you know I think I was coming of age during the Napster years and I didn't grow up with a lot of money so I'm downloading all those songs give to me well I think my I think that law I think my mother was um you know it was like Christmas morning so she she just like she went in she went in
piracy she had I mean you know I I think she recognized I think we're okay had she had the money I think she would have been very happy I don't think there's still hunting the criminals anymore I [Music] think what an incredible body of work here in the pitches um it's been out for a few months and you've got to play some
wonderful shows and bring it to life and see how people are responding and what I guess just getting straight into it like what surprised you about the reaction from the way people are either listening to it live or talking about it when they talk to you about it like has anything
caught you off guard about the way people have perceived the record in a good way you know when you've spent decent amount of time being completely immersed in the process of making something um it can be easy to sort of feel like maybe some of the finer details of what you've worked on might necess not not
necessarily translate to people um I was really struck by How Deeply um people seem to be processing it and receiving it um very sort of like imaginative um engagement with with the record which I I really appreciate it I think that that is a reflection of the love and care you put into um giving it
space Oh and allowing your words to sort of there's a nurturing nature to the arrangements and to the way the instruments play with each other and there a the chemistry is very very open on this record um and I think that that leaves sometimes we we make decisions for people creatively you know we of
tell people this is what you should think like do you like it but this is really how you should like it and I think you've lift it really open to us to absorb I like to allow for some mystery because I think that you know people just innately sort of are going to project their own experience onto the
art that they're um taking in yeah and that that's kind of what it's there for um I mean it's good to have things contextualized for you sometimes but so otherwise I'm dead out of a job I'm done for no I mean without that we it's it's a it's a crucial it's a crucial part of the process but I think the other half
is sort of allowing for other people's interpretation I'm going to ask you a lot of questions about the album but I'd love to know what music when you were kind of at an impressionable age and art really presented itself to you in a meaningful way what those records were
that kind of sparked your imagination and made you realize it wasn't just notes and Melody and beats and Dynamics yeah well I would say there were several stages to it I mean I grew up with a mother who you know today we would refer to as like a a music head she was not only very into music when she was young
um but she continued to just stay really present with it she was always reading like music magazines and music literature and and a real fan a real fan and just like very up to- date on stuff and also had really deep taste and very like eclectic taste so I I grew up in a house where there was always music and
also you know I think I was coming of age during the Napster years and I didn't grow up with a lot of money so I'm downloading all those songs give them to me well I think my I think that LW I think my mother was um you know it was like Christmas morning so she she just like she went in she went in
sheiry she had I mean you know I I think she recognized I think we're okay she had the money I think she would I I don't think they're still hunting Napster criminals anymore I think I think that I I think that model has been proven almost right actually to be honest with you I mean some there
there's a lot of commentary there that we won't go into but uh there is yeah so so I guess what I'm saying is you know she created this whole sort of music library for for my brother and I and herself and it really you know not only did we have exposure to the stuff that she was already you know she had like
tapes and CDs she had been a massing for a long time but it just turned into this sort of like Wonderland of music and then as I got older like you know 13 14 she would like pick up on the stuff that I was responding to and kind of like feed me stuff like you know wow so she was a true active curator in your life
yeah yeah I remember like I think my 15th birthday she gave me Ziggy Stardust and uh um warm Jets by Eno um all like on a CDR you know um and yeah and then when it came to sort of my own like very personal relationship to music I think around that same time um I got into some folk stuff like the incredible String
Band and Leonard Cohen and that really um blew my mind as far as these sort of like um very far out songs with lyrics that were sort of not super traditional you got to go you got to dig deeper if you want to immerse yourself in that writing you can't just let it wash over you it's like no no you got to swim
further up from Shore for the S yeah and and it's sort of like very ethereal sound like even though Leonard Cohen is someone who sort of like does have some traditional elements in the style that he plays guitar and sort of the the the ballader kind of sound um it just sounded like it was from another world
and I was very intrigued by those sort of warm dense sounds and and he was so like dignified and I I didn't know anything about him but I was very curious about the person that he was spooky to me as a kid listening to that kind of music and my brother's room would sort of echo out and I'd hear
these songs and I'd be like what's wrong with my brother is he okay like does he need a hug like what's going on cuz I was just a kid trying to figure out my way and he was diving into that world and it was there's a it is ethereal and it does feel like um there's no playing of the game going on there it's like if
you want to come play with me that's cool but I ain't coming over I'm bringing my ball over here to you it's like I'm in Lin and Cohen world yeah and and I think I liked that sort of like the weight of that and the the darkness there um it was very intriguing to me I can hear um the way that that that all
of the music you've heard in your life is I could imagine how it could create a maximalist experience for you it's like I I wanted I have talent and I have an ability and a gift and I want to do everything I was inspired by but somehow you found yourself in this beautiful as I said refined space
where reduction is an art form and I know that sounds like pretentious maybe but I I genuinely believe that listening to this record how it feels like you went somewhere and then pulled all the way back and kept the essence of of big in a very intimate way am I doing yeah that's very flattering thank you so much
I I really appreciate that um yeah I mean I think you know I stumbled into it in a sort of um I wasn't really I didn't have an end goal and I wasn't sort of I didn't you know just some people are really driven to learn how to play guitar and make music because they have some sort of like Vision at the end of
it I really didn't at all in fact I never even considered having a career in music it was it was just this kind of thing that I started doing because I really liked the music and I I wanted to play it in this very like um private way initially so you would have been happy just having that experience for yourself
and potentially just leaving it there I think maybe there was some beauty to the fact that I didn't ever see anything happening for myself because it allowed it to sort of grow in this very sort of um organic way where I wasn't sort of like well what should I be and what should I sound like and what sort of
things should I learn in order to sort of attain this goal um but I don't know I I've wondered that myself if if other people hadn't stepped in and encouraged me to try to promote my music or play shows I wonder if I would have eventually grown dissatisfied with that and tried to seek
something on my own but I think there's a Crossroads in life when you when but certainly for me and and the people I know who I grew up with where ambition was this like there was the other side of the table where the ambition was this thing and it was like ah man and a lot of times that was driven by getting out
of somewhere or wanting just have a bigger Adventure than the one you're in of course and it it can really derail you it can really it can put you in conversations and meeting rooms and decision-making processes that are not healthy and don't actually serve the art at all because the ambition is going
yeah how you get that quicker or yeah this is going to be great and so I think you actually the way you describe it sounds kind of perfect none of that really played a role yeah no I feel lucky in that regard I mean I think you know once you get a sort of whiff of something maybe at some point like it
did I'm not trying to say I'm without ego I mean you know aftering after playing my first shows you know when you get positive feedback and people tell you that you have something special that's very addictive and uh it gives you a sense of selfworth and a sense of purpose also um
so that that is certainly factored in you know since since the early days totally and you know we all have it and our our identity is constantly forming and compliments play a pretty important role yeah you got you got to have that sorry to embarrass you with this but um it it is it is stop you track music it's
the kind of music that that that when someone puts it on um everything else you should or feel like you want or could be doing doesn't really matter for a few minutes which is kind of we need more of that in our life I think we need a little more um music and and art that takes us away from the other things that
are dragging us in sure there a lot more drag now than I feel even when I was a kid you know yeah I know what you mean I feel that too does any of that play a role in why you make it feel the way that it does I'm sure it comes from a personal place and you're searching for something when you find it you know but
even at the end of it do you feel like hm I feel really grateful that I've created something that may actually is if slow things down yeah I mean I think for me it's all about atmosphere and sort of even going back to what we were saying about like Leonard Cohen that's so much of what has intrigued me about
music historically in my life when you hear something and you're just like what is this like I have to know what this is this it's sort of this like enveloping feeling um and yeah it's not always the easiest thing to do but I think you know even the way you write a song or the way
you sing um and then especially with production stuff it's all kind of like pointing toward that experience like if I can make it interesting for me then hopefully it will translate to other people let's talk about that if if we can about the Curiosity and the learning here of making this record and the music
you made thus far and and how it's taken you into that process even deeper um you know I know that every element of the cre process is important to you it's not just about writing and Performing um you know that you're right there building these these sounds and this mood and
this feeling so how how sort of wild of a horse was this to wrestle this album um it's a good question and it's sort of difficult to answer um you know I felt like it was uh a lot of hard work in a fairly condensed period of time um I tend to sort of just go over and over and over
things and and until they feel like they've been um sort of beaten into the shape that I want them to be um which is so funny because Instinct normally plays a role in music like this right it's like if you're painting on a canvas yeah what you're saying is you would do multiple multiple textures and layers until you
found what you need but when you listen to this in my head as a as a Layman listener of this music and not someone who's necessarily in the process I would imagine that you're searching for things that present themselves very quickly does that make sense yeah I think it does make sense and I think think
honestly some of the difficulty was sort of like you know say you were an actor working on some lines and they're being recorded and maybe like the third one was perfect and it's like okay do that exact thing again and like you can't it's very difficult to to recapture that
experience so I think a lot of my songw writing is sort of like that innate expression that's raw I mean of course I refine it somewhat but that's probably the rawest part of it and then it's sort of like taking that kernel and trying to present it and record it and produce it in a way that that maintains that
sort of Aura um and tricky that's yeah there's no there's no rule book for that but it's just sort of like just keep trying until in the Modern Age tough though because I mean there's always going to be opportunities to present it to make it a little bit better this way or a little bit more that or a little
bit that and so that's what I'm really trying to sort of bumble my way through is way of explaining that you know I feel like the aura is intact and and the beauty is intact that song in particular is a beautiful example of the of um of that particular Dynamic of the record because it's not just that there's
Beautiful Moments of tempo and and you know the the relationship between the instruments when you know the drums and the guitars come in and things happen are really positively uplifting but that song in particular is pretty haunting for me and I wondered sort of if you could tell us a story about making that
one cuz it really struck me when I heard it well it's interesting that you have selected this one cuz I do feel like it's probably the most raw of all the songs on the record both in like how quickly it was written how simply it was written and any notion I had for arrangement it was pretty was pretty
bare um so it it it it sometimes it comes down to sort of like getting the right Rhythm like it's a lot of my songs will feel maybe like deceptively simple but even just pairing the sort of slight percussive moments on the song with the guitar rhythm and with the singing like I'll write something and then like a
month later I'm like how how did I do this like how do I get back to it's so instinctive and that's what I'm really trying to get to is it's instinctive it's like I you can't um analyze that you can't analyze that into existence like even the way that kind of and I mean this is the highest level of
compliment um but that sort of John Kish kind of like Rising of like beautiful organ that just keeps coming in and out and sort of nurturing you and here we go we're here and we're not here where are we and it's just like that's all feel it's interesting that you you mentioned John kale and that's extremely kind of
you to say um who I mean somebody who's amazing with um production and Arrangements um the there was a Brazilian percussionist who played on the record um moral Rosco who plays a little at the end of that song there's those sort of like sounding those sounds um he came in and and you know we play the
song a number of times and he does some takes and he he came into the control room and he was like I I've I heard this album uh marble index by Nico which which John kale of course like he did the arrangements for that record like Nico you know she had uh she recorded the songs in a very raw way and he came
in and just sort of like filled it in it's one of my favorite uh records of all time so I feel like there's Maybe like a a bit of influence on that particular song so good call out Beau I mean very very Tastefully done and and um I mean what what kale is a brilliant at is is allowing tone and Reverb and
things to act as instruments and not just as um support pieces you know often people put these things on the instrument to create a glue but no that is the instrument yeah yeah totally and I mean I remember listening to to The Velvet Underground when I was very young and sort of like getting really obsessed
with those non-musical sounds um whether it be like feedback or some sort of like clashing percussive thing or just like a weird like hum all that stuff was so interesting and memorable there's a recent interview with John C I think that came out I hope it's relatively recent um I can't remember what the
magazine was but my friend and I were reading it literally 3 days ago Seth we reading it literally 3 days ago and they were asking him like you know is what what what what are you into now musically like what inspires you musically have done so much throughout your life and he's like I'm just into
rap like I just listen to nothing but hip-hop and they were like okay can you give us some examples and he rattled off the most dial in WoW hip-hop playlist like he was like I'm listening to this and this and this and this just like man I mean this guy could literally chop it up with my teenage kids for like an hour
with this playlist like and I'm not I'm not saying I should be surprised I mean who cares like ages who gives a he's John kale he's Timeless but it just was cool that he's looking for things still yeah even though we're talking about how great is in making Nico records and underground moments he's
long gone like he's somewhere else all together yeah and I mean I think it can be actually quite difficult I mean I'm not speaking from experience but I guess more observational um you know if you've like been in the game for your entire life and you've made a lot of music like
can get fatigued with the process of discovering things and staying locked in with that so I'm always really impressed when people can do that someone gave me some stat on the air who was it who was s at during the radio show about 28 being the Jeremy I mean this is not an insult on him cuz he's like my little
brother but he said that 28 apparently some study discovers some study can we stop studying things by the way that are relevant like be good to study the really the stuff we need to study not when music is most relevant to people which is the study was based on and apparently 28 after the age of 28 most
people stopped searching for new music and I was just like stop with that I mean I I have I've seen some of this stuff too and I like I think it's like you reach a certain age or there's some statistic where it's like if you're 35 you're like you're mostly listening to music that you discovered when you were
like a teenager or like whatever I understand that I mean not everybody is you know pursuing new stuff like I think for a lot of people music does not define their life do you know what my friend said as well just to add to that he said uh when I was talking to him and I was saying man we just need to focus
on new music he said Zan no one if you ask anyone in the street what their favorite music is no one says new I mean it's a lot of work it's also like the human instinct to seek out familiarity it's like at odds with that you know I mean you have to be pretty Intrepid to just be like constantly
juicing new music all the time I know I'm just obsessed now that anyone I meet who's 28 I'm going to be like you're still checking for new music where you at you're on the right side of History like like here listen to this let me just keep feeding you don't cross over don't cross into that line I mean yeah
it it is a little sad it's good it's good to remain curious you know what's the one album that um that isn't you that's that's traveled with you the longest the most um there are a lot but I would say bringing it back to my mother um when I was in the third grade um or maybe even second grade um
we we borrowed my aunt's three disk CD changer like CD player which was like felt like really stateof thee art at the time was so loud though when they would change it was just like it was just Machinery at it's loud was like yeah they were they were it was really but my mom had a a CD of loves
forever changes and it had like the alarm clock function so I would wake up for school every day to that record um and it really like um burned a hole in my psyche and and you know at the time I didn't really know or care what it was it's sort of like more of a peripheral thing yeah and then later when I
discovered that Rec I sort of recognized what it was and it was like this weird uh prian kind of moment where I got was like flooded with this feeling this nostalgic feeling um because the familiarity made the made the discovery yes absolutely and uh I it's still one of my favorite records and I never don't
want to hear it you what's your alarm now wakes you up I try not to have an alarm but uh I to say I like you have an alarm Brian's your alarm if I I do I have to have an alarm sometimes I I just go with the you know the the basic phone sounds do you wake up to music I've had the same Drake wow had the same Drake
and Little Wayne song do you hate the song now though I kind of still I'm still here for it weirdly but it's been like five years that's very impressive Jessica Pratt hearing the pitch is the name of the album the last year did you always know that was going to tailor in the record that was going to be the
goodbye it was one of the last songs that I wrote for the record so it kind of Slaughter sounds like relief it it sounds like the end to me it feels like the credits rolling so felt natural definitely and listen the whole album is so lovingly put together it begins beautifully and ends perfectly um I
really really encourage everybody to listen to this album and just let it do what it's supposed to do which is kind of take your attention and put it in the right place for what is it like 30 odd minutes 30 minutes and some change that's yeah we can say that yeah about that how do you get the guitar sounding
so good I said I'd ask you and I'm going to ask you on the air if you're any buddy musicians who are struggling to make an acous guitar sound like you hear it when you play it and then somehow when you record it it sounds completely different it's a torturous experience honestly um it really is I mean it's
worthy of interview time it's really difficult um I think that well one working with a like a genius engineer and and co-producer who knows how to really manipulate sounds and and understand what you're looking for but two um one playing a nylon string like strumming it with your skin as opposed to The Nail it's a very soft
sound um but I also was playing let's see maybe eight years ago or so I I had a roommate who had this like half-size like child's guitar that her dad had given her like it's like for to learn guitar you know it had like little stickers on it for like the um and I just really liked the way it
sounded it's like extremely warm and soft and gentle and I just started writing all my songs on that little guitar it's like very malleable and when I went to start recording this record I I flew to New York from La um I just brought my regular nylon string guitar which of course doesn't have the
same sound it just didn't even occur to me to try to bring this like dinky little thing so I actually like was trying to figure out how to like overnight the baby guitar to New York and separation anxiety from this guitar I had somebody in La like at like FedEx like ready to drop down like
cash for this thing but then my friend uh Rada actually was going to New York that night so she brought it she just booked two tickets yeah so it's like I mean what it is is like a $60 guitar that the strings probably haven't been changed in many years um yeah I just um started playing this this um old Martin
um and uh it's very old and it's not big it's it's kind of medium siiz as well and it's so funny isn't it like when you pick up an instrument and you play it sometimes um it's like the music is waiting it's just waiting to come out it's like H just bottling it up and bottling it up because my wife keeps
saying like man every time you pick that thing up something comes out yeah um it's it's pretty incredible I love the life of instruments and you know where they go and how and how how they travel yeah some instruments are Charmed I think um or Charmed for certain people and it's hard to find that you know yeah
no I agree um it's been a beautiful kind of process of discovery I think in recent years as people have been on their own time and in their own way learning about you and falling in love with your music and and in some cases artists doing that as well um and there's just been some it's been
a really great exercise and taste watching the kind of people showing up to the jessicapratt experience you know it must be really lovely when you sort of realize that someone who we really love and admire who's taken a lot of lot of shots but stands tall and does incredible work like Troy um decides
that he loves your music wants to create something around that song that that that was on His Brilliant recent album as well like you know obviously the answer is going to be it resonates with you but um does it surprise you and sort of how does it kind of alter your view of your music when people use it in
different ways that you wouldn't have imagined it's very validating and it's very interesting to see sort of artists from very different walks of life responding to it and then wanting to use pieces of it it's it's very surreal to me um and it also is sort of um you know I guess I've always considered myself
somebody who makes a certain kind of music that will you know in my imagination maybe historically only appeal to a certain kind of person or exist within a certain genre or whatever um but then when you think about you know someone like Troy taking a song of mine and turning
it into this an entirely other thing um but being really faithful to it too allowing it to introduce itself in an original way rather than kind of manipulating it at the outset it's like they allow their music to to adopt your music as opposed to the other way around yeah no absolutely that's a good point
um very graceful and um sensitive so can you describe the the the feeling or the reaction when you heard that for the first time when you got sent to you when you heard it did it put a smile on your face it did it also I was touched by it I mean it's it's a pretty sad song the original song Sad album really
Said album it was definitely not in the best place um when I made it but it I think that they did a really good job at um maintaining the level of sorrow but it it's uh they he's sort of um used it in his own language he's told his own sad story too a little more it's got a
little more bite to it in the sense that it's like I can't wait to not you know have you in my life anymore I'm looking forward to that's an interesting line but yeah and I think he carries a certain weight too you know he does he's a he's like a an old soul maybe you know for sure what does that term mean to you
old soul I get kicked around a lot what do you what what that what do you what do you make of that um I guess maybe somebody who possesses an emotional intelligence that feels beyond their years you know sometimes you I mean maybe you've encountered it with your own children or something but like you
know you talk to like an eight-year-old and they're saying some like heavy stuff and you're like yeah I know it's interesting because it actually it does get kicked around and it particularly gets kicked around with kids right where it's like oh you're such an old soul and I'm like man I wonder what an 8-year-old
thinks of that term you know it's like don't dump your on me though you're such an old soul sit down while tell you how bad my marriage is you know I just go through a divorce it's awful yeah thanks for listening it's like I don't want that in my life I think I wonder I I think kids kids who
get branded as old soul I I can't speak for them all but maybe it's validating because you know I feel like if you're sort of working in an advanced way as a kid like you don't want to be patronized by people yeah there's some confidence there's some confidence that comes from term imagine you know get apply in the
right way um it's not just Troy we've got to talk about Rocky the Charis Tron I mean it's unbelievable um you know it's just lights up the room um yeah you said it yeah so I mean that's that's not like the Troy situation where Troy was inspired by a piece of music and then um SE your permission to allow him to use
that piece of music to build something new this really was a collaboration um so can you tell us I mean let's just go in let's talk about it cuz Rocky when I spoke to him about this when we played the record was so effusive and so complimentary about his desire to work with you and wanting to really capture
your spirit in his music so how did it all happen yeah I mean that was that was very notable to me as well he was extremely gracious and polite and kind and yes effusive um honestly it it happened very quickly and suddenly and then was over just as I mean it was like uh yeah I think I referred to it as a
fever dream and it it did feel that way like it still sort of like did that happen it was so bizarre but also very very interesting and and beautiful um yeah we were just sort of um contacted through a person that we knew like sort of this might happen he's interested and we were sort of just like okay well
we'll wait that's very much how he moves by the way yeah I mean it was it was you know it was just sort of like a tentative thing at first and then you know within the week it was happening and um yeah he was he was very sweet and quite like extremely charismatic um yeah I I like impressively so I mean some people just
have like this Aura he's got it um he's got well I mean I've I've I had a coffee with him one time away from all of this and it was just fascinating watching people react him on the street when they' walk past it was very quiet Beverly on Tuesday afternoon no one around but you see like every now and
then someone walk past on their phone just living their life and then they before they' even look at him or see him they would they would know someone was there do you know what I mean like it wasn't like they know someone they did a double take people would like I don't stop and look at people having coffee
I'm too busy on my phone I'm doing my thing I'm walking past right people everybody looked before they even recognized him they star power man crazy he's got it I don't know if it's like the the the jaw angle or like the you know something strong but he's got great taste and he's he's an unafraid creative
he's courageous is too strong a word but he's curious and and he loves to explore his T what he listens to through his own music not every artist does that a lot of people like I love Metallica but I make pop music right okay why aren't you working with James hfield wouldn't work
but Rocky doesn't have that issue no he seems very um he seems very curious and very free um in the way that he explores sounds and he very like no insecurity at least like on on the surface you know like he he just is is very open um in a way that I think is very conducive to making interesting music so how did it
change you as an artist even just that fever dream as someone who for the most part kind of writes in a small enclosed space allowing Reverb to allow you to explore things and then trying to capture that Ora or take it somewhere else but always with a sense of intimacy right like right you ain't got 50 people
in the studio partying right it's like let's get this music right and then I'm not saying Rocky did but then you're in a Sit situation where you're kind of in a collaborative space right um did that does that come naturally to you now that you've done it I mean it it did it was
very easy with him and I'm not sure if that's because he was just very good at facilitating things he was very focused and and encouraging and and there was no um you know if you're trying something out with someone you've never worked with obviously we coming from very different schools of music like you
know there is the potential that you might run into some awkwardness or like this isn't really working maybe we can try this instead there was none of that it was just as I said it was It was kind of shocking like it was just like everything fell into place immediately there there was no no sort of like um
pivoting to other ideas that just like unfurled um so it was very I I have to imagine that is not typical yeah but you know it's beautiful how the music that you make which is so personal to you seems to be so adaptable to everybody else in ways and add this beautiful texture and this mood to
whatever we've just gone from a pretty uptempo sad pop song about the end of a relationship that only choice saan could have pulled off right it's very much in his wheelhouse and now we're going somewhere else all together and yet there you are present in it not as a supporting character but as a central
figure it's awesome yeah I mean I'm I'm very glad about it you know the song is just done to high as Rocky back and thank you Jessica for making that song even more special as a fan of it love it that's very kind of you to say so you worked in a record store that's true yeah I did as well oh really where
did you work I worked at the music and video Exchange in London for many years which is a legendary secondhand chain of not just record stores at one point or another they had home wear wow I think they tried a bakery at one point but that didn't go well because no one really wanted secondhand croissants yeah
it's not a good Association can I trade in my lemon drizzle cake for that delicious looking pan of chocolate it didn't really land but they they tried a lot of stuff yeah Electronics but anyway yeah I got a job there and it was brutal but really fun I learned an enormous amount about music why was it brutal why
was it brutal because um you get paid nothing and I so and and Mo and half I don't know how they do it now back in the day they used to pay you in half of it was in vouchers cuz they knew you were a Music Addict so they would just pay you like half a wage and then they'd be like here's the rest of it in
vouchers come back and spend it at like okay cool and we do that and um so I spent the first six months really in the basement selling 10 pence records CDs tapes Comics anything like that and with the greatest of respect the people who come into a basement to buy 10 P things are fascinating yeah the the The Frugal London
eccentrics I'm sure were very interesting to yeah one guy said to me one time I'm just going to say it he said to me you know here's the thing New Zealand and he called me New Zealand I'd never spoken to him my entire life Wow but what he said was profound it was very profound he gave me a beautiful
little tidbit of Life advice completely unsolicited and then left I never saw him again wow it's cool that you got to meet your spirit guide kind of was but very brief very brief well I only worked at a record store in in La actually at amoeba I did spend a lot of time in record stores in San Francisco one of my
first roommates worked at this place on hate streets and we just spent all of our time in there all of our free time yeah um but you worked at amoeba the original amoeba I did um it was great I mean I worked there for less than a year um but I had you know it was similar in
some ways to what you describe um I have a friend that that worked at a record store that will remain nameless um who said I I never felt as broke as I did when I worked at this record store even when I was unemployed like it just there's something about like it really feels like you're like working for pennies um
it is but somehow it's kind of awarding as well when I left even though when I left I got a job job and it was the start of this whole thing and it was in the mid to late 90s but when I left I was kind of like man I I I'm going to miss this yeah well it's sort of interesting to sort of I mean it's kind
of like working within the devotional Community you know most of the people are there because they're obsessed with music or or something like that um and and that's sort of like there's like a tribal element to that that feels sort of reassuring um it's true and you never feel it more than when you're on the
other side of that tribe like when you're records shopping and you and you and you're not in the tribe the judgment is real in fact that was cool for me that changed the way I record shopped because then when I would walk in and and put things on the counter yeah you can't intimidate me I've been on the
other end of this counter in the most judgmental record store on the planet I think mus can Video Exchange nning Hill honestly yeah and then there's the contrarian side of it where you're like instinctively like picking up things that will like upset someone who's on in the inner sanum like this is a good dire
you know I used to do that I used to do that on purpose just for the people I worked with CU you can imagine the kind of crowd that were working at this thing right yeah every now and then they'd be down a person so I'd come up from the basement and work the counter they'd be
trying me out on the counter yeah the rule is you get to pick the record if it's your turn everyone gets it's a rotation and you just you cannot do two records in a row right album album album Alum everyone everyone gets to pick yeah so it' be like over here some gizer have like some like unreleased can like Crut
Rock never heard before bside collection of like demos that existed there's only oh just lost power in here I think people can still hear us which is good okay wow oh it's in the dark it's got Moody um but yeah when you invoke the name of can you the crow rock is real the crow rock is real feel like I have
to drop a horn on [Music] that oh thank you um the album is so beautiful it's called here in the pitch uh Jessica Pratt I I can't wait for the next one um I'm not going to put any pressure on you as to win or how that will happen but I really hope it does yeah I'm excited and uh I'm now going to
play as they figure out the lighting situation um my one of my other favorite songs on this cord get your head out any words about this before I play it I think it's one of my favorite songs on the record I love it okay Jessica good luck on the road safe travels thank you very much [Music]