You know, just, like, I'm just curious, like, as somebody who doesn't just play them but designs them and has made several, like, how, like, is there any way that everything you just described factored into the way you made games at all or experienced games? Yeah.

Definitely.

Well, so first of all, going before the TV music phase of my life, when I was in college, I went to college as a computer engineering major originally.

So I learned computer programming in high school.

One of my best friends was really big into computer programming.

So we were like learning, this is going to date me like Pascal and like C plus.

And then you start learning C plus plus and assembly language and all that stuff.

Like, how exactly did you land on how you wanted this record to sound? It

Kenny, when you're working on a project like a full album collaboration, what's your sort of MO there? Are you pre-selecting and sending a bunch of beats? Do you like to sit down with the artist? How does that work for you at this stage?

I mean, there's definitely...

Depending on the artist, there's some amount of pre-planning.

Mike told me that this was going to be an album about a breakup before we'd even started it.

But typically, I like to send...

The first pack is normally just a whole bunch of stuff I already have, not so much like made for the artist, and kind of see if we throw a bunch of shit up against the wall and kind of see what sticks.

And then once we have a song or two and a vibe, then I start making more bespoke stuff.

I feel like that's where you really see, like that's the good side of the experience, of the amount of experience is seeing like, oh, just operating on a higher level than I certainly ever have been before.

i think i'll be okay it's like a it's a very tranquil album that like reminds me actually of crayola circles like what child actor did on that album in a really in that particularly narrow sense um so kenny as a producer like how attentive were you to the delicate subject matter of doomed and how did that emotional backdrop shape your sound selection sample choices and arrangements somewhat, but

not like I mean, a lot of the beats were like that beat pack that a large part of the album was made out of.

I didn't really necessarily make it thinking like about what the album was going to be about.

I mean, some of those beats were made before we ever even discussed like we were talking about doing an album together, but it wasn't until shortly before we really started recording in earnest that Mike said, this was going to be a breakup album.

I forget what show we were at.

We were at some show backstage and Mike was like, our album is going to be a breakup album just so you know, or something like that.

Uh, I just make music that is interesting to me and often kind of it goes in phases, like I'll have like a phase of a certain sound that I'm interested in for a month or two.

And I just think really incredible and musically too, what makes this song stand out is that like extended almost like three minute long instrumental outro, which concludes the whole album, a beautiful soundscape that kind of just like disintegrates little by little into the ether and, I have a patron question on this topic from Kosi who asks, like, what was the significance behind that decision to end the album on a musical note like this?