Grace Cummings on Bloodhorse, Studio Scythes, and Her AI Bro-Country Detour

[SPEAKER_01]: It's easy to hear your favorite artist on WFPK from wherever you are. [SPEAKER_01]: Listen on your smart speaker, live stream from our website at WFPK.org from Louisville Public Media. [SPEAKER_00]: Just one seconds. [SPEAKER_02]: Okay, and welcome to another edition of Kyle Myrtle's with.

[SPEAKER_02]: It's the interview series presented by WFPK at WFPK.org. [SPEAKER_02]: Consequence and the consequence podcast network. [SPEAKER_02]: Thanks for making your way here and check it. [SPEAKER_02]: As out, please do hit that subscribe button to keep up with all the interviews that have put out every single week.

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[SPEAKER_02]: We've had some great guests drop him by lately a Scott Schreiner and Patrick Wilson of Weezer. [SPEAKER_02]: We're just here to talk about their 20th record, the Gold Album. [SPEAKER_02]: Anthony Michael Hall, hero of 80s movies like the Breakfast Club and Weird Science. [SPEAKER_02]: He dropped back by, he's been here a few times.

[SPEAKER_02]: This time he's on a game show. [SPEAKER_02]: on Fox and Hulu called nations dumbest. [SPEAKER_02]: He's also got a couple great movies on the way that we got into David to cover his back for his third time on the show to talk about his newest record Prince of pieces. [SPEAKER_02]: David risdall and Lily Sullivan.

[SPEAKER_02]: They're starring together in the Megan universe movie called a soulmate. [SPEAKER_02]: We also hung out with Jay Chandra Shaker about Super Troopers 3. [SPEAKER_02]: The band Phoenix, Guster, Jane Seymour, Rupert Grant, [SPEAKER_02]: When you subscribe to the Kyle Meredith with podcast, that's me Kyle Meredith today.

[SPEAKER_02]: I get to catch up with one of my favorite singer songwriters, Grace Cummings, who's just released her fourth album called Blood Horse. [SPEAKER_02]: It's an album that she says she made it like it might be the last thing that she ever did, even if that meant finally shutting out the voice telling her that she was too much.

[SPEAKER_02]: So we got to talk about going bigger and stranger with producer Jonathan Wilson, the animals and mythology running through the record and how its themes only started really revealing themselves after she was finished. [SPEAKER_02]: She'll also get into the hilarious. [SPEAKER_02]: AI generated bro country song that's buried in the middle of the record and why it's deliberately surrounded by very real musicians playing very real instruments as well as the the joyful release behind which at the moment Jonathan handed her an actual siphon and sent her back to sing it again all of that and a whole lot more as we talk about the the album Blood Horse its Kyle Meredith with Grace Cummings.

[SPEAKER_00]: Hi, how are you? [SPEAKER_00]: I'm trying to get my shit to work and you think that I would be all over this by now, but I'm not. [SPEAKER_00]: So thanks for waiting. [SPEAKER_00]: Because I had to figure out how to be roughly my age. [SPEAKER_00]: Yeah. [SPEAKER_00]: How are you? [SPEAKER_02]: I'm doing all right.

[SPEAKER_02]: I'm doing all right. [SPEAKER_02]: I was having it for a moment when I was thinking like, you know, you and me in the time zones, of course. [SPEAKER_02]: And I just got back from a vacation in Europe. [SPEAKER_02]: So right now it's like, I'm not really sure where my mind is at the moment because I'm still I've got a little bit of jet lag happening.

[SPEAKER_02]: Just you know, coming off the field, you know? [SPEAKER_00]: Yeah, I was just there, and it's like, I mean, my house, but I am always called to the burn, but I was just there. [SPEAKER_00]: And it was like such a shock because I live in Melbourne and it's like, [SPEAKER_00]: I mean, the only of how from Tasmania, the only fucking place in Australia that is called, or that gets called, like the one place in this massive land anyway.

[SPEAKER_02]: Yeah, I was there, and maybe you were too, but I was there during, because most of you are in a big heat wave right now. [SPEAKER_00]: And, um, oh, yeah, I was in Paris. [SPEAKER_02]: Yeah, so was I. [SPEAKER_02]: And, and for an unknowingly spoiled American who's very used to air conditioning.

[SPEAKER_02]: And, um, you know, I mean, yeah, acclimated we dealt with it, but it was like, oh, yeah, right. [SPEAKER_00]: Well, we're leaving the hand. [SPEAKER_00]: We don't like Australia is the whole place. [SPEAKER_00]: And, like, Marvin, you know, like, [SPEAKER_00]: Well, we're like 40, like I was laughing at the paresians until I was there because it's so different because of the way the city is, but we get like 45, 46 degrees.

[SPEAKER_00]: and we don't have air conditioning either, which is, I don't know, why that's a thing, but there it was, it was totally different. [SPEAKER_00]: Oh, because we've got, I don't know, we've got this like, she'll be right, kind of, she won't be right, it's fucking hot. [SPEAKER_00]: And like we have some kind of guilt or something, I suppose it's good like a conscientious kind of thing.

[SPEAKER_00]: Like, dark ten on until you get a dark kind of thing, but still like I turn my heater on just then and I'm like, I feel bad about this. [SPEAKER_02]: I'm happy you're getting more comfortable. [SPEAKER_02]: Yeah. [SPEAKER_01]: Let's, let's talk about bloodhorses. [SPEAKER_00]: Because, okay, that's what we're here for, right?

[SPEAKER_02]: We can talk about the weather and talk about government, talk about the weather and the RA. [SPEAKER_02]: Seriously, it's an incredible record. [SPEAKER_02]: And I know I've said that every time that we've talked, and I did not expect the scope of what this record would be, you know, especially because, you know, we heard my god and what a great song.

[SPEAKER_02]: And then you hit play on the album. [SPEAKER_02]: and the hills are live come on and it's immediate like, oh, this is different. [SPEAKER_02]: This is more, this is bigger. [SPEAKER_02]: So how did you arrive to that? [SPEAKER_02]: Because I know you're back with working with Jonathan. [SPEAKER_02]: We'll send in everything, but how did we go from everything before to this type of writing?

[SPEAKER_00]: You know what, first of all, yeah, I did go back to Jonathan Wilson. [SPEAKER_00]: He has become a dear, dear friend of mine and from Ramona and then just from being [SPEAKER_00]: having that connection with somebody, and someone that's just like a total freak and embraces me for that same quality, you know, and doesn't kind of go, oh no, it's just like, let's go, you want it, like, you know, and we're kind of like children in there, and I love it, and I think that's the way it's supposed to be.

[SPEAKER_00]: I firstly did go back to Jonathan because I knew that I had gained a certain comfort to be myself, with someone that could let me be myself. [SPEAKER_00]: And I have gone through, I suppose, a little change in my life recently on the last [SPEAKER_00]: year or so, where I've just been like, you know, what is the point really of doing anything that isn't you, and that's a risk, I think.

[SPEAKER_00]: But, [SPEAKER_00]: Like the only thing that you can kind of give the world that it doesn't already have is your authenticity and your perspective on things. [SPEAKER_00]: And I think that I, this is the way that I always feel, but I think that I just went, fuck it, I don't care anymore.

[SPEAKER_00]: And I kind of, I said this to a friend after I made the record and he said, how did it go? [SPEAKER_00]: I did it like it's the last thing that I would ever do. [SPEAKER_00]: And he said, are you okay? [SPEAKER_00]: And I was like, no, no, I didn't mean to like that. [SPEAKER_00]: I mean, like, [SPEAKER_00]: you know like like anything like you know I wish I could be that way every day like thinking maybe I could hit by a bus next week um but I suppose it's that like what if I do well I'm gonna be proud of um being myself and I don't care [SPEAKER_00]: anymore about the kind of background voice that's been in my head since childhood, you know, being too much or too sensitive or whatever bullshit.

[SPEAKER_00]: And the scope is large, but that's what things feel like to me, you know. [SPEAKER_00]: That's why we have these things isn't it? [SPEAKER_00]: You know, yeah. [SPEAKER_00]: Does that make sense? [SPEAKER_02]: It does. [SPEAKER_02]: You know, it's it's interesting, too, because, um, you know, you just talk about like you could have hit by a bus and I was remembering the fence song anything could happen the fembrothers.

[SPEAKER_02]: which sort of hits on that. [SPEAKER_02]: But then I also recalled that the final song in the album is what is it? [SPEAKER_02]: I'll see you in 50 years or whatever. [SPEAKER_02]: You're a friend asking. [SPEAKER_02]: Are you okay? [SPEAKER_02]: It's like, yeah, that's valid. [SPEAKER_02]: That's a valid question probably in the moment.

[SPEAKER_00]: To be fair, that's the question that I get off in. [SPEAKER_00]: But I think it's because like I often especially in kind of like, [SPEAKER_00]: with people I don't know, I have a little disclaimer being like, look, and I don't like it. [SPEAKER_00]: I struggle with it a lot, I don't like it.

[SPEAKER_00]: I wish that I was able to deal with things in a different kind of way sometimes. [SPEAKER_00]: But I do experience life with a very heavy amount of emotion and [SPEAKER_00]: It either gets pushed down, which is not great, or it comes out, which is not great, but sometimes wonderful. [SPEAKER_00]: And I think necessary for someone like me, I'm grateful that I get to have the opportunity to get it out in a way.

[SPEAKER_00]: that could potentially connect with other people, that, you know, that's a real, that's a real, beautiful thing to have that. [SPEAKER_00]: I'm really grateful for, but yeah, am I okay? [SPEAKER_00]: I don't know. [SPEAKER_01]: That may be okay, right? [SPEAKER_00]: Today I am, but checking, checking 10 minutes, it's kind of like the weather.

[SPEAKER_00]: Life is like the weather. [SPEAKER_02]: And a quick pause, just to remind you that if you're into these interviews, please give this series a follow right now wherever you're listening and watching from. [SPEAKER_02]: It really does help more than you'd think. [SPEAKER_02]: And we'll be back right after this.

[SPEAKER_02]: Welcome back. [SPEAKER_02]: It's Kyle Meredith with Grace Cummings. [SPEAKER_02]: Well, maybe there's a line in the album by all that was sent out, because you're right at the beginning to talk about the album. [SPEAKER_02]: And you said sometimes I feel like a trapped animal. [SPEAKER_02]: And it sounds like that's kind of what you're getting at, [SPEAKER_02]: Yeah, but also even to take that further, kind of animals are everywhere on this record.

[SPEAKER_02]: There's a lot of animals on this record. [SPEAKER_02]: So what is it about that imagery, do you think? [SPEAKER_00]: I'm just trying to think about where the animals are on the record. [SPEAKER_00]: I mean, they're animals. [SPEAKER_02]: I wish I wrote them all down because I was just noticing them as I was listening.

[SPEAKER_02]: And I remember, I remember pig and horse, of course, black horse and yeah, yeah, yeah. [SPEAKER_00]: I think there's kind of like, I mean, I have a fascination with birds always have [SPEAKER_00]: I love animals. [SPEAKER_00]: I love the innocence of the simplicity of their life, the love thinking that the facts that we are all animals.

[SPEAKER_00]: And there are certain things that are still inherent in [SPEAKER_00]: in humans that hasn't been kind of evolutionarily with that's a word pushed out, you know, things like bloodlust and hatred and, you know, gathering the anger and stuff like that that is kind of like in my garden in that video as well.

[SPEAKER_00]: of the radio. [SPEAKER_00]: And also, I think that an animal is, it's always kind of been, you know, it's always been a part of any art, music and theatre and painting and sculpture. [SPEAKER_00]: mythologically and metaphorically, you know, the lion and the snake and the bird and and I think that [SPEAKER_00]: that they're attributed to experiences and feelings that we find difficult to talk about.

[SPEAKER_00]: It's like they're symbolic or the personification of a certain type of thing, you know, like I was in the [SPEAKER_00]: I would have reacted to a lot of paintings actually, which strangers were like, are you okay? [SPEAKER_00]: And one of them, John, I don't even know what you were okay.

[SPEAKER_00]: Yeah, yeah, yeah, yeah. [SPEAKER_00]: No, I've got a collection of what a biography titles that's my favorite thing to collect. [SPEAKER_00]: They're all quite funny. [SPEAKER_00]: What was yesterday's, I was talking about badmack miles, dare I say, confessless? [SPEAKER_00]: Anyway, [SPEAKER_00]: And I saw this painting that I'd never seen before, and I've been to the museum before, but it was of two Arabian horses in battle, and [SPEAKER_00]: I wrote it down what it meant for the artist, and it just took my breath away, and I went, oh my gosh, this is like the sign, it was like the beauty of them, but [SPEAKER_00]: he was talking about the specifically the Arabian horse, which is kind of like, you know, black horse is like the arcade term for like a pure bread horse, but back to being like an Arabian, Thara breed.

[SPEAKER_00]: And the level of intensity of [SPEAKER_00]: Bucy and fire and anger was captivating for this artist more than any other animal and [SPEAKER_00]: that could kind of capture the intensity that he was feeling more than something else, but then you walk around in there, you know, lines and, you know, a group of lines is pride or, you know, a snake is something to be crushed underneath your foot, otherwise perhaps you might be a little bit [SPEAKER_02]: I love hearing the way you write like that, too, because I remember us talking, and you've talked about plenty of times about the representation of God and why you use that in your songs, and hearing like sort of animals take that similar route.

[SPEAKER_02]: But even to further the question, you know, as listeners, of course, we start looking for those threads. [SPEAKER_02]: Like if animals pop up a lot, [SPEAKER_02]: So does, I don't want to say specifically your childhood, but whatever, your past, because I'm looking at it, like John Lennon is a representation of something for your past, the witches, the mere parents, night terrors, dolly, you know, all of this stuff.

[SPEAKER_02]: Is that something you notice while it's happening? [SPEAKER_02]: Is it, I mean, most artists, you know, you start figuring out what the hell the song's about when you're having conversations with press. [UNKNOWN]: Yeah. [SPEAKER_02]: But, but, yeah, I think it's hot, but yeah. [SPEAKER_02]: Yeah, like, like, is that something you're, [SPEAKER_00]: There is a native bird, I've put those plants at the sea.

[SPEAKER_00]: This is a thing. [SPEAKER_00]: I've put those plants up there and he's eating them. [SPEAKER_00]: That's beautiful. [SPEAKER_00]: Yeah, I guess not really like to like analyze yourself while still living. [SPEAKER_00]: kind of doesn't really happen. [SPEAKER_00]: It'd be helpful, like in some practical ways, so you could regulate yourself once in a while.

[SPEAKER_00]: But things do like become clear or like patterns or stories or worlds, as they say, become clear and people kind of put them here or back. [SPEAKER_00]: up to you and sometimes like a journalist was saying to me the other day she said, do you ever have that kind of phenomenon that other musicians that she's talked to have spoken about where you feel like you didn't know what something was about and it was almost like pretty democracy.

[SPEAKER_00]: And I was like, yeah, yeah, and I have seen this in here, but what was the question, do I think about? [SPEAKER_00]: I think that [SPEAKER_00]: everything, it's not planned, but the plan is, I guess, if there were to be one, is to try and get something raw and real and honest, and a lot of the time you figure out what [SPEAKER_00]: that means, and why it came out of your head later, the kind of through line of this album has become clear to me, mostly by talking to people about it afterwards.

[SPEAKER_00]: Because I went in there, we recorded 20 songs, and even peaking which once was a part of that, [SPEAKER_00]: Yeah, it definitely kind of shows you a part of yourself. [SPEAKER_00]: I think that's the learning is like a... [SPEAKER_00]: like the learning is coming like now for me and like songs are kind of being embodied properly sounds a bit wanky but afterwards which is why I love playing things live because I realized things that I didn't didn't realize beforehand and [SPEAKER_02]: And a quick poll is just to remind you that if you're into these interviews, please give this series a follow right now wherever you're listening and watching from.

[SPEAKER_02]: It really does help more than you'd think and we'll be back right after this. [SPEAKER_02]: Welcome back, it's Kyle Meredith with Grace Cummings. [SPEAKER_02]: You know, and I should even point out, you know, for those watching and listening that that, you know, we're sort of talking about some heavy things, but there's there is this, you know, underlying humor that threads do it all.

[SPEAKER_02]: I mean, hell, you have a, an AI bro country song just right in the middle of it. [SPEAKER_02]: And I didn't know that was going to be there by the way. [SPEAKER_02]: I had not read it and suddenly I had it in my ear buds and I was like, what the fuck am I listening to right? [SPEAKER_02]: I thought I thought something would happen.

[SPEAKER_02]: And it took that second to go, oh no, this isn't a real song. [SPEAKER_02]: Yeah, this is not a real song. [SPEAKER_02]: Yeah, like like what a brilliant move to just, you know, after we're exploring as you say this world that you're creating and then Bam right there it is. [SPEAKER_02]: That was that was so good.

[SPEAKER_02]: Where where where the hell did that come quad? [SPEAKER_00]: Yeah That came from I did find it to some friends of mine who are very like [SPEAKER_00]: very like me and very like Jonathan and very like real and analog and whatever and they were like it was a computer version. [SPEAKER_00]: I was like no that came from what was essentially a joke.

[SPEAKER_00]: we were Jonathan and I were getting string arrangements that we had written to be no-tated because neither of us can do that. [SPEAKER_00]: By a beautiful Gabe, who plays the cello on and is just like [SPEAKER_00]: and legend. [SPEAKER_00]: I love that guy so much and he's just like a genius genius musician and sent something arrangements to him to be noted for the string section and he was like is this okay and he sent back a recording and he put [SPEAKER_00]: a real bro country song at the end and I thought it was AI.

[SPEAKER_00]: I couldn't tell and he said, no, that's that's someone real. [SPEAKER_00]: I won't say who it is. [SPEAKER_00]: And in this version, I haven't, you know, I didn't ask it to sound like that person, but that I did feed it a few prompts, [SPEAKER_00]: Because it's kind of like, it's the end of the first side of the record, and it's actually a part of the song, Blood Horse, which will be that way on the vinyl, but it's like it goes like I did it on purpose for fake.

[SPEAKER_00]: to kind of run in like this like really real role pouring out of the difficult emotion and confession as the way that I am. [SPEAKER_00]: into this like minutes long drone of kind of falling down in the vortex rabbit hole of fucking whatever like chaos and carnage coming out with blood force running and running and running and kind of touching on the point of maybe if I could change and be a bit different you'd be a little [SPEAKER_00]: Everyone else being happy with me if I looked a little different or if I did this or if I just shot my mouth and slowly my pride and then the The boy country song is well like you want you want it you got it There it is and And it's kind of like ironically the catchiest fucking song on the record

[SPEAKER_02]: Well, it's something. [SPEAKER_02]: Anyway, it's definitely something. [SPEAKER_00]: It's, which I don't mind. [SPEAKER_00]: I think it's, I think it's great, but you have, like, blood roast, there's like something like 138 tracks on that song. [SPEAKER_00]: A real people. [SPEAKER_00]: real people that just fucking excellent at their instrument and so passionate and, you know, we've recorded this thing in a short amount of time and, you know, we've got saxophones [SPEAKER_00]: And then you have this thing that it is purposefully country, like, bow country, because it's so common, like, and kind of, sorry, everywhere, and doesn't really have, like, a real kind of foundation that's

[SPEAKER_00]: being ripped off, if you get my meaning though, you know, purposefully, you know, what is that meaning? [SPEAKER_00]: Kind of, what a, yeah, yeah, yeah, with no real person aside from me being like, get dirty. [SPEAKER_00]: kind of, what does it say? [SPEAKER_00]: My favorite bit is intra drug.

[SPEAKER_00]: It's like really. [SPEAKER_00]: It's just like the those opposites are really kind of fascinating, like all of these magnificent real people in real time, on real tape, and real effort, and then just the opposite of that. [SPEAKER_02]: Right, that's it's only I think it's also funny. [SPEAKER_00]: It is.

[SPEAKER_02]: Well, it's funny. [SPEAKER_02]: It's only the second AI song I've ever heard. [SPEAKER_02]: I've [SPEAKER_02]: I purposely just not I just not because I'm trying to make it like I'm not going you know it's just like I because there's curiosity there just I haven't and somebody did it played one for me the other day and I was really surprised.

[SPEAKER_02]: And then I heard that one and I was like yeah that did it did the thing did the thing. [SPEAKER_02]: I love the way it's. [SPEAKER_00]: Yeah. [SPEAKER_00]: I love music. [SPEAKER_00]: I love music either. [SPEAKER_00]: Aside from me thinking that they saw this song was AI, which was in which blew my mind away.

[SPEAKER_00]: But I did, we Jonathan and I were talking about, I can't remember what the band was called, but that band. [SPEAKER_00]: that is not a real band. [SPEAKER_02]: Right, one of the like Spotify number one or whatever. [SPEAKER_00]: Yeah, yeah, yeah, yeah, yeah. [SPEAKER_00]: And we were talking about that.

[SPEAKER_00]: And we were like, oh, like what? [SPEAKER_00]: What? [SPEAKER_00]: And we didn't know that they weren't real. [SPEAKER_00]: But I hadn't listened to them. [SPEAKER_00]: But I was just, it was in my head at the time. [SPEAKER_00]: Yeah, especially making my god. [SPEAKER_00]: I think that was also like a part of it.

[SPEAKER_02]: Well, again, it's, it's dropped in such a great moment. [SPEAKER_02]: But the album, you know, and the album's not about that and everything, but what this record is and I'll just keep complimenting you over and over because because the grand scope of what you're seeing about in the emotions that you're laying out and how it's put together these movements and these songs, that do, they go from, you know, these songs with multiple movements to, you know, I wrote down, you know, [SPEAKER_02]: is one of the coolest songs I have heard in a very long time.

[SPEAKER_00]: That's awesome. [SPEAKER_02]: You know, we both reference Paris in the interview and that's what I have written down. [SPEAKER_02]: It's like Paris in the 60s with a side of glam. [SPEAKER_02]: Like that's what I have written down. [SPEAKER_00]: Yeah. [SPEAKER_02]: It's such a cool, you know.

[SPEAKER_02]: So, you know, it's a mountain to create an album. [SPEAKER_02]: It's a mountain to create something like this out of nothing. [SPEAKER_02]: And you guys did it, and you did it again, and you're watching the artists. [SPEAKER_02]: Yeah. [SPEAKER_00]: Thank you so much, Carl. [SPEAKER_00]: Thank you.

[SPEAKER_00]: I love that song too. [SPEAKER_00]: And I think that it to me is like a real kind of like it's evidence for me that you can turn, you know, some songs. [SPEAKER_00]: You know, you can hear that they come from a place of pain and they sound painful, you know, but this song makes me so happy because it's kind of like evidence that something can come from pain and be so joyful and so happy and you can and liberating to, you know, we were doing the backing vocals and Jonathan [SPEAKER_00]: Justin was doing something, I don't know what the hell he was doing.

[SPEAKER_00]: When he was like, I don't know, running a finger in a tractor or cutting some wood or something. [SPEAKER_00]: Whatever, he was doing like 25 things at the same time. [SPEAKER_00]: I mean, cut his thumb off when I was there. [SPEAKER_00]: And I, I, I, I'm, I'm dressed in and fixed it for him.

[SPEAKER_00]: But like, um, we were just kind of like rolling the tape. [SPEAKER_00]: And I said to everyone, right, just was just like, let's fucking go and I started being like, yeah, then being like, all right, listen, no, no, no, no, no, no, no. [SPEAKER_00]: And they were like, really? [SPEAKER_00]: Is like, do you want a way to jump in?

[SPEAKER_00]: And I was like, no. [SPEAKER_00]: I mean, he walked in and he was like, sick. [SPEAKER_00]: Like, this is why I love jumping. [SPEAKER_00]: And it's kind of like, he wasn't like, what are you doing? [SPEAKER_00]: He was just like, okay, that's it. [SPEAKER_00]: You know, and I, for the first time, you know, and I'm not trying to place no one to cut my ass or anything that's not the point.

[SPEAKER_00]: Like, it's just something, you know, we have an understanding range on it and like, when I go into do my vocals, [SPEAKER_00]: which I mostly do live but sometimes can't because of bleed and whatever. [SPEAKER_00]: I went to do the vocals for this song and I thought I, you know, did it pretty good and Jonathan was in the control room and he said which he's never said before, it was like graze to me.

[SPEAKER_00]: he better come in here. [SPEAKER_00]: I don't know what's going on like, this isn't right. [SPEAKER_00]: And I was like, what? [SPEAKER_00]: So I really was like, oh my god, I'm a sense. [SPEAKER_00]: And we really back, because otherwise, it'd just be like, let's do another pass, like, you know, punch in here or whatever.

[SPEAKER_00]: And I was like oh god, I've got to go like what if I don't and I walked in and he's got this like mass It massive desk in the control room and some how because it's Jonathan there was a literal size lying on the board And he started laughing and I was like what the fuck me was like yeah, you're gonna have to take this go in there Sing it again [SPEAKER_00]: Yes, I'm holding a massive, actual size.

[SPEAKER_02]: Oh, I love that. [SPEAKER_00]: Yeah. [SPEAKER_02]: Well, I'm so grateful of your all's friendship and working relationship here because it produces the best art. [SPEAKER_02]: And I mean that, nobody is doing what you're doing right now. [SPEAKER_02]: And I absolutely love it. [SPEAKER_02]: This record is so good and Grace, it's always such a pleasure to get to talk to you about it.

[SPEAKER_02]: So I appreciate you taking the time. [SPEAKER_00]: Yeah, I love talking to you too. [SPEAKER_00]: I'm a big yappa and I'm sorry for just yapping on. [SPEAKER_02]: But that's actually the point of all of these for you to talk as much as possible. [SPEAKER_00]: No, I know, but sometimes I really don't like to.

[SPEAKER_00]: And for this record, this thing is shifted where I'm just like, I love. [SPEAKER_00]: I'm really proud of this record, and I'm so happy to talk about it, especially with people that I know and appreciate, so you're one of them. [SPEAKER_00]: Thank you, Kyle. [SPEAKER_02]: I appreciate that too.

[SPEAKER_02]: I can't wait to see how this unfolds live out there on the road, but in the meantime, yeah, it was great catching up with you. [SPEAKER_02]: Thank you. [SPEAKER_00]: You too, mate. [SPEAKER_02]: My thanks to Grace Cummings, the new record is called Blood Horse. [SPEAKER_02]: Thanks to you for checking us out, hit that subscribe button before you get out of here to keep up with all the interviews that I've put out every single week.

[SPEAKER_02]: You can grab a Spotify, Apple Podcast, NPR, WFPK.org at consequence, YouTube for the video versions or anywhere you get your podcasts from, please subscribe to Kyle Meredith with and don't forget to give this series a rating and leave a review wherever you're listening from. [SPEAKER_02]: After that, you're gonna head over to WFPK.org.

[SPEAKER_02]: It's right to a show Monday through Friday. [SPEAKER_02]: It starts six PM Eastern. [SPEAKER_02]: You get four hours of me, too. [SPEAKER_02]: Four hours of classic alternative indie Americana. [SPEAKER_02]: You get the best in new music. [SPEAKER_02]: There are bonus interviews, lots of music, and film news as well.

[SPEAKER_02]: One of my recent shows featured some classics and favorites from Bedwing, the Jesse Lees, Joy-A-Laticon, Craig Fin. [SPEAKER_02]: They might be giants, lean a low-vitch, 9-inch nails, Kristen Hirsch, Counting Crows at Jayhawks, Courtney Barnets, always Bush, Goose, Kate Nash, Lucero, David Bowie, Pavements, and my interviews with with everyone from [SPEAKER_02]: Ben Gibbert of Deathcap for a cutie at Rollin of Collective So Young Blood, David Yowl, the Jesus lizard, Cory Taylor of Slip Knots, Search, Tunky and of System of Down, Robert Plants, David Crosby, Vernon Reed, Emily Kinney, just an example of what you get when you tune in, week nights, 6 PM Eastern, at 6 PM New York Times, 6 PM Eastern and WFPK.ORG.

[SPEAKER_02]: Consequence says your music and film news. [SPEAKER_02]: You can also find me on any of the social media sites The address is always at Kyle Meredith. [SPEAKER_02]: Please do like follow along And that does it for another edition. [SPEAKER_02]: I'm Kyle Meredith. [SPEAKER_02]: I'll see you next time [SPEAKER_02]: Consequence podcast network.

Grace Cummings on Bloodhorse, Studio Scythes, and Her AI Bro-Country Detour

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