So you approach your music knowing that you’re always gonna be able to take the best care of yourself if you can put yourself in that position?
Absolutely, the psychology of only having yourself to rely on is so much different. You’ll end up going further because you don’t have to rely on a hundred different people for what is ultimately up to you in the end.
Your newest single was recorded at Philip Glass’ Studio. What was that process like and how did that come about?
Working at Looking Glass happened pretty organically. I came upon the studio while I was trying to get a microphone fixed. The tech was at the studio when I went to meet him so I fell into working there through that.
That’s also how I ended up working with the members of the Brooklyn Philharmonic. I really wanted Clarinets on a track. Through the contacts at the studio I was able to request a woodwind section. They said “here’s every clarinet player in the city” (laughs).
The musicians I was able to connect with from that list were some of the most amazing players in the world. Not just woodwind either, we ended up playing with Julia Kent on cello, Tahrah Cohen on drums and Maxim Moston on violin. Sessions like that. Those people are actual geniuses!
How do you think DIY distribution opens up possibilities for artists like yourself.
I think digital distribution has become the most important method of putting your music in front of an audience.
Physically distributing a release is important, but where are you going to physically distribute it to? It’s not gonna go to Tower Records anymore. Those days are over. It’s important for all musicians to start viewing digital as the most important pathway of distribution.
I think with LANDR there’s a stress on retaining your royalties, which is hugely important if you’re trying to make it on your own. A service like that is pivotal if you’re doing it yourself.
With streaming services, artists will start to find that it really is a whole new landscape, and that there is a way to monetize your music.