‘Blame It All On Love’: An Interview with Jeffrey Paradise on Poolside’s Newest Album

Over the summer, West Coast correspondent Rose Eden sat down with a friend for over 20 years, Jeffrey Paradise of multi-piece tropical chill wave band Poolside. On the eve of the band’s first hometown, main stage performance at Outside Lands Festival, they talk about the former club kid days, his infamous first house in the city, and some other bands that you may or may not know he’s been in thus far. 

From The Young and the Guest List to eventually becoming the Don of Daytime Disco, when asked about Poolside’s new album released Friday, October 20, 2023, Paradise simply says: Blame It All On Love.

How is your new single doing?

It’s doing great, actually. It’s getting played on the radio in Europe and a little bit in the U.S., and it’s crushing on streaming, and I don’t know. I love it, more importantly.

What was the nexus of the work of it? Because I saw you post that you kind of said “Fuck it.” 

Yeah, yeah. 

What was the flow?

For the album, just for the first time, I didn’t really have a theme or concept or idea in mind. I didn’t try to do this either, but I realized it’s just how I wrote music in high school, before I really knew how to write music. I would be like, oh, this sounds cool, and just sort of start from whatever you’re feeling without having to kind of, like, try and create some idea or some sound.

You just kind of put your feelings and sounds down, and then you’re like, oh, sounds good. So yeah, that was kind of … I mean, it sounds sort of boring as I say it, but it was very different than usual where you’re kind of coming from. Like, I want a slow beat, and, you know, you have an idea, and then start from there. This was like, kind of what’s inside of you just coming out.

It’s brave in a way. 

It was a lot more vulnerable, yeah. So I think I’ve always relied on some concept or some idea to kind of avoid a certain level of vulnerability. You gotta. And now that’s been dissolved in this moment.

I thought it was a little ironic because when you were announcing the single, when you said that you had that “fuck it!” sort of mentality, that’s how I’ve always thought of you. And not to say that everybody has known me as long as I’ve known you. But, like, when you were a DJ, for example, you always had no fear about playing whatever you felt like playing at the moment.

Yeah, no, that’s stayed true. But it was sort of like I had developed a bit of a routine around creating music for Poolside that I was just like, okay, fuck it. I’m not going to do that. I’m just going to do more from whatever feels more organic or inside me or without a theory of what I’m trying to do first.

Well, something that came up Mike, Geographer  (the electro-new wave solo artist who had performed at the festival earlier that afternoon) Mike, that I think you might be able to relate to was back in those days, that the industry, the scene, was very competitive, or it was kind of bottom-line. 

Yes, of course. 

Or the music that you were DJing, or the culture that you were creating didn’t really so much exist before. So we think back on it now, we think about that era. But in that time, it wasn’t so well defined. 

No, of course. 

That’s less restricted now. Like you can kind of do whatever you want and it will be embraced.

Totally. Yeah, I mean back then it was like you were only allowed to like a sub genre of music. And if you liked anything even more general within that genre, you were lame; you were stupid, or you didn’t know the real shit or whatever. It was super, I don’t even call it cliquey, but just this hierarchical egotism, like, “I know the real shit — you don’t know the coolest version.”

Competitive is the word that I chose.

Yeah, that makes sense, but I almost feel like the status, like that was like a commerce, like I know about the coolest punk rock, you only know about the mainstream punk rock. You know some like NOFX side projects, but I know, like, you know even deeper than that, you know? 

It’s just kind of silly looking back, but it was, it was like a way to sort of  identify yourself as  I’m actually legit cool because I know all this  stuff, which I think that in a concept is kind of cool, because that’s how you identify yourself is through this like knowledge, especially us, we were kind of degenerates and none of us, I don’t know, I wasn’t rich, most people were pretty scraping by. It’s cool that you could create a status for yourself based on stuff you knew about, rather than like your money or your clothes like your car or something.

You lived in a house for a really long time. 

Yeah. 

It was your house. Is it okay if I say it’s the Prince House?

Yeah, of course, of course. 

How long did you live there? Over 10 Years, right? 

Yeah, I want to say, like, 12 years probably.

What effect did living there, and all the people, have on your music?

Well, in the beginning I would say a major effect because I was a kid from San Diego that mostly just hung out with skateboarders and punks in San Diego and they’re, like, probably the worst offenders of being like, these are six bands you can like and any other band is lame, you know. 

So then I moved to San Francisco, and it was a lot more permissive, and I moved in with a few record nerds, chiefly looped from The Rapture. We lived there together, and he had a big record collection of all this random shit that I would have thought was lame, like Blue Cheer and kind of blues rock from the U.K., and shit like that, T-Rex, (and) all this stuff, and he was like, no dude, you should get into this.

(Y’all) Get in the kitchen, and you listen to it.

Yeah. And so, like, him and Vito as well, Vito (Roccoforte) who’s now in Poolside, but he had a bunch of stuff, and then this dude Chris, Chris Relier, we’ll call him by my name, but yeah, he’s not doing music anymore, but he had all this weird, like, Spaceman 3 and all this weird, like, psych rock shit. 

And so I would just, like, I had no job. I would just, like, listen to their records and, like, sort of absorbed it all like a sponge, and it really like having a house where, like, five to 10 people were living at all times with various influences was super formative of, like, my adventurous sense of music and breaking out of like this idea that, oh, you know what’s cool, and it’s this micro thing. And they really taught me, like, no, like that’s stupid. Music is beautiful, and there’s all sorts of good music. And if you think otherwise, you’re a fool. And I kind of carried that with me throughout my DJ career and to the present.

It’s like an epic San Francisco roommate story.

Yeah, yeah. It really was. The best roommates in San Francisco have that major influence on you. Yeah, I was like 20, I think, 19, 20. 

Oh yeah, it’s really cool. 

Yeah, I was still very blossoming, you know. I hadn’t been fully formed yet.

Well, from The Calculators to The Rapture to now Poolside, I mean, you have a string of notable bands that you’ve been in and that you’ve dabbled in. I want to talk about the Paradise Boys because that was a short, brief, great, chapter of your musical career that actually did very, very well, and the people who were in the band were very interesting. 

Yeah. 

And so tell me about the Paradise Boys and what you think about them now, and who they were.

Well, I think the Paradise Boys missed our window. Like, if we had it happen now, we would be, I mean, we had a multicultural, every single sexuality you could imagine, multi-gender, like, you know, and this was, like, 2005-06. 

Oh, wild.

Yeah, and we partied a lot back then. And, like, that’s what’s interesting. It seems dumb and cliche now to me with the whole indie sleaze thing. I mean … I don’t want to say that. But when you look back on writing songs about partying, that doesn’t sound that cool when looking back. But at the time, the indie rock scene was very, like, look at your shoes.

Yes. 

Like, oh, what guitar strings is he using? I don’t know. Like those lyrics didn’t really hit me; (they’re) very critical and boring. And so when indie kids started partying, that was a rebellious act, I would say. You know, people were like, dude, let’s fucking rage and have a good time. Which sounds, again, it’s hard to imagine that now. Cause kids are almost rebelling against that by being like, no, I’m straight-laced. But at the time, that was wild. So it’s kind of cringey listening to Paradise Boys in a way because it’s like, oh, we’re writing songs about partying. Like Young and the Guest List was our album title. You know, it’s cheeky. But at the time, it felt like this is groundbreaking almost.

It’s very punk rock. 

Yeah, it was. 

It was an attitude of a punk. 

Yeah, exactly. So, and then also that thing that now is very happening, we were just like—a lot of bands were like—four white models from the U.K. You know, they’re 17, and they met in modeling. And now they’ve made amazing pop songs. And I’m like, how does the U.K. spit out. like, models who write amazing songs? So yeah, we were all sorts of different, very San Francisco, very mixed, very bi, very overt sexuality, and, like, songs about cutting loose, you know?

And your co-band leader, Bertie, (Pearson) wasn’t he at least at the time, like, on track to be a pastor or minister? Did that work out for him? 

He’s a Episcopalian priest. 

He is still…

Yeah, he is. We’re still good friends. 

Amazing. 

He wound up going to—What’s it called? I’m blanking on the name, but a Divinity type school in the U.K. that’s famous, that I’m blanking on, but yeah, he’s a Episcopalian priest now in Washington D.C.

He’s gotta be stoked for you. 

I think so, yeah. 

You’ve got the power of the Lord. (laughs)

Well Episcopalians, they’re a little bit not-so-rigid, you know; they allow drinking; he’s married, you know, it’s not so, I don’t know, conservative. It’s not quite like that. But they still believe in Christ and believe in doing good, which I think generally, if religiousness was more about doing good to other people, I would be much more inclined to be religious. But yeah, there’s so much wrapped up, at least in my upbringing, around religion.

Well, side note, if you ever saw Bertie perform, his presence—he definitely had the presence of a politician or priest.

Oh yeah, Bertie could have been anything. He’s so smart, so talented, but … he could convert you. (laughs) He’s a great guy. I’m lucky to have been good friends with him and a musical partner with him for a long time.

Well, don’t think that people have forgotten about that chapter of your life. It was very impactful. 

He just put out a song. It’s, like, with another priest, and it’s called, like, Bertie, somebody and Bertie. And, like, DJ Harvey’s been playing the track. It’s kind of Italo Disco. And the cover art is super rad; someone drew, like, a crayon picture of two priests.

It’s probably so good too, right? I bet it’s good. 

Yeah.

 I believe it. 

So, look that up. It’s, like, Raz and Bertie. I forget the other priest’s name, but they’re two Episcopalian priests making disco.

Pastor Bertie does Italo Disco?

That works, actually. Yeah, it’s very cool. 

So tell me about what sort of excitement that you have for what’s coming in the future, for the new music that you’re releasing. You have a good litmus where the single’s doing well, so what is it that you would like to tell me about what’s to come?

Well, I have an 11-song album out October 20. First time I’ve really worked with a label. It’s on Ninja Tunes’ label Counter Records. They’ve been great. And it’s 11 songs that are all kind of songs. They’re not like tracks. They’re not like dance tracks. They’re all like written songs. You know, have a lot going on with it, lots of collaborators as we touched on.

Oh, that’s exciting. 

So yeah, I would say it’s the most vulnerable work and the most Poolside-like a vibe. And it still sticks with that vibe. But it’s just the least conceptualized record about, like—oh, it’s, like, groovy tunes for chilling. There’s much more depth to it, a lot more variety to it. There’s a lot of a little more edginess to it at times, even. So yeah, it’s been more complex. And yeah, I was really inspired writing it. It kind of came together quickly in a sense. There’s actually … I wrote like 26 songs. And we narrowed it down to 11.

Do a B-side. 

There might be some B-sides coming. Yeah. 

How exciting.

But yeah, I was really inspired throughout the whole process. And I moved to Malibu. And I live in the hills of Malibu now. And it’s kind of a bit more guitar—a little more focused in like a natural element. There’s plenty of synths on the record. You know, still like synth pop in a sense. Like, just daytime disco is still involved. But it’s just really songs that just came out of me. And so I’m really proud of it in that regard.

I’m so excited to hear the rest. And the next single? 

It’s called “Ride With You.” And it’s a collaboration with Ben Browning, who’s part of Cut Copy, the Australian band.

Fabulous. 

He lives here, actually. He lives in San Francisco. And we wrote it in his house, which is kind of near the airport in San Francisco. So yeah. That’s some juice. That’s some hot gas.

Great. So great to sit down with you. Is there anything else that you would like to say while I have you on?

No, it’s just great to talk to you. We’ve known each other for a long time.

It’s been such a full-circle weekend. And best of luck and blessings to you. I see nothing but good things for you. So happy for you. And I have a feeling that the next time you play the main stage, it will be much bigger and grander than this.

I mean, we’re already fourth to close. It’s pretty amazing. Lil’ Yachty, Megan Thee stallion, Odesza are the only people (playing after the band). 

And the mid day before the sun goes down; that’s the slot to have.

I’m pretty excited for it. We’re playing at 3:30 to 4:30 or something. So it’ll be kind of a good moment.

I know that you’ve played big stages before, but this is your hometown.

This is the biggest one, though.

Don’t forget to stop and take it all in. I’ll be out there somewhere like, “Eeeeek!”

I hope so. 

Listen to Blame It All On Love here. Follow Poolside on Instagram here.

Featured photo courtesy of Jasmine Safaein, all other photos courtesy of Rose Eden.