Artist / Songwriter / Producer, FINNEAS - Pensado's Place #426

Artist / Songwriter / Producer, FINNEAS – Pensado's Place #426

[Applause] coming to you from the all-new live house in Hollywood California hi everybody welcome to this week's episode of cansado splays our guest is a prodigious talent you know his work on his sisters records who is the one the only Billie Eilish but you don't know how much stuff he's got going you're gonna learn it's pretty impressive but first we've got this week's winner of the Exile sweepstakes it is the one the only manual scalable c-congratulations and all of you have one more week to win it's very simple entrant I came multimedia calm /bin solemn and add this great tool to your toolbox so enter right now one more week to win Dave and I just got back from them and we want to thank the incredible Lou Claire Beth Laird and Ross copper moon we had a great talk we're gonna bring that to you as an episode very shortly but this Saturday which is July 27th at noon we'll be at insta Festa in Atlanta it's being held at the SAE campus we'll have a fun keynote discussion we'll go talk about your craft ways for you to win and tools you can use to achieve that goal we've got a bunch of goodies to give away and we want to thank companies like and terah's fabfilter Presonus Nugent melody and FL Studio I came multimedia and a bunch of others don't miss it's free come on out we want to shake your hand take a snap and all that stuff we've also been telling you about our guy Richard furch in this masterclass put that on your radar the six-time Grammy winning engineer has worked with prints and Frank Ocean and Macy Gray and a whole bunch of others the combined work equals over a billion views on YouTube which is pretty impressive Richard put together three hours ten chapters and five bonus videos a beautifully shot content it features Asian megastar Jim and herd monster hit light-years away he goes from first files through final mix it has Chinese subtitles full of tips and techniques and philosophies you can use on any record you may do it's fun and easy and great for any producers engineers or mixers and it's pretty simple to get a hold of so just go to e mixing com use the code pensando for a special treat and we'll hook you up as always we want to make you a part of this big old family if you would sign up to our newsletter like subscribe and click notify right here and as always we thank you so much for that and now it's our pleasure to introduce you to what we think is one of the freshest and most gifted producers songwriters we've heard in a long long time here's the claim work with his sister Billie Eilish is is just on fire but boy there's a lot more under the banner please welcome to the place Phineas hey bro guys it's exciting for us it is so much to unpack because there's from harmony to arrangement to minimalism to your lyrics obviously your vocal approach it is really a compelling package as I said to earlier off-camera you're hard to research because as I was listening to the music I began Leslie as a fan then I had to put on headphones and then you're how old are you 21 21 you're 21 years old barely where where did this style come from is it just is it just use instinctive well first of all thank you guys so much for having me this is so exciting to be here I mean I've been a viewer for a long time and you know learned so much stuff from all of your content and videos and interviews I still I still like to watch videos that people that I actually know and my personal life on here because I learned I you know questions get asked that I don't ever think to ask them it's great to find out more about people and say we have with us we learned all the times greatest people that you already know yeah that's awesome so as far as like any sort of specific style that I have or that has developed I think if I go back the short amount of time that I've been producing any music at all even just trying to learn how to use something you know the first several years of I think probably almost everyone's career and music are largely derivative and they're like for me it was any artist that I was listening to and ingesting which at the start was like maybe Green Day or My Chemical Romance and then john mayer and then you know like once i got into like hip-hop it was like the first childish gambino record which was produced by ludwig and i like I look at Ludwig's production in a sort of a similar sense to mine and I hope he doesn't mind me saying this I've never met him but I always looked at him as like cuz he did like TV scoring and film scoring and then he started working with Donnell because I think he did the score of community the show that yeah and to my knowledge you know Donald was like yeah do an album mm-hmm and he just sort of said okay and it's like it's kind of evident when you listen to the first childish album camp that it it's like a producer making hip-hop that has like no business making hip-hop but that's what I like that's what I like about it it's too weird and great and so that's what makes it unique and I think that's what's always made his food vixx productions so unique and that's always like how I've like tried to think about it is like that I'm not like a guy that's like has a background in a thing but I'll try to do that thing and synthesize it and maybe it'll get interested I remember very vividly like the first day I did like a like a thing with Trapp hi-hats and it was like putting on like your older brothers coat that you don't like feel entitled to what you're like yeah well this pretend this is mine and you know but then you just do it and get comfortable with it it's like language or anything get fluent and I think that's probably I know when we talked about it what's so interesting is that there's this oral landscape that you know part of what you choose is cinematic and right this minimalist kind of quality to it your lyrics just paint word pictures that you absolutely can feel man I mean it's like oh yeah I've experienced this and then as you bounce around from track to track it sort of doesn't let you go thank and okay yeah and I don't mean to gush it's just so fresh that you know we were always telling people to push the envelope and try different things that you seem to be sort of fearless in that regard it has to be interesting to you free the doings is that fair yeah I mean I you know I'm trying to excite myself and then as far as whatever sort of sound people would claim as my sound like to me I'm listening to so much music all the time that it's it's very rare for me to do something that I I really don't think is like something that someone else is also doing you don't mean mmm not that it's like a ripoff of a certain thing but like usually when someone listens to my thing goes I've never heard that before I go like well you haven't heard this song but I will say that it's hugely important to me to do things that do sound different to me that sound unique because it's like one of the few things that I feel is like really truly quantifiable I don't know when a song is a hit or not I don't know when it's timeless I don't know when it's fresh but I do know when it doesn't sound like something else but I feel like one of the funny things that I've found in my experience with an tars is that they hear things that do sound like other hits and they think it sounds like a hit and I go like no it sounds like that hit it doesn't sound like it's own same thing in my in my limited years of experience the things that actually are like really make waves or the things that just don't sound like other things you start a song how do you start you start from an idea like an idea and you start with a drum beat you start with a lyric well I think all a and B Part A and B yes with the slight leaves and with Billy well to answer the the B part of that question because it's a fast answer the slightly was this band that I played in in high school and we stopped playing together a couple years ago oh you bet well I loved some of the stuff on Spotify thanks man so yeah the music that I've put out under my own name if we're looking at it as sort of like three different parts of a pie chart if it's like music under my own name music under Billy's name and then music under any other artists name to me the the most effective way is just always a way that's inspiring needs different thing I think definitely like the most common way in my my lifespan of songwriting has been at an instrument and kind of that like like faking a song into existence playing a chord singing something being phonetic with your vocal letting a word come out being inspired by that that kind of all like as it sort of shapes all at once this used a on the piano or a guitar both yeah both of those and then beyond that it's always really inspiring to do anything that is a different approach to that so making a beat that especially for like really rhythmic lyrics it's really inspiring to have a great rhythm under it other than ability you collaborate much yeah I mean I learned so much from from any collaboration and I I try to do that you know the the thing about you know it's rare in today's world for pop albums if we're calling Billy's album a pop album which I'm happy to do it if I call it pop trap pop Charlie yeah I'll trap whatever it is in the new Gus or something I like new guy that's awesome yeah it's very rare problems of that type to be made by like two people right now they're usually group endeavors and yeah we've we pride ourselves on on making them as a small a unit as possible so it does take up most of my creative time but right now I try to I try to have my manager schedule me like one session with another artist either a friend of mine or a new artist a week and then even if the session is for not i learned something at the session but yeah it's it's been really fascinating over the last couple years to find out just how everybody works so differently from each other there's like no there's no real common thread everybody it's like so different so mapping to the lyrics much with billy with billy yeah i mean we are we're writing all those songs you know in tandem in a real kind of you know sort of traditionally collaborative way I'm playing more of the instrumental music although she does play some piano and some guitar and some ukulele I'm playing a larger percentage of it yeah she plays ukulele quite well and then um lyrically it's probably oh if she plays well when I compare her to any better sound good yeah he's killing it right there yeah she wrote something out on ukulele yeah there's a song on the album called eight that she wrote like 75% of we get pretty specific with our splits I think she has never know we do what we do a lot of the time but I don't I think it's McCarty and Linda did 50 and they always just bite they chomp at the bit with that well they're always like every Lennon interview I've ever heard is like some song that Paul song and he's like another song I should have sung it's all about that and there's some songs on Billy's records that I wrote alone and we don't we make no bones about that there's a song called when the party's over that's it was just me and you know I think I think it's emotion eyes was all merchandises me too mm I think we're in a weird place with like writing sessions where we're artists and just the people in the room like eating some chips and wearing a baseball hat or getting like good crazy team 20% you know and I really like really don't like that I think it's dishonest sometimes like the first year if Billy and I having any form of like career at all we were thrown into a lot of writing sessions and you get thrown into the session with somebody and they go you got to meet this guy he wrote this song that you love and you go like oh my god he did and you go in and you're like wow I love that and they're like oh yeah I mean I was just like in the route like yeah yeah but that graphic of the lighted lighted match thing that you were oh yeah tell them about that yeah we just went by with the orange load by yeah yeah yeah I color I colored the the track orange just to just to further it but yeah we we did this song a couple years ago called watch and watch was one of those songs that existed as a kind of a copyright on a piano but the production of it was sort of hard to pin down and so we went through a lot of iterations and the thing that made us excited about I think a lot of the time when you do like four or five different different goes at a song you get very bored of like working on it and tracking vocals but the thing that made us really excited was Billy a nice too in our bathroom because it had like the ceiling fans we weren't gonna smoke out the house and we just I held a tascam dr-05 and she would like strike matches and then she'd hold it and I'd strike matches and then we'd record us like blowing them out and we built this whole beat out of like matches being lit and then I would I'd cut the the sound off with like the kick drums I think it was very rhythmic it's incredible thanks man but it's all clip all those sounds clipped like they only sounded really good if they were in logic all just like peaking I don't really know why I mean and ultimately that sound design right yeah yeah you're right yeah totally um did that come earlier in your life just the interest in sound design as you were listening to things involved yeah yeah I was always like on the kind of before I knew any terminology before I had any kind of grasp with it I was always like just obsessed with like really inventive exciting use of like panning mm-hmm and I remember the first video of yours I ever saw was like 10 mixing mistakes no it's great oh it was a great video one of the things you brought up in that video was like like don't pan for no reason you're like some of these mixes just make me want to like lean my head yeah I remember being like oh my god that's such a good pan every effect right totally but a great pan is a great pan yeah yeah I think the cool thing is the cool thing is anytime you can do something production-wise that people who have no interest in production still think it's cool right so like to me like mr. Brightside by The Killers starting with like the electric and the right drums are like super crushed in the left vocals down the center and then it drops in like the second person it all just goes like it was all like right like that right and then there's a crazy stuff like I grew up listening to like the mono files of the Beatles and I really don't like the stereo yeah stereos are so weird for stereo sad yeah and so like when I listen to those remaster stereo things where like all of the vocals are here and then it gets so it's so exactly what you're talking about to me where I'm like this just makes me want to lean my head you said that what do you study on Logic are you live yeah I use logic I just got you know it got intuitive for me really fast we use we use Ableton Live to run our playback system live when we play to click and are you filling the place where you had like an order over here in a real piano over here yeah I use a Nord stage 3 my Rack is like really simple it's a Nord stage 3 which I right now probably then usually like I evolve and come up with new ideas for the next cycle but right now it's the Nord stage 3 which is always a grand piano because it's just got such good hammer action and there's so much piano in Billy's music that it's always great to just have it right there and then I have an akai MPAA 261 on top of that that's like aggressively automated to me like the more stuff you can take out of what you're actually doing that's that's mechanical on stage and the more you can be musical I kind of learned that from our drummer andrew marshall who whose approach was like sort of the opposite of like yeah he's great he's so Zen but he he really likes to keep everything sort of flushed and clean when we first started touring we didn't have any crew really we didn't have techs or anything so we had a like any computer we were using to run software like me in stage 4 since I don't wanna be mean but there's nothing flush and cleaned about yourself in my room yeah the room is a mess yeah so much cables put like live and we're playing shows oh I was talking about yeah yeah in my creative space at home yeah no it's uh I wish it was I wish it was cleaner it's the thing that I should have someone come over address it go back to the live thing first yeah because you do so much of it and then you have such you know it seems simple but there's complex sounds rough and so there's got to be a fair amount of programming like in first as the drummer you were talking about yeah there's a lot of programming here so he can have flexibility yeah so a lot of when we play our shows he has like 4 V drum pads on any given Billy song he's he's trying to play ninety nine to a hundred percent of every percussive sound you're hearing and then when it's appropriate he drops into a really fat drum beat on top of it that just heightens the live show and on any given Billy song there's like you know 15 to 20 drum samples that are added and subtracted and so he found that the best way for him to do that was to automate through Ableton to his Roland pads all of this MIDI data where they all changed all the time and I thought it was so clean and effective because he's not having to not play pads and he's also not having to have like you know a nurse wind and fire like 60 pads he's just playing a thing and he's playing the beat and then the beat changes and he's playing the same rhythm but it's examples well a lot of the sort of sound design history and in my world is because I that's to me like the true like definition of like a unique sound it's like if I made it BIOS I use spice I've just started using spice a little bit I like it a lot you know a lot of the sample libraries I've used like I'm a I'm a big preacher of like tweaking a sound so like if you find a great like stock kick drum and you modify it you crush it a little bit and you flatten it out and then you boost the lick what do you crush it with right now I've been crushing like kick drums with like adaptive limiter that's just like floor and clip it and logic and then a lot of the time I'll put like a washout a kick with like a lot of reverb and then bounce that with a lot of reverb sort of like modern gating and then cut the tail so just goes like so it competes with all that other reverb you see so much yeah you need a reverb endorsement I know hey well I was curious though because it ties into this when you're performing as an artist as you perform inside Billy's show in the early days you opened up for her that's right yeah with your love of sound and sound design and social force how do you monitor do you like inner ear monitors or do you need stuff on the floor so I do like in-ear monitors a lot I don't think we've ever done like a full Billy show without them because we're playing to click because there's so many like arpeggiators right things that you just want I want to have rhythm on right and we've we've always run a she's a very visual artist so empty like all the kind of everything you need for you know to have in your head to be locked into like a visual behind we run live but to me even even whatever model of ultimate ear that I'm on which is advertised for its great bass response still not basing enough for me so I wear a sub pack lie oh you do I just feel yeah which has been really fun as I play a lot of electric bass in the live show I don't have a stack behind me so I just really wanted to feel it I really like it I I started using it yeah sub pack is this looks like a sort of a like that thing you might carry a baby and like a bjorn and you just wear it and it's eclipsed across your chest and there's a pad on the back that's like basically a subwoofer that rattles and it just takes an ox in and responds to the low frequencies of the song and I have it running off its own wireless pack I kind of use it as a redundancy because you wear your wireless pack which goes to your ears and then I use a wireless pack for the sub and if my pack dies I just pull the sub pack off I have a backup it's kind of like that's good very cool what's her the vocal chain that you used on Billy it's so disrespectful I feel bad talking about it's just talking about this with my friend Ross : and he was yeah very disappointed in me it's not to agressor I whisper it to me no it's a compressor high ratio low threshold here the brand logic stock compressor and so I use anointment e LM 103 goodbye which I really like probably at a point where it would be worth upgrading but I have to go do a shootout and try them on haven't gone oh my god change anything buddy it sounds so good well here's the deal her voice sounds so good um I'm getting out of the way of her voice that's kind of the whole deal there are singers that I've worked what my pre these none just straight into a Apollo with no plugins on it what about on yourself what's your um usually more reverb sometimes a de-esser the way she sings words is kind of like a natural DSR it's pretty awesome mmm she just harasses her are very very hush pretty and when I when I listen to lost a friend I'm like ah shit a deist that more it's like a line in the beginning that's like ice in the summer heat you and all that stuff hits me I guess I get bummed out oh I didn't like I can't like this I leave more than most I generally tell tell our yeah our I tell my mixer Justin her get two undies things often and he's great and he always does it but I sometimes Mike I want more s it's not sexy energy and power and those in the siblings yeah and sometimes sometimes they just you make you sound lispy if you DSM just sound like this you long lyrics yeah inspire there's a story in your head comes from different places fine how does the how does that process happen with you great question always different I think I think the kind of most common thread and lyrics in my life is that I come up with something that is I would never use the word like divine or whatever but in but but something that takes no effort it's some line goes like and I have the line yeah and then everything else and the song is like a jigsaw where I'm like what it's that oh they how it makes and that's that's where I there's like a joy for me God is like coming up with a mind that it's like I'd like perfectly he can't believe it would be anything else yeah you were you use the term private intimacy with with your lyrics yep I found that fascinating I think I don't want anybody know anything about me well I don't mind I'm not doing a good job of that either been my my social media presence which is pretty much every now as a social media presence at this point I don't think if you I think if you were just a follower of mine on an Instagram or a Twitter mm-hmm how old do I sound saying an Instagram or a Twitter that sounds so like has it he's got a Twitter save the cool yeah via I think if you're just a follower of mine I don't think you I don't think you know what I'm eating most days I don't think you really know where I'm like hanging out most days you Jesus I know here I posted a picture of food maybe once or twice mostly coffee I like coffee a lot and sometimes there's a pretty foam going on like a wheat wheat stock but uh but you know I think to me the place where I feel I feel it necessary to be open and vulnerable as in my music because I don't I just would feel like I'm wasting people's time if I wasn't and also I think that it's the most relatable stuff actually I think when I said when I say stuff that is like I'm nervous for whoever I wrote it about to hear actually like most people that I'm friends with are like oh this line is the thing that I that sticks to me even if it feels really personal the stuff that feels the most unique to you the most personal you know someone else is like oh I've felt that way and yeah I mean I think that that that door that you open as a listener feels like something is being shared in a very special and personal way I think whatever your experience is in doing that and allowing yourself to do that what makes it so genius it's received that way you know sometimes intention doesn't meet you know the point of view yours thanks Justin just nails it but also interestingly enough for somebody who's 21 so many of the things that you say and so many of your songs over the last couple years are relatable to a wow that's awesome group of people that God knows we're older you know man listen my keys have been in the cell phone not my wallets in the backseat at the airport the other day your keys were dead but that's not something that's an intention you're just telling your or you're putting your jigsaw puzzle together from your perspective and letting it breathe inside right well yeah I mean I think I think a lot of things to me are that forcing almost anything is just yields the opposite result ask me and and that's that's always been like if I if I sat down and I was like I want to write the most relatable song I feel think I would overthink it and I'd write some like mess of a that's too bland to have anyone be attached to and so to me the only way I can do it is like and there are some there are songs that I love I wish I could think of a name of one right now to let give but there are songs that are so specific and narrative driven that you don't relate to them at all but they're still wonderful to listen to and they reference you know Dave pensado and you'd be like you know they're your friend Dave pensado and you're like I don't that's the name of a person I can't just oppose my significant other into that so long as I hate that Sodom I have that right just saw it just just a whole out anthology you don't love artists at urban everything but I just started thinking about Oh Town Road how intimate that was I love that song we do I heard the term today speaking of okay I have a term a term in collaboration with that which was the today I was at a cafe and I saw a dude with like a mullet and like a like a leather kind of clearly only for fashion like harness type thing uh-huh empty empty pockets forum artist mm like Wrangler jeans on with like one of those True Religion crosses on the but here I was having this guy well he was he was very very exciting to watch the border americano and and the guy I was sitting with dubbed him farm punk that kind of song that is hilarious when you go back to your song right and do do lyrics ever inform the music usually conform the lyrics this goes both ways yeah I mean I find that in the kind of same like using a jigsaw as an example like it's for me personally other people are incredible at it but it's harder for me to come up with a melody I love and then fit lyrics I love just as much into that melody it's easier the other way and the easiest is is sort of all at once the easiest is like singing a melody that carries a phonetic thing and that's the thing and then you build a run and then rhyming is its own sort of follow acts but like yeah I think like people people use the term Swedish songwriting which is a super generalized yeah but it is true that some of the Swedish writers that I've worked with are very it just means of enhanced melody right incredible melody right but it often is melody before everything it's like a great melody and you go like oh my god that is an incredible melody and then sometimes fitting a lyric into like a three note melody you're like how am I gonna use three syllables to come up with something that's like incredible yeah you know but sometimes melody is all you need you know I love French song so I don't know what they're saying and also harmony is important to me for harmony for you yeah is a critical piece as you do use such interesting things for harmony and then you also use instrumentation to have harmony sound on different things and feel different thanks man where did where did harmony come from probably harmony came in in my life from a choir that I was in from the age of 12 to the age of 17 Cogley yeah no is an actual not a not on TV choir answering this question though yeah talk about Glee we'll do both yeah that was in this choir called the Los Angeles Children's Chorus for whatever that is 12 to 17 so you know five years and see how long it took me to do that math it's why I do other stuff and you know you sing you sing fugues missing all this was beautiful you know these hymns and he's just such great choral music and choral music that Bach arranged it's just like all this crazy stuff and it it was so appealing to me and so beautiful and Billy was in the same choir for several years and harmony became really important to us and the way that I think of like myself is like a producer is that to me like sometimes I feel like you can tell when a producer is like a great you can tell when a producer is thinking a real drum drum guy and to me like I just am a fan of the voice like I want my productions to be really vocal forward and and everything else the production I want to like compliment whatever the vocals doing I haven't ever done like an acapella record but I would definitely love to I'd love to yeah and you use your sound of the sound design ear and I in your use of harmony as well too I try yeah I definitely try yes it's a makes it sound the most new thanks the most specific example I can give is that there's a bitly song called I love you and they're the second verse the lyric is up all night on another red-eye I wish we never learned to fly and it's kind of it's space that's a long that short verse is like long held notes there's a lot of sort of time and I was like oh it'd be cool to sort of we're just on playing so much and I always recording I was I'd be great to use like the way it sounds when you're sitting in your seat on the plane especially if you're in coach which before like a month ago like six times in my life but when you're just right in there yeah there's just people everywhere putting in stuff in the overhead so I have some sounds of that and I have the sounds of the lake you know there's a slide on the in case of a water landing at that voice and then I was like what's that sound cuz I wasn't on a plane and I was doing the production I was like what's that sound of like the flight attendant call like that thing I found it in like a recording I had and it was in the it was in c-major there was just two notes and like it was like a triad and C and I was like well that's great cuz I'm in I'm making the song in C and it's enough ambient noise but it's really pretty and tonal and then I was like oh and then it shifts to an F chord and then it shifts so like an a minor and I was like I bet I could alter that so it starts as its original sound and then the notes actually change which I used like little altar boy or and sound shifter by waves but just like things like that were to me it's like anything where I can take the work out of like making a decision for no reason makes me feel really excited anything that it feels like intentional production of like I'm doing this because of that like you know when sometimes people go like why did you do that then you go like do you like it justification you just have to go like I think it sounds cool which sometimes is all the justification you need at any time you can really you know put your your foot down on something and go like I'm doing this because of this it gives you this kind of like I chose this path because this is this path is that where the crickets came from yeah well the crickets so there's my song Hollywood Forever I was recording in my bedroom at home and I had the window open cuz it was really hot and the house we grew up and had no central air mm-hmm and it was just a lot of crickets outside and so I recorded some room tone I was like well this is great I was like I'm not gonna get the whole vocal tonight mm-hmm but this great sound great like a glance right well the only other thing I was gonna say about crickets was the song when the party's over which is a billy track it's just probably like a hundred and fifty layers of vocals because there's there's like low hums and middle hums and high hums and ahhs and oohs and stacked harmonies and moments where they all swell and that's kind of our vibe so it was fun to do but it took us forever it took us like several weeks of like working a couple days a week to get all the parts and there's really low parts and high parts so there'd be days where she's like I've got the high part today I don't know if I got the low part today the cool part is now when she does it live she can do it all because she's gotten better but at the time she was like they'll be a day and there's the bridge that they were recording the bridge we got all of the vocals for the Brisbane one day and it was a crickety day there was just a lot of cricket it was a eighties when every Sun tonight early night is when babyface was putting crickets and everything I actually didn't yeah they had a cricket sound that that we all had Alice mixers head and we would get asked to add the crickets and baby bass stuff yeah from 1990 to about 93 so funny fact before electricity it was it was the weirdest thing we had crickets in everything I I gotta be careful and not put them in everything because they really make a song feel alive immediately if you take a song with no crickets and especially if it's like MIDI instruments and then you add some crickets you're like wow this song feels real I was complaining driving over here I was have to radio and there's just too many non crickety sounds yeah that's what's wrong with me doesn't make a note of that please guys yeah that you're cool too yeah because we won cricket sounds a little bit like you know bad joke right but you have to commit cricket crickets I have there's a song of mine called last fall in line for the night and I was in a villa beach up by like san luis obispo mixer mmm frogs bunch of frogs mmm really like croaky just but it sounds like in the night time yeah yeah absolutely our conversation continues next week with producer songwriter extraordinaire Phineas [Applause] you

49 thoughts on “Artist / Songwriter / Producer, FINNEAS – Pensado's Place #426

  1. You guys are awful interviewers STOP interrupting! Hes telling a cool story about how they recorded when the partys over and you really gotta interrupt him to tell how you used cricket sounds on some random tracks in the 90s?? Cmon dude

  2. This video made me realize that they’re so many parts of the songs I’m listening to that I’m not paying attention to like… crickets?

  3. Happy they got FINNEAS ! He needs as respect as billie do. Without him we wouldn’t listen to such good songs

  4. finneas and billie are genuises they are perfect im so honored to be able to witness their work and journey they are SPECIAL truly

  5. hes so well spoken 🥺 it rlly shows in his songwriting, 7th week at #1 in billboards hot 100 songwriters, WHAT HE DESERVES

  6. finally an interview where finneas is actually in the title and it’s not “billie eilish’s brother”

  7. I love his music, especially Luck Pusher. I discovered him by accident a few days ago on youtube and honestly I'm glad I did

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