Q&A: All Things Blue On the Surreal Sounds of "San Pedran Crustacean"
INTERVIEW
INTERVIEW
LOS ANGELES-BASED ALL THINGS BLUE HAS RETURNED WITH THEIR CAPTIVATING NEW SINGLE “SAN PEDRAN CRUSTACEAN”, a track that masterfully blends the ethereal qualities of dreamy psychedelia with the playful energy of off-kilter indie pop, all anchored by a groove-heavy alt-rock foundation. This seamless fusion of diverse genres is a natural outcome for the band, driven more by the pursuit of a specific feeling or sonic texture than by strict adherence to any particular category. "San Pedran Crustacean," featuring Nick Dorian, emerges from a wellspring of surreal inspiration, drawing from both literal and emotional journeys to create a sonic landscape that feels both familiar and strangely dreamlike.
The band cites the influence of Wim Wenders' film "Until the End of the World" as a key touchstone for the song's atmosphere of navigating shifting realities. While comparisons to artists like The Flaming Lips and Pond are flattering, All Things Blue emphasizes their focus on emotional tone and a "weird stew of sounds and moods" that organically shapes their unique sonic identity. This conversation offers a fascinating glimpse into the creative process behind "San Pedran Crustacean" and the collaborative dynamic with Nick Dorian, highlighting their shared penchant for the unconventional and the beautifully strange, as discussed in this interview.
LUNA: "San Pedran Crustacean" blends dreamy psychedelia, off-kilter indie pop, and groove-heavy alt-rock. How did you approach fusing these diverse genres to create the song's unique sound?
ALL THINGS BLUE: I think that fusion kind of just happened naturally. Jon [Joseph] and I don’t really go into sessions thinking about genre. We usually chase a feeling or a texture or like one sick sound from a song we both like, and with “San Pedran Crustacean,” it started with this warped bassline that felt like it was underwater or melting a little. From there, we layered on sounds that felt equally strange and comforting. It’s always a bit of a soup.
LUNA: The single is inspired by surreal journeys, both literal and emotional, and evokes a feeling of being caught between reality and illusion. Can you elaborate on the specific inspirations behind this concept and how it translates into the song's lyrics and atmosphere?
ATB: The song was somewhat inspired by the Wim Wenders movie Until the End of the World. Nick [Dorian], who features on this track, was telling me about it. It is about four and a half hours long and I ended up watching the whole thing. The film follows this winding, futuristic road trip across different continents, with characters who are searching for someone but also kind of searching for meaning. The technology in the story starts to blur the line between memory, dreams, and reality. That atmosphere definitely made its way into the song. It has this feeling of moving through a world that does not quite behave how you expect it to.
LUNA: You've drawn comparisons to artists like The Flaming Lips, Pond, and Rex Orange County. In what ways do you see "San Pedran Crustacean" fitting into or deviating from those influences?
ATB: Those comparisons are really flattering, but I think that’s more of a listener thing than something we set out to do. I can see how people might hear that in the playfulness or the psych-pop elements, but we’re usually just pulling from whatever weird stew of sounds and moods we’re into at the moment. I think I’m always more focused on the emotional tone than trying to sound like anyone in particular.
LUNA: Can you share how you got connected to Nick Dorian and what the creative process was like working together?
ATB: I used to be the talent buyer at The Silverlake Lounge, and Lexi Vega [Mini Trees] invited me to this show at Gold Diggers to see her drummer Ryan McDiarmid open for Nick Dorian. Ryan also drums for Nick, and I had no idea what to expect, but I was totally blown away by Nick’s set. I ended up booking him a few times at the Lounge and eventually we just became friends. I had been working on this song for a while and felt like he would fit really nicely on it, so he came down to Pedro and we just knocked it out. It was super easy. He has such a unique ear for melodies and is always down to get a little weird in the best way.
LUNA: What can you share about any upcoming visuals?
ATB: Yeah, I had fun making this little video with Momo Valentini as my sort of muse. It is definitely still inspired by Until the End of the World. I was in New York to direct a lookbook video for my brother Max Esmail’s brand during his fashion show at NYFW this past February. We had a day off, so we went around the city and got some fun footage. I cannot really say more without giving too much away, but it has that same kind of dreamy, offbeat vibe.
LUNA: Who have you been listening to lately?
ATB: Musically, mostly a lot of old stuff that makes me feel nostalgic. Pretty much everything I used to listen to in high school. Pavement, Grizzly Bear, Washed Out, Deerhunter, MGMT. That era always hits. Other than that, it is mostly just goofy podcasts. I have been on a steady rotation of SmartLess, Flagrant, Red Scare, Theo Von, and Armchair Expert. I have also kind of gotten addicted to audiobooks lately. I always have something playing in the background.
LUNA: What intentions do you have for this spring season?
ATB: I want to make a bunch more visuals for the rest of the singles I’ll be releasing and just have fun with that. I’m also wrapping up a feature-length film that I wrote, produced, and directed with my collaborator Dalton Pate, which we should be finishing up in May. It’s been such a fun and challenging experience, but I’m really happy with how things are turning out.
