah this is a cool piece of music but it's not serving the scene correctly and then sometimes something where you might not have even been as confident privately they're like no no this is that's really that's exactly what we were hoping for so it's really great because it's a collaboration you know um and i really like i like being an employee to be totally honest yeah i like a pass fail great yeah and i feel like film scoring really does that it's probably a very different experience it's a job experience versus like okay i gotta clock in and and this is what i have to do today and let's put this thing together versus like the infinite possibilities of i gotta make an album for myself sure and also the kind of like i don't think of scoring sometimes it can be a vessel for it but like i don't have to be introspective to score a scene i have to be reactive i have to watch a scene and be moved and and you know offer something that sort of is is part of the conversation for that you know as opposed to if you know if i walk into a recording studio and i'm making an album that i'm gonna go off and tour there's all that sort of like who who am i you know like scoring doesn't scoring doesn't ask me yeah who am i which i like i you're just enhancing you're enhancing the emotional language versus like creating the emotional language yourself from scratch absolutely let's listen to another song please your choice so there's so much going on okay so i'll tell you why i selected that other than like loving the actual song itself yeah uh somebody not even that long ago played me the intro reversed which i don't know what our capabilities are in this beautiful wooden room but i know i know about post-production so in post-production reverse that little intro little bongos little like little cute bongos i don't know whose idea it was to revert to even record that and then to reverse it and it sounds awesome though like hi-hat in the song is a reversed hi-hat sample or hi-hat recording that's so cool like these are the kind of things that you know that they're not going to be able to do in a way that they're not going to be able to do in a way that they're not going to be able to do in a way that they're not going to be able to do inspire me so much this song came out in 2000 what do you think like these guys were you like i'm imagining like a pc like a huge pc and like very like almost like green and like gray colors i wonder yeah i mean it sure sounds like that you know sounds fantastic and the and the bait like the kick drum is knocking and then the bass comes in at a point where you sort of think maybe the bass already is in and then the bass comes in and then the bass comes in and then the bass comes in and then you're like oh damn there's the bass and it sounds fantastic it's like this big slap bass line it's really good andre 3000s yeah legend legend to me what's amazing about that song in terms of weird production is there are so many weird things happening but it isn't a weird song at all it's just a great class and i don't know if it was when it came out i don't i just remember when it came out being like the song's amazing not even knowing what they were doing just being like i what this is like one of my favorite songs ever started now it's just like cut straight through but there are all these so sometimes like the weird choices like they kind of become invisible i love that about a song like this like at the end of the day i don't it doesn't get my rocks off to just hear something that is weird for weirdness sake it's sort of like it's like a trojan horse or something it's like oh i love this thing that is very accessible and you know maybe it's a pop song that is widely recognized and loved and then you're like yeah but how weird is that little thing and then you're like yeah but how weird is that little thing that's hidden in there you know which i think miss jackson does a really good job of doing okay uh the vocal right the vocal the what's going on voice what's going on what's with the chipmunk voice it's so cool yeah and was it you know like the the mystery to me there is like is it formant shifted or is it recorded in a different key and then put into this key like you know he does a a similar effect or processing on moon river and that almost sounds like he's like taking it from another key and put it into this key and that the instrumentation is like still in the other key or something it's very um sort of dissonant and sick ♪ Chasing after our destiny ♪ he's like yeah i also feel like with nike specifically like what i hear and maybe it isn't it's like i hear something that is like gone through so many iterations and i i empathize with the people who worked on it because i just enjoy it as this like singular thing and sometimes when you have worked on something and changed it and reimagined it and worked on it and changed it and reimagined it like sometimes the end result you can be kind of like did i put out the right version and it's like i think that's the best version possible but i haven't heard 45 other versions but i just i just really love whatever his process is i love where he goes i love where he gets to it's there's a simplicity right like this driving rhythm and then the rhythm's weird and there's like some points later where the drums kind of it's like time out and get crazy and then his voice comes in uh in his normal register toward the end when he's so cool well let you guys prophesy we gonna see the future first living so the last night feels like a past life speaking of the donut what got into people devil be possessing homies demons try to body jump why you think i'm in this bitch when the fucking yarmulke acid on me like the brain when you're working on something do you have a moment in the studio where you play it back and you're like oh shit and do you think that they must have had that at some point i sure hope so it's hard i sure hope so but you know the short answer is like yes and no i mean like you appreciate you measure your thing that you've made off of some metric of internal success of like you know i tried to crush that baseline yeah and i'm like yeah that sounds how i hoped it would sound but i don't know there's a kind of an all-encompassing magic to hearing so like do you know what i mean like when you hear like bohemian rhapsody you're like jesus christ like you know what i mean well and like and were they in there like ah should have done that vocal should have done that harmony a little bit you know i fucked up the ending of the s on the harmony you know what i mean like that is part of it and i think that's okay but you know maybe that's just the thing that only perspective will give you david bowie's like it's perfect yeah yeah um okay here's another one a score i remember 2021 this show starting to air and i remember being in new york it's my first time coming back post pandemic and i remember like claudia has long known lucas gage the actor who uh plays the the young hotel employee in the first season anyway i remember 21 like being in new york with lucas and being like this show is so sick um and just like each episode i would be like i would be like saying to my girlfriend like this is the sickest music this is so cool and weird yeah yeah krista ball tapia devere goaded composer to me you sometimes you're like us like i've already watched like two episodes i'll skip through the intro this one not this one you're like no and then season two even even like also amazing intro same but different season three super different intro also amazing like that is unbelievable when season three started it was like a different title sequence you're like that is it's a brave man yeah and it still hits and you're like you missed the older one but you're like this is also just so good and a year later i don't i just love this new one perfect um the voices yeah like there's like these there's a lot of human voices doing making sounds like almost as an instrument shakers and human voices and it's so awesome amazing choice apparently the lore is and again none of this is really like i this is all me on youtube apparently that beat was originally for kanye like years ago and then didn't didn't pan out didn't work out um and then he was like i know where to put this i could use this for the show i could see it yeah i could see him using that doing some weirdness all right this is one kind of another easy one but i'm interested to hear your take so wow wow wow wow many instruments are there well i mean it you know there's a probably probably ultimately three because he did ultimately do some guitar overdubs but the bass line is his guitar run through the octave pedal which is such a weird cool sound it's like you hear that you're like that's a bass right and it's like yeah it's just a cool bass but it's pedal on a on a i think a hollow body guitar although i could be wrong but man it sounds cool and the drums sound great just like and his voice it's amazing so it's like again like the simplicity did you play in bands when you're like 12 never never because that's the first thing every every band of 12 year old 13 year olds is trying to do yeah because it you know the the the genius is in its simplicity right it's it's a pretty playable riff and the drum part is nice and simple but it's so powerful so you do every every kid is like warming up to that song which is awesome and that was you of course yeah when did you start playing like in uh when did you start playing music i started bullying my friends into playing music with me when i was like 12 13 and we were at your house where'd you guys go my friends like garage loft you know how sometimes like there's like the garage and then there's like the little like a frame thing above it so we were up in the a-frame with no ac they had a drum set in there dying so loud too um and i also was uh very ignorant about like composition and i thought that every drum part that was played in my band had to be a brand new drum part that no one had ever played before i was like no no we can't use that that's a drum part already so i was making him do the craziest it sounded so bad more and then like three months in i was like oh like this i'm i'm insane like this is not i was like the shags your choice sure is listen to the string part fresh why that um i think that i chose that because i was listening to beatles music at a you know young enough age that i wasn't intellectualizing you know things like production but i was reacting to the way that it made me feel and i think that the production choices obviously the the lyric and melody but the especially the production choices are so spooky and haunting that i remember like being in the back of the minivan being like mom play blue jay way and i remember like my friend like being like this is this was a cool choice like like hearing that my friend hearing it for the first time and being like i like this and yeah i mean i think i think that this was obviously when the beatles had already moved well past playing shows live yeah and especially at the time how could you you know replicate that production with the reversed vocals and the whether it's a leslie or a phaser a tremolo on the drums and it's so um washy and interesting and it's just sort of a kind of a to like how experimental they've gotten there's a fog of la there's a fog upon la and my friends have lost their way like the idea that george was like sitting around waiting for his friends to show up you know like why is everybody late and also i don't know like i've lived in la my whole life and everybody's so fucking late to every everybody's so late we had a party the other day and the first guest arrived like an hour and 45 minutes after we told the start time and uh and they arrived and i was like first guest and they were like what you could tell that everyone thought like i'll you know what i mean i'll arrive well into the party um and so i don't know i think that i also connect to it as like a angelina of like that's i love the you know the beatles the beatles are so english and then they're so kind of worldwide but i i appreciate the the the the rare nod to los angeles like a piece of music will really lean in like the music will lean into the lyrical content and they'll match each other and other times they'll go in the opposite direction and this one they're really like leaning into let's just like paint the picture which in a way is kind of like cinematic right that's a very good example to me of like you know the the music video for that song writes itself i think it was made for a movie too totally there you go i wish you the best for the rest of your life So the whole song basically just goes like this. It doesn't change at all, right? Changes a lot. Changes a lot. What you got for me, Jack? Well, the vocal is completely different. Super different, yeah. I mean, it's two different songs. 100%. But it is one song also. Yeah, I think that the fact that they're on the same track is, first of all, I've always loved hidden tracks. In the digital age, that's the way you would do that, obviously. I remember at the beginning of the series, sort of digital era, they were putting out stuff that was like, parenthesis, hidden track. Which you're like, not so hidden, is it? You know what I mean? But I get it. If you're the record label, and you're identifying everything with its metadata, you're like, well, let's call this hidden track. So the way you can achieve a hidden track is to just sneak it into the end of another thing. And it sure is fun live. She really crushes that live. How did this song come about? Well, my memory was that they were both started around the same time, and then the progress bar sort of went green at the same time for both. The first song was on Billy's jazzier side, and we just had a great time writing this very sort of mean song. And then Over Now, which was what probably the Logic project was, called, she just came in on a vibe one day and was like, it's got to be this fast thing, throw the auto-tune on my voice. I was like, sure. And I think auto-tune, singing into auto-tune, for anybody who has not sung into auto-tune, you could be a non-singer. You could be very unconfident in your voice. And if you throw some compression and some auto-tune on your voice, you can have a lot of fun. It's like jumping on a trampoline or something. You're like, this makes me feel good. You can get lost in it. You can get lost in it, yeah. And I think Over Now happened pretty quickly, and then like anything that you do quickly, you overthink it, and you think maybe we should chuck some different sounding drums on this, or maybe we should redo the vocal and take the auto-tune off. But we just felt like there was a really good energy in the whole thing. And I found it fun to listen to. She found it fun to record and perform. We were just like, you know what, there it is. Don't overthink it. And let's put them, let's hide it. It's so fast. And then, so then how do you actually do that piece in the middle? Because that's, then you're like, wait, we're going to put these, that wasn't part of either song probably, right? That was like. Well, in the stitch, which is another kind of easy thing to compare to doing music for a TV show or something is like the stitching is, there's, you know, the thought process that goes into that is really fun. And I remember like the tempo of Lamore is here and the tempo of Over Now is all the way up here. And so then you're like, okay, how do we, how do we get from this tempo to this tempo? But, and I ultimately was like thinking about it wrong and I had it going like and speeding up, but it sounded terrible. And then I was like, actually, Over Now is so much faster than this first thing that if I just go like, and I dip it, like it was. Something like 10 beats or five beats, then it's half time. And so then it'll go into the double time thing super easily just because of how different the tempos are. So that was fun to work on. Your choice. This is the scream. So cool. It's crazy. This is on Spotify. The opening of Oh Green World features a distorted ukulele creating a unique sound that sets the tone for the track. How interesting. This unconventional choice showcases Gorillaz' experimental approach to music production. Thank you, Spotify. Whatever that is, 40 seconds in is like the most blur that album ever gets. It's like the John John, John John, John John, John John, John John, John John. Like, but the fact that for 40 seconds, it's just like total pandemonium. So cool. Danger Mouse and Damon. Really, really, that album is a North Star for me. When it starts, like, it's like we think that's ukulele. Yeah, distorted ukulele. There's all this like. Tension that's created. And then it like kind of gets resolved. That's so cool. Is that like a trick that you guys like to use? I mean, you know, whatever that song makes me feel, I hope I'm making stuff that makes people feel. You're like, ah, boom. Okay, we're back. So cool. Everything's exploding and then it gets like sucked into this thing. It's so cool. I could have picked Dare from that album. I could have picked Last Living Souls. I could have picked Feel Good Inc. They're such. A treasure trove of cool production choices on that record. It's amazing to just do a whole new band with a completely kind of different sound. And also just like, we're crashing again. We had lunch with Damon one time in 20, must have been the end of 22. And he was super fucking late to the lunch. And he arrived and he was like, I walked in. And I was like, yeah, you're really late. You're so late. And he was sitting at the table and he's got this very quiet tone. And he's like a whistle when he talks a little bit. And he would not. It was like kind of a loud restaurant. And I remember me and Billy being like, like trying to hear him. And he was, you know, saying stuff about music. Sort of like Jack Sparrow. It's kind of how he sounded. And then at the end, the lunch was kind of long. It was really long for me because I was there on time. And then at the end of it, he was like, oh, I've got somewhere to be. And I was like, why don't I give you a ride? Because you walked. And what's, you know what I mean? And I remember him getting in the car. I'll put these on. These are my real sunglasses, but he's always wearing shit like this. So here's my Damon prop. And we get in my car. And he's like, this was his electric car. And I was like, yeah, it's a Tesla. And he was like, soon these cars will be driving themselves. And I remember going like, bing. And the car was like, it's doing a U-turn. And he just started screaming. It really scared Damon. So that was my little WeHo lunch with Damon Aubrey. It's happening now. Yeah. I walked here. I walked here. I was like, you better have walked. You better have been far away 45 minutes late to the lunch. Walking in LA. Not to sidetrack us too much. Listen, I walk a lot in LA. I love to do it. It's just, it's an adventure every time. It sure is. You never know what's going to happen. But you do have to leave. People see you. They're like, this guy. Early. If you want to walk somewhere in LA. What is this guy doing? Also, taking the subway in LA is amazing. You know what? I haven't. I've barely done that. Yeah. I'm almost never. It's nice. I'm almost never going from a subway stop to anywhere near a subway stop. You have to drive to the subway. And then you have to drive. I'd have to walk forever to the subway. And then I have to get on. And then I have to walk for. Yeah. So at that point. It's nice on there, though. It's very modern, futuristic. It's, you know, no offense to the New York City subway. But I take the New York subway all the time. It's pretty nice. I picked this one because I remember when I saw this movie being so over. I mean, all any Christopher Nolan movie, but Christopher Nolan, Hans Zimmer together. And it's just like, please, like, calm down. You're so stressful. You're stressing me out. This is from Business Insider. Which piece is that? Dunkirk. It's called Supermarine. Dunkirk. Yeah. To heighten the tension in Supermarine, Hans Zimmer employed a musical illusion called the Shepard Tone. This technique creates the perception of a continuously ascending pitch. Creates the perception of a continuously ascending pitch. So it's not actually a continuously ascending pitch. But it just feels like that. There he goes again. He also sampled the ticking of Christopher Nolan's pocket watch. Pretty cool. You ever met Christopher Nolan? You know what? I haven't met Christopher Nolan. I think Billy met him when we were getting to go to the award shows with the Barbie song. Chris was winning everything for Oppenheimer. And so, you know, we got to be around his crew a lot, which was really fun. I got to meet Killian through that process. Who, because of Christopher Nolan's, you know, movies from years ago, I became an early fan of. So that was cool. cool so that feels like you know it feels like i met chris's nephew or son or something like that the nicest guy killian killian nicest guy ever huge music fan played in bands huge music loves zappa loves zappa yeah he's he's awesome and and i love chris's work and you know chris not not that i had much interesting to say to killian either but like chris is in that category of like i don't have anything interesting to say to him you know what i mean i'd just be like movies are dope you know which is always fine i'm always if i if i were in an elevator i'd say it but you know what i mean to be in a big crowded room and be like i need to find christopher nolan to just be like i love your movies what about hans zimmer hans i've spent some time with hans is amazing hans helped us a lot with the whole process of no time to die and scored that whole film and so that was when we got to know hans you , I've told this before but i'll tell it again because it's funny every time to me the way that hans gets in touch with you as you get a text from hans that says hello this is hans call me you call the number it doesn't pick up an unknown number calls you he's not the president first of all he has a number that he's happy to text you on and you're like he says call me and you go okay cool calling doesn't pick up unknown number what is that that's so interesting yeah um i'm picturing like a server board in like an old cia office or something where he's like and like patching it in um hans amazing we we didn't i didn't get to ask him about the dunkirk score but we did ask him about the dark night score because that's a similarly intense stressful score and there's a specific piece that i think maybe is called like the joker theme or something but it's the piece that plays during almost every heath ledger scene and it's this violin tone that um it to similar effect is going like and sort of rising a little bit i remember billy asking him about that and he was like it was about getting the player to play something that was incredibly nasty i remember him saying it's got to be very nasty and uh yeah and it is nasty yeah it's pretty awesome yeah but yeah i i am such a fan of his work i'm also such a fan of the way he pronounces words when we were doing no time to die i said what are you doing after this and he said dune that was the thing he was about to go work on um and then he went and worked on dune which is really another huge sort of like benchmark thing for me as a fan of music scores like film scores like dune is so amazing and he can go play concerts with with orchestra sure can with these and sell and sell out like the staple center and shit he's so cool who goes to see a concert of like movie stars hans zimmer is touring john williams and hans have deep enough bags that you're like okay i'm gonna go you know you go see john williams you're you're liable to hear harry potter jurassic park star wars indiana jones like oh my god you go see hans you can hear the lion king pirates of the caribbean the batman trilogy the dune franchise a million other movies interstellar like he really has scored some you know he's really done an unbelievable body body of work he's the both of those guys i mean hans is working i i i sought out his counsel pretty recently to just just because i'm lucky and can do that and he was like working away like i was he was very nice he didn't make me feel this way but i was like in my head i was like i gotta get out of here he's working you know what i mean like which i actually thought was kind of amazing because sometimes you pull up on like sometimes i'll i'll pay a visit to like a musician and i'll be like what else were you doing today i mean like you're kind of hanging out but hans is hans is toiling which i appreciate i mean if he wasn't working there'd be no movies kind of feels like that yeah he's like no movies are going to come out next summer if i don't get this done he really does like it is baffling his uh his scope is really amazing um another another working man i mean so when you're in like second grade or something they they hand you a recorder yes at least i in my school i feel like a lot of like that's like the one of the first instruments that they give kids i guess a little maybe a little drum but it's like here and we're going to learn a couple songs pretty cool i mean the thing that that is doing that i think that hans did such a good job of on the dune series as well and i think that john williams did a perfect job of on like harry potter is like making music that feels really like it is of the parallel universe of that story you know like the dune music feels like it's from that desert planet and this piece of music really feels like it's it's from the the it's a space western it's a it's from the star wars universe and so i think that that's you know one of the things that ludwig is so great at is that again that feels like vaguely familiar because it is like a i think it's like a baritone recorder or something but it doesn't you know what i mean it feels like the kind of music an alien would play yeah which i love the the power of of these of these great scores is is you don't even have to watch the movie you can just hear this and you can be transported into that into that world which is a pretty special i mean that's what i mean the cantina yeah from the star wars movies where they're all playing weird instruments and then the genre is called jizz that's what they called it george lucas dirty dog george that's what they called it you dirty dog jizz music the funniest star wars thing i've heard in the last couple years made me laugh for several days which was they were developing a star wars video game this is like now like 10 years ago at least maybe 20 and they wanted a couple more darths they had darth vader and they wanted some new darths right in the right there's darth sidious and there's darth maul and there's darth vader and they needed a couple more darths yeah this is a good one this makes me laugh to think about and they somehow you know through their liaisons like george was like i can i can come up with some new darth names and they were like oh my god like the guy you know what i mean like the the star wars god is gonna give us two names and he came in and he was like he goes he goes all right i've got two new darth names he goes darth he goes darth icky and then he goes darth insanius and i think that the crew was like what and he was just like like left and they were like darth icky and darth insanius that that is like i don't know it's not actually funnier than darth vader i guess but it's so funny to me yeah i don't know but i saw a photo of him the other day and he looked really good the confidence yeah he looks when you become the master yeah of your thing you just there's some photos of him at like an art gallery and he's got his like light blue jeans on and his sweater some comment was like he's got another trilogy in him which i thought was awesome that's gonna be you one day you're gonna be 85 you're gonna show up at the label i'll be on my little raft floating around the acid ocean my new check out my new track trading credits for clean water we're gonna have a different life than these guys have had dude i was at a i was at a birthday recently for a old hollywood legend and it was like me and my fiancee and then everybody else was like an old hollywood legend and they're all like dancing with each other and i was like god they got such a cool life they were like lived through all the cool shit and now they're just about to die and this down in this sort of like beautiful the end of the golden age of you know the modern era before we have to you know trade trade things for um sustenance and stuff like that yeah i think that's a good point i think that's a good point i think that's a good point i think that's a good point we we were just talking uh last night about this idea for a video that we're thinking about making called our boomers the worst that they just like come buy a bunch of houses burn shit down and then peace and leave it leave it with you i yeah i mean no offense yeah yeah well and again it's like i i guess i i broadly understand why it all happened right what were they supposed to do resist all total temptation in that direction i don't know i get it they were the flower power peeps yeah well yeah they tried they tried and then wall street came knocking where are we going yeah exactly these are really nice these sound really good these are really nice these sound really good yeah i think that's a good point i think that's a good point crazy piece look at hayley she's shook thanks so much so back to the beginning of the conversation you're sitting in your studio you're yeah you have a screen up there you have a day you're like let's yeah so i was i was already sort of you know privately attached to to beef you know i was i had the job unless unless it i turned in bad stuff you know i've i've learned that i've learned that anything can happen and anything can change and so i you know like i didn't announce that i was doing the music for beef until it was like totally done um and this was a year plus earlier and they were shooting and i remember i think the fires had just happened and i was getting some early drafts of like episode four five six and i just made that piece and it it wasn't particularly um in reference to any scene it was just sort of like the raw matter of the characters that i was like thinking about the characters and whatever i made that piece i often found and i really am grateful to sunny for this like the bigger the swing i took the more he seemed to like it you know and sometimes that's just not the case with somebody and and um i wouldn't have uh been offended if it weren't the case in this obviously there's a lot to sort of you know pay attention to and you don't want something to distract from a great performance by an actor or a great you know shot from a dp or whatever but i remember sending this to him and just kind of being like and he he was he really responded to it and really felt like he um knew where it could fit in the show and then when i got like the script for episode eight it was included in the script and um that was just like a really you know thrilling sort of like that was a first for me in my career i like the silence thanks yeah i think silence is like how you effective silence is like how you make something like that tolerable like if that never goes away then how do you even understand it it's got to be in the context of of the silence this song is on streaming platforms under phineas o'connell uh-huh and your music i've cut the last you separated right you split the two yeah smart two different things two different feelings different ideas yeah i think of them as two very different um worlds yeah right i think if you're like want to hear for crying out loud the next thing that auto plays should be another pop song and not like yeah i mean you know i'm super proud of that but i do think they're they're set yeah if hans zimmer ever starts like a rap project that should be like just hans or like just zimmer but you know what i mean it's a different different mood darth hans maybe darth insanius darth insanius would be a good name for a rapper yeah um what's next for you back to la gonna go whip up another solo record which i'm really excited about um and planning a wedding that's most of my years planning that's the most important thing that's definitely the the thing i'm i'm uh the least interested in making mistakes on have you are you married yeah how did it go how did the wedding planning just you just yes yes yes that sounds good let's make it happen yes yes that's all you need to know the thing that i've learned is that i i i totally agree with you and then it's like i only really get asked like multiple choice which is how i like it right you know if if claudia narrows it down to a couple things and then she can't choose i'll help her i'll be like i had this i like this like i'm sort of surprised by how many opinions you can even have you know what i mean because when you hear about when if she goes like we need to pick between these two browns you're like am i gonna have an opinion and then you see them and you're like i love i love the way that that earth tone looks it's amazing it's funny to just be like let yourself react to stuff i never really paid attention to flowers that much until then and then i was until then into the flower game well it's the best day it's gonna be the best day of your life so that's very sweet of you to say it sounds like it was for you it was oh it's amazing and then i had a baby and then and then that actually wasn't the best day it's it's traumatic sure stressful and nerve-wracking to something great yeah but it's gonna be a traumatic experience yeah i feel like having a baby there's there's no hospital during a wedding right you're yeah there's no um there's no like heart monitor yeah at the ceremony exactly yeah maybe there should be thank you for coming thanks so much for your time today man i love that you've got the long form now thank you spotify for the extra support this week it means the world to us if you aren't already watching on spotify you should because spotify is awesome all right see you next time peace the track star podcast is a presentation of public opinion created by me jack coin kieran coin and henry cornaros produced by hayley sobel edited by hayley sobel theme and original composition by kieran coin mixing by devin klein our agent is joanna orland at uta thanks for listening see you next wednesday