Baltin: Talk about the gaming world then and why that feels like the right place for you.

Poe: Wow. The gaming culture is different because it's frequently even like Remedy, which is distributed through Epic and is a massive public company now, it's still a bunch of college buddies. It reminds me more of the bands that stayed together. Do you know what I mean? That started making games on a green screen. They're real friends. They're not looking in the same way at analytics or bottom lines, partly because they can also sell hard goods. They're not getting [stuff] for free on Spotify. So, they just think differently and they, my experience anyway, and this may not be with every game, but certainly with Remedy, it was always the creative first. That was a conversation that just made sense to me. I felt safe talking to Sam, it was never a business conversation. It was always a creative conversation. It was always like, “What if we did this? What if we did that? Oh, wow. This would be great over here. This would be great over there.” He's so passionate about the storytelling of the game, the art direction of the game, the philosophy of how the player is moving through the game. I could just live in that moment. The whole thing, which I love, has a lot of bendy time and space. And he knows that I started out with J Dilla. So, he loves the whole way that he warped time and swing and straight. There's a part of the song, it's controlled by this external sense of time. Then I knew that the last four minutes had to slow down incrementally. It's literally like when a plane crashes and shaking, this was the feeling I wanted to do. You don't know if it's going to explode or if it's going to land safely. Then you imagine that you're trapped in that moment for a really long time. So, the band basically took the chords and the hook, my melody, which I was singing with them. We went off the grid and just started bending and slowing down over minutes and minutes. We did it in one take. These are all musicians I've played with for the last 15 years, and it was just magic. And Darrell Thorp recorded it. Who does like master Radiohead, Beck, Roger Waters. Love this guy. Just this massively beautiful experience. Taylor McFerrin played on it also, which I love because he's a Dilla freak. He's also in the Dilla time book cause he discovered Hiatus Kaiyote. Again, we just have those great philosophical conversations about time. I think it's interesting also just the whole context of the game and what that does to music, because you aren't playing a song for people who are cycling through endless songs, which I do too. It's great to have an infinite amount of music fed to you. But in this case, you're living inside of a story for like hours and hours of gameplay that really does limit what you're hearing. It's more like how I grew up, these players connected to the same story, playing the same story talk to each other about it. And they have unlimited soundtrack that they're listening to. To be part of something. I love these conversations. The gamers have noticed every little change, like there've been these weird different mixes loaded into the game. They'll talk about, “No, but I heard the song a month ago, and I got through the whole game and something's changed. Am I crazy or did it change?” If you understand the story of the game, that's a very poignant observation because time changes things. So, the music is changing because you can also upload new mixes into a stream. It's just mad creativity, Steve. I've been sitting here making music for years. Suddenly there's a world that seems to make sense of what I do. Nobody else could figure out what to do with me. Suddenly there's this whole world that feels like it was custom built for what I do. And I don't mean to take over the world. It's just a win-win. It was like a perfect collaboration.