Noah Kossowsky: Hello, my name is Noah Kossowsky, and this is a very special interview with the band hey i’m outside. Hey, hey i’m outside.
Patrick: How you doing?
Hannah: Hey.
Noah Kossowsky: I’m inside. Yup. I’m surprised by that. I thought by the name that you guys would be outside. But yea, you guys just put out an awesome album, self-titled, and when I heard it, it quickly became one of my favorites of the year. So, I was like, I need to track these guys down, talk to them about it, you know. So, very excited we’re doing that now. So, do you just want to introduce yourselves for the folks that are listening?
Hannah: Yeah, so my name’s Hannah. I play bass in the band.
Patrick: I’m Patrick and I sing and play guitar.
Noah: And I’m Noah and I play the drums.
Noah Kossowsky: Awesome, I’m Noah as well. So, first question, I guess this is a good starting question. What is your band origin story? How did you start, when did you start, where? Give me the tale.
Patrick: Yea, so we are based in the Boston area, we live just outside of Boston. And Hannah and I had another band here for a while called I Wish I Could Skateboard that was kind of more of an emo band, and did that for a while, you know, had fun with that. And at a certain point, kind of just felt like ready to try something different and wanted to just start a project with no kind of preconceptions or existing material and see what happened. And Hannah and I just started writing and recording some songs, just the two of us, and played a couple shows as a duo and we experimented with a couple, you know like, just playing with no drums at all.
Hannah: Yea, I think our first show was like just us two and we were like, let’s not do that again. So, we did a backing track.
Patrick: Yea, we need some rhythmic element in here. And we only did a couple of those though before we linked up with Noah, which, do you want to tell that story Noah?
Noah: Yea, so I was at one of the early shows as an audience member, they were opening for another band, and basically, I talked to them after the show because they were just playing along with a backing track, and I asked if they wanted a real drummer.
Noah Kossowsky: That’s beautiful. That’s what I love about DIY scenes is that you can do that, you know. Patrick: Yea.
Noah Kossowsky: Speaking of that, so like, can you explain to me a little about the scene that you’re in and – I have more about this – how it has changed since you started compared to now and like, if there’s like prevalent genres that you think have been popping up or dying down, you know, or, I guess this is a long question but yea, I want to know about the Boston scene.
Patrick: You want to start Hannah?
Hannah: Yea, I mean it’s kind of hard to like, talk about this question without like, talking about our old band too which I don’t like, want to do too much.
Noah Kossowsky: No problem.
Hannah: But yea. But I feel like we, you know, we moved to Boston, didn’t know anyone and then, you know, did just like start playing shows and like, met a lot of people through that. So I mean, I feel like the Boston music scene is really good. I feel like maybe it doesn’t get a lot of respect from like other cities, but I do think it’s really good. Are you in Philadelphia?
Noah Kossowsky: Yeah, yeah.
Hannah: You probably think we have a terrible music scene.
Noah Kossowsky: Oh, I mean I don’t really know much about it. And I know you guys, in Massachusetts, you’re like all the cool kids moved to Philly, you know?
Patrick: Yeah, yeah, for sure. I mean, I think Philly is the predominant indie rock city in the United States right now, so we’re all jealous of Philadelphia.
Hannah: Yeah, there’s like, you know, people do move away because it’s, you know, like, Boston has a relatively high cost of living and it’s small.
Noah Kossowsky: Have you had, like, friends bands like actually moved to Philly to do stuff here?
Patrick: Maybe not anyone that’s like a close friend, but definitely you hear, like, oh yeah, that person moved to Philly. Oh, that band broke up, like half of them moved to Philly.
Noah Kossowsky: Yeah. No, it’s real. I’m friends with some bands that are from, Portland, Maine and friends that know bands from Portland, Oregon, you know, just like everywhere. Yeah. I didn’t even know what a music scene was before I got into college, I just wanted to do it, do music stuff. And then, when I pulled up here, it just happened to be one of the best places for it, which I’m very, very happy about.
Hannah: A lot of the changes, you know, definitely happened like after COVID, you know.
Noah Kossowsky: Oh, for sure.
Hannah: Like before COVID and then after COVID so it took a while to get back into it kind of after COVID, I mean this band is totally post COVID, we started last year so, say post COVID but.
Patrick: Post the start of it anyway.
Hannah: Had COVID last week, so.
Noah Kossowsky: Hope you’re feeling better.
Hannah: Thank you.
Noah Kossowsky: Yea so, do you have any more to add?
Patrick: I think, yeah, like Hannah said, the Boston scene, I do think is really strong. It’s partially driven by a lot of young people here going to various universities and stuff. So, it’s always new bands forming and we’re kind of getting a bit older now so it’s hard to keep up with. Like oh man, there’s all these new bands I’ve never heard of and they’re all good like, which is great. I think compared to some places that we’ve lived in the past, you know, that was not always the case.
Noah Kossowsky: So, you guys have done the DIY music scene thing in various cities?
Patrick: Sort of. Hannah and I lived in a small city in Texas before we moved here, called Tyler. And I mean, there actually was like, a cool, very, very small DIY type music scene there, but you know, it was just super small, so it’s kind of like you’re playing with the same bands over and over.
Hannah: You want to put a bill together and you’re like, well, there’s like 4 bands to choose from. The one I didn’t do last time.
Patrick: Yeah, and I just feel like everything is kind of, when there’s more bands, there’s just more of that sort of healthy, I don’t know, competition to a certain degree.
Hannah: I think synergy is the word you’re looking for.
Patrick: Yeah. You know, you don’t want to get left behind. You know what I mean?
Noah Kossowsky: I think my perspective has changed on that a lot since I started till now. I think when I started in the DIY scene, every time I saw a band that I liked, I was like, how can my band do better than this band, you know? But now I’m like, oh, I just want to find all these cool bands just to play with them and see them. And just exist with them, you know?
Patrick: I mean, I think if I’m being completely honest, I mean I try to be above it. But there always is a certain element of competition like you see somebody else at a good opening, like oh, how did they get that? You know like yeah, I want to get a good show.
Noah Kossowsky: No, yeah, I totally get it.
Patrick: There’s nothing at all we grudge against them or anything, but it’s just kind of honestly just like pushing each other.
Noah Kossowsky: Did you guys move to Boston to do music specifically or was it like other factors?
Patrick: No, I feel like nobody moves to Boston to do music specifically.
Hannah: Other than like college.
Patrick: Which is kind of its own world that has a little bit of cross pollination with like the sort of DIY scene that we’re in, but not really a ton.
Noah Kossowsky: Are you talking about Berklee?
Patrick: Yeah, and I moved here for like a 9-5 corporate job, which is probably why many people moved to this area, so it’s a good city for that, if you’re in certain fields I guess.
Noah Kossowsky: Right. Are there any Boston bans you want to shout out?
Patrick: I always shout at Me in Capris because they’re amazing and also just really good friends of ours.
Noah Kossowsky: Yeah, I was going to ask about that because I saw you guys were in the studio with Adam Demirjian. I’m like a diehard Brave Little Abacus fan.
Hannah: Nice.
Noah Kossowsky: That’s actually how I found out by you guys, because I think he posted about y’all on his Instagram one time.
Hannah: Oh, nice.
Noah Kossowsky: And I was like alright, this guy likes it then I gotta check it out, you know? And then, lo and behold, I did.
Hannah: He’s a taste-maker.
Noah Kossowsky: Yeah.
Patrick: He’s such a special person and such an amazing person to have in our music scene. Like, I feel so lucky to know him and he’s, yeah, he’s great. The other band members are really cool too. It’s not just Adam, even though it’s like, he’s kind of been the main driving songwriter in the band.
Hannah: Singer.
Patrick: And singer. We met Adam just from playing in our old band.
Hannah: Yeah, and like going to Me in Capris shows.
Patrick: It’s funny to me, the whole thing with the Brave Little Abacus, because I actually had never heard of the Brave Little Abacus the first time I saw Me in Capris.
Noah Kossowsky: Really?
Patrick: And I was just like, dang it, Me in Capris, man, is amazing like I love this whole vibe like, I’ve seen him like so many times. And then later, like, oh wow, Adam has this other band that has this cult classic album.
Noah Kossowsky: Yeah. No, that must have been a crazy experience.
Patrick: Yeah.
Noah Kossowsky: Yeah, for me it was like I knew Brave Little Abacus and then someone was like, oh yeah, Me in Capris is his new thing that he does sometimes, and I’m like, oh yeah, sick. So yeah, you guys have been working on music with him?
Patrick: Yeah, we wanted to record a song or two to have something to follow up the album and, you know, remind people that we exist. Adam has a great space there in Malden, which is like the next town over from us. We’re in a town called Medford, and yeah. It’s super cozy, sounds good, but we did everything on our album here in this, in the basement here where we’re sitting.
Noah Kossowsky: Oh, really? Tell me about that.
Patrick: Yeah, so one of my ideas for just the ethos of it was just like I want to be less precious about everything in this band, so I’m not going to worry about making it sound perfect, you know, as much as I can stop myself from doing that. But part of that is I’m just going to record at home with what I have and we’re gonna, you know, not get hung up on like…
Hannah: Yeah, not like the labor things, just like getting it done. If you have a song, you think the song’s good, record it, release it.
Patrick: And because of that, I think we’ve been also doing the mode of operation where we’re more writing and recording at the same time, which is kind of interesting and a little bit different than what I’ve done in the past. But it’s nice that you don’t get what people refer to as demo artists where you record the demo and it has some type of magic, and then you go try to record it for real and it’s like, ahh, kind of like.
Noah Kossowsky: Right, right, yeah.
Patrick: But we get to avoid that, and it’s also just, you know.
Hannah: Cheaper.
Patrick: It’s cheaper and it’s convenient to just come down here and record whenever we have some time.
Noah Kossowsky: How do you think the space affected the sound of the album and your creative process?
Patrick: That’s a good question. This ceiling is very low, so it doesn’t lend itself to putting drum overheads in very high locations, so, to some extent, I had to get the mics closer to the drum kit and I think that a lot of the drum sounds are a little bit drier because of that. It’s a fairly dead kind of basement with cheapo drop ceiling acoustic tiles. And so it’s a little bit boxy. That’s the other benefit of recording in one space. No matter how canonically good or bad it is as a recording space, you can kind of make any space work for recording if you can just have time to experiment with moving mics around and just getting to know it. We eventually came to a setup where the drums are sort of angled a certain way so that we can get one a little bit further away for a roomier sound if we want that. And the other thing that I think influenced it was, or just one of my recording dogmas is that I think people are way too obsessed with getting dry vocal sounds. Even if you want a dry vocal sound, just put up a mic in a normal room and stand close to it and it’s going to be pretty damn dry. Like, yeah, I think you’ll hear some of the echoes bouncing back but I actually like, you know, having a bit of room sound on the vocal.
Noah Kossowsky: I agree.
Patrick: And it modulates a bit from song to song, but just having freedom to experiment with that was fun and it can also be a drawback at times where every song I’m like, well I want to try something a little bit different so then when it comes time to try to finalize things, it’s a little bit less plug and play because we did something a little bit different on every song, so getting the final for the mixes just like…
Noah Kossowsky: Was it self-produced?
Patrick: Yup, yeah, just us.
Noah Kossowsky: Awesome, that’s sick. So, this is all related to that, but can you try your best to take me through the process of writing and recording a hey i’m outside song from start to finish?
Hannah: You open up the voice memo app on your iPhone.
Patrick: Yeah, I guess I am the songwriter for pretty much most of them, and it usually always starts with guitar. And I just mess around on guitar and I’m like, oh, that’s interesting, and make voice memos, and eventually I’m like, alright, I gotta buckle down and force myself to try to write some lyrics for these, and with lyrics, I have a couple techniques that I tend to use. I read this book about writing lyrics that I thought was pretty good. Well, I read like half of it. The rest was getting more complicated than I needed to get, but it was by this guy that actually is a Berklee professor called Pat Pattinson and he has this technique called object writing where you just write prose about an object trying to be as sensory in your writing as possible. So like trying to go through all five senses and just writing things about it. Memories and feelings and sensory things all scrambled up and you just do that about anything, just as practice, and then also if you have a specific topic you know you want to write about, you can kind of do that as a starting point to get things going because that’s the hardest part for me, is just staring at a blank page.
Noah Kossowsky: Right. Yeah, how do you decide on a song topic?
Patrick: It’s really hard to say. A lot of them are actually things I’d be like, you know, I have no idea what to write a song about, and she’ll be like how about this? How about this? And a lot of them are really good.
Hannah: Brainstorming topics.
Patrick: Yeah. And otherwise, I don’t know, just whatever happens to be on my mind at the time, but that is probably one of the hardest parts for me, is thinking what to write about in the first place as, I don’t know, I’ve never been one of these songwriters that’s able to write super abstract lyrics.
Noah Kossowsky: Yeah, no, me neither.
Patrick: It always has to be about something for me, so we got a song structure and lyrics basically or a rough sketch of it and then start. But normally the way it worked with this album is I would just start demoing it here by myself and it would be either to a click track or I would just put drums down to be deleted later or something. Then, when I got that to a certain point, I bring Hannah and Noah in and for most of the songs on the album, we honestly didn’t really rehearse them very much before recording them. We just sort of went for it.
Hannah: Would not recommend that necessarily, but.
Patrick: Well, it works some, it has some benefits but.
Hannah: It worked, but yeah.
Patrick: We kind of rehearsed them in a way that was like alright, we’re trying to record this one tomorrow, so let’s try to learn it and rehearse it a little bit before we do that. But to some extent I think when you’ve been playing a song for a really long time, it is a lot easier to play and a lot easier to just kind of like go through the song without messing up, but also you can sometimes lose a little bit of the magic of the first time.
Noah Kossowsky: Oh, I totally agree. I was going to say, I feel like the spontaneity of that lends itself well to the kind of a more raw performance which in turn is more emotional.
Patrick: Yeah, and a lot of times when you play a song many times, you get bored with it a little bit and you start to add little things that aren’t really necessary for the recording, so there’s a balance there, but yeah. Sometimes we varied around. Sometimes we start with drums, sometimes we start with guitar, but usually we would do the drums and then kind of redo everything after that to play along to the drums which is I think how many people do. Hannah: Yeah, we don’t have a way to isolate instruments in the basement.
Patrick: Right, we had to just record one instrument at a time.
Noah Kossowsky: Sure.
Patrick: Which is interesting though because recording with Adam the other day, we were trying a more live approach, which has been fun, and it’ll be interesting to see how it differs.
Noah Kossowsky: Yeah, yeah, I’m excited to hear the output. Alright, this is not a question I’ve written down, but I really like your album because I feel like it’s really good driving music. Given that there is a bit of a car theme going on with Crash and Racecar, was that conscious at all? Or do you like music that is fun to drive to?
Patrick: I do like driving music, yeah. I like road trips, and I like listening to music while driving.
Noah: You also really like cars.
Patrick: Yeah, I guess I’m a bit of a car head. I go to car races and stuff with my dad. You know, just like a hobby free time thing. But I didn’t really set out saying like, oh yeah, I want to write about cars. It’s also that we just live in a car-centric society which has pros and cons, so it’s just something that influences a lot of your life, I guess. But yeah, wasn’t a specific preconceived notion about that album, but that definitely turned out that way.
Noah Kossowsky: Yeah, I feel like I can lend a lot of that to Noah, who’s beats are very, you know, driving. So yeah, so that worked well. I want to know the story behind the album cover because I love it.
Hannah: Well, I work at a wildlife sanctuary and we have a herd of goats that we use for ecological management, so we use them to mow the meadows, eat some of the ecologically harmful plants that we have on the property, so they’re like our little living lawn mowers, so one of the goats is the one pictured, her name’s Scarlet.
Noah Kossowsky: Yeah awesome, shoutout Scarlet.
Hannah: Yeah, shoutout Scarlet. Very photogenic and that picture in particular was taken by an intern who we had last summer and just went there at night one time and took that picture and sent it to me. I thought it was cool and then I showed it to Patrick, and he was like, we should use it for something.
Noah Kossowsky: Yeah, yeah. It’s kind of ominous, but it’s also kind of funny, you know? I showed the album to one of my friends and he didn’t think it fit the sound of the music, but I definitely think it does, I don’t know.
Hannah: Well, it’s funny because if you were to describe that like, oh, the album has like a picture of a goat on it, like I think you would picture something very cute and it’s like not a cute picture.
Patrick: As soon as I saw that picture, I was like, oh, I love this picture. I really want to use it for something because I love the wide-angle aspect of it in the goat’s face. It’s just right, like ears out to the side, just like you have this goat’s full attention in the picture.
Noah Kossowsky: Yes, some photos you just see and you’re like, that’s the album cover right there, you know? Yeah alright, what else do I got? Yeah, let’s talk influences. For the record, I feel like just asking what your influences are is like a boring question, so I want to know that and also if there are any influences you have from non-music things and also influences from music that isn’t obvious from the sound of the record.
Hannah: Start with the obvious ones or?
Patrick: Yeah, the obvious ones are just like alt-country bands, you know? Sort of like alt-country with some emo influences in there as well. I was a big fan of the whole emo revival thing and everything. Maybe I don’t keep up with it as much anymore after it ran its course, but, I mean, there’s still lots of bands doing really interesting stuff. But it’s interesting to me that even before that I got into alt-country before I really even knew what emo was, and now I’m kind of coming full circle.
Noah Kossowsky: I was like the opposite, the first time I got into alt-country.
Patrick: Yeah, when I was younger, I went through a phase where I was discovering early.. one of my English teachers in high school was a big Wilco fan and played Yankee Hotel Foxtrot at ear-splitting volume like early in the morning before school started. So, I found out about Wilco through that and then was finding their early stuff that’s like a lot more alt-country sounding and then going back to Uncle Tupelo and finding Son Volt. I don’t know if that’s considered the first wave of alt-country or not, but kind of early alt-country bands. And then I think it’s interesting, now it’s like there’s a lot of bands kind of doing that again. I didn’t really set out to be like, oh this is a trend that I want to hop on, it’s like somehow people all kind of at the same time are like…
Noah Kossowsky: Yeah, I feel like it’s like one of the prevalent sounds of indie right now, which is crazy.
Patrick: Yeah, and I think to some extent it’s maybe just like for a long time, I don’t know, I feel like when I was younger, country was one of the genres that everybody would just say, like, oh no, yeah, I don’t like country and now it’s like the opposite. Everybody likes it.
Noah Kossowsky: I think my idea of that is I think people realize that it wasn’t just about bro-country and also that country diffuses very well into other genres, you know?
Patrick: In the history of American music, obviously it’s played a huge role, so it kind of makes sense that people would return to that because there’s a lot of history and material to mine there.
Noah Kossowsky: Right. What about less obvious influences?
Patrick: Less obvious influences, anybody got one top of mind?
Hannah: No, I always say Jim Croce for you, or maybe that’s more obvious.
Patrick: Yeah, I mean that’s kind of country influence, but I do really like Jim Croce. I think he’s underrated. He wrote some really good songs, but his best songs, I think, are not the radio hits. His radio hits are kind of goofy like Leroy Brown, and Time in a Bottle is this really saccharine song, but like he’s got a lot of songs that sound like that same type of good driving song with a beat and really slick acoustic guitar playing. So, I don’t know how non-obvious that is, but you got any non-obvious drumming influences Noah?
Noah: Specifically drumming?
Patrick: Well not necessarily, but any influence. I just said drumming since that’s what you predominantly play. Noah does have a few guitar credits on the album.
Noah: I mean, I feel like Maggie is a big influence.
Patrick: Our dog, Maggie. Yeah, that’s a huge influence on us. Couple of the songs are about her. Well, I guess only one on the album and one of our old songs was about her as well. I try not to write too many songs about her, but also I feel like I could write a lot more, but I don’t want it to just be like this song’s about my dog, you know? I mean, I think anyone that has a pet is just fascinated by their pet. You’re just so interested in everything that they do so you write songs about it and it’s just so different from our own experience of life and that creates opportunities for observations. But other influences, I guess this was just sort of like a song topic, but one of the songs is about, or kind of comes from my experience reading on a college football recruiting forum.
Noah Kossowsky: Wait, which song is that?
Patrick: Kelly.
Noah Kossowsky: Okay, yeah, yeah.
Patrick: So there’s this whole network of like pay per access forums that are about college football. Basically, there’s a guy that runs it who will be focused on one team and kind of have ties to like people in the program.
Hannah: Sort of like getting insider information.
Patrick: Yeah, getting the inside scoop on recruiting and coaching stuff and just like what’s going on and they actually do get a lot more information than you can get by reading your local paper coverage of the team or whatever. I subscribed to one of those for Georgia Tech, which is where I went to school and there’s a lot of random forum crap on there but the guy that runs it…
Noah Kossowsky: Is that Kelly?
Patrick: That is Kelly, yeah. I feel like sometimes it seems like he doesn’t really enjoy it very much, and I don’t know, like sell it to somebody or something, like, you don’t have to do this, you know.
Noah Kossowsky: That’s really funny.
Patrick: Yeah, I don’t know.
Hannah: Just getting snippy with commenters who are literally paying his salary so that he can write about a college football team.
Noah Kossowsky: What about influences, I guess that counts, but like influences from non-music media like books, TV, games, etc?
Patrick: Books. What books are influences? I don’t know if there’s any books that are direct influences.
Hannah: I mean, it might be kind of obvious, but just like the natural world, I guess. Obviously our band is called hey i’m outside, which was not actually really the intent with that name. I mean, we’re all…
Patrick: We’re all kind of outdoorsy-ish people and especially like Hannah has this job now, that’s like focused on being outside constantly.
Hannah: Yeah, I’m outside all the time
Noah Kossowsky: That sounds like an awesome job.
Patrick: She’s always just telling me stuff about that that’s like, oh that’s interesting, and a lot of that filters its way in. I’m trying to think if there’s any books that influence the way I write lyrics but I’m not sure that there really is. I feel like prose writing and even poetry writing is a lot different than writing lyrics, not that they influence it, but…
Noah Kossowsky: Yeah, how do you translate the prose you write in the object writing to actual lyrics?
Patrick: It’s a good question. It’s normally that there will be a snippet of something that I’m like, oh that’s interesting, and it might just be like even a few words out of a sentence or something that we’ll just take out and start to build on and then once you have something down, it’s a lot easier to make changes and edits to it. It’s normally just like, yeah, write for ten minutes and then pick through any phrases that seem interesting and start from there.
Noah Kossowsky: Yeah. Do you have lyrical influences as far as artists go?
Patrick: I think MJ Lenderman.
Noah Kossowsky: Oh, for sure.
Patrick: I try not to copy him, you know, he’s one of the best in music out there right now. Just like, witty, funny, but also poignant and sad at the same time.
Noah Kossowsky: Yeah, I feel every song has one line where I’m like damn, you know?
Patrick: One time I heard Hangover Game, I was like this is a perfectly written song. Just the way that the lyrics unfold throughout the song and culminate in the ‘I love drinking too’ line.
Noah Kossowsky: So good, so good.
Patrick: But other lyrical influences, what do you think, Hannah? You probably know one that I’m not thinking of.
Hannah: Well, I feel like this is kind of related to MJ Lenderman, but I feel like you always talk about like wanting to write about people that aren’t yourself, which I don’t think you’ve necessarily done a ton of, but you’ve started to play around with that, like with Kelly and like Goner and all that, so I feel like MJ Lenderman is an example of that. But I also feel like Frances Quinlan from Hop Along does that really well, and I don’t know how big of an influence that is for you per se, but I feel like it’s probably in there somewhere.
Noah Kossowsky: Yeah, very cool. So y’all’s last band was like more of an emo thing, and now you guys are doing more of an alt-country thing. What was the change like, you know, what’s that pipeline look like?
Hannah: Well, we’re just not sad anymore.
Patrick: Nah, we still got some sad songs, but most of them are not as sad though. My dad listened to country and bluegrass and blues and roots music and all that type of stuff so that’s kind of the sounds that I grew up with and I had been playing a little bit of like bluegrass type stuff with my brother, just for fun and was messing around with like, hmm, how can I incorporate some of this stuff into the songs that I typically write because I still wanted to kind of be somewhere in the indie rock type universe, but pulling stuff that’s more from my childhood days. That’s kind of how that went for me.
Noah Kossowsky: Cool, yeah. I think that’s my last question I got. How long did it take for you guys to make your album from start to finish?
Patrick: Good question. The oldest song is Racecar, right?
Hannah: That’s true.
Patrick: Which we put out as a single last October. That one we had just recorded and we just liked it a lot. So, we’re like, oh let’s just put it out and then put it on the album later if we have one. I think we started recording in January, some of the songs?
Hannah: Yeah, you’re right.
Patrick: And we kept working on stuff up until May, yeah.
Hannah: May, because we had it mastered in the beginning of June.
Noah Kossowsky: I think that’s pretty quick for a full album. Some people take years, you know, it’s very different for different people.
Patrick: Right. Well, I think, yeah, it kind of plays into what I was talking about earlier where we just wanted to focus on putting things out and moving forward and turning the crank, so to speak. So often you spend so much time trying to perfect something and it just ends up not being time well spent because you don’t really effectively make it any better. I think you actually learn more by just putting something out and then starting again from scratch because then you kind of have more freedom to incorporate things you’ve learned along the way.
Hannah: Right, and then we did kind of feel like it was like a summer album, so we wanted to put it out in the summer, even though the end of August was hardly still the summer but…
Noah Kossowsky: It works very well for fall as well, I think.
Hannah: Yeah, like a late summer, early fall album.
Noah Kossowsky: I think you dropped at the perfect time for the vibes. Yeah, so I guess last question, what’s on the horizon for hey i’m outside? What’s next?
Patrick: We are trying to record a couple of songs like we mentioned. Not sure exactly when those will come out, but hopefully before the end of the year, just like a single or short EP type situation. And we do have a short tour that we’re trying to get finalized for a few weeks from now so we haven’t really announced any of the dates yet, but I think we’re going to do that very soon.
Noah Kossowsky: Awesome, is Philly a date?
Patrick: Yes, it is. Yeah.
Noah Kossowsky: Oh, let’s go. Yeah, that was my last question. Anything else you guys want to say before I stop the recording?
Patrick: Thanks a ton for having us!
Noah Kossowsky: Oh, of course. You guys are awesome.