Crowdsurf & Turf Meets: Into It. Over It.
At the start of 2017, Evan Thomas Weiss wasn’t sure that he would make Figure, his upcoming fourth full-length record under namesake Into It. Over It. built slowly and kindly with the help of his Chicago community.
We caught up with Evan to discuss the creation of the record, the importance of collaboration and the past, present & future of Into It. Over It.
Hey Evan, Congratulations on the release of Figure! Is it true that this album almost didn’t happen? What changed?
That is true — We had all entered 2017 exhausted, mentally and physically. IIOI had agreed to take a giant step back before the new year that year.. So following our Japan tour in December 2016. We all focused on getting jobs, making plans for the future, considering our adulthood with a little more care. It was time for us to focus on something new. Speaking personally, I would have grown to completely resent music if we had kept going.
That break was awakening for me. It allowed me perspective on my attitude and how it had needed an adjustment. These days my priorities and goals are different and music has become a joyful hobby again.
As well as sounding incredible, the album visually looks wonderful and it’s amazing that you’re working with Triple Crown Records, Big Scary Monsters & StiffSlack. You must be thrilled with how it’s all turned out?
Absolutely. There was no release plan going into making it — The record and the art. I had budgeted the project myself and we had built our own studio here in Chicago. We had presented all three labels with the mastered songs and completed artwork. I’m really thankful we were able to figure out a way to make it happen the way we envisioned it. Holding the finished product in my hands last week — after nearly four years of work — nearly brought me to tears.
For this album, you turned to community and collaboration, was this strange at first considering your often solitary process when it comes to writing music for Into It. Over It?
Well — There has always been SOME level of collaboration on past IIOI records, namely in the drumming department. This was the first time since 52 Weeks where I had worked with such a long list of creators. It’s absolutely re-opened my mind up to the possibilities of outside involvement and how much this project can continue to grow. I’d spent years being overly protective and inside my own head with IIOI. To a fault. There are some great ideas with what we can do with it moving forward and I’m excited to explore its possibilities.
Drummer and audio engineer Adam Beck seemed to play a very important part in the making of Figure, how important was your relationship with him to this new record?
Oh my god. There isn’t IIOI without him at this point. He saved me, he saved the “band” and was the motivation to keep it going / evolving. His talent is endless and it’s allowed me to grow as a songwriter and let us do more in a more effective amount of time than ever before.
The video to We Prefer Indoors accurately depicts how a lot of peoples lives have been this year (sadly without you and your band playing in our streets) is it an accurate representation of how your life has been too?
To an extent. Art imitates life right? What’s funny about that music video is that the idea for that was pitched in the fall of 2019 — blissfully unaware of what life would be like in 2020. We were in the beginning stages of prepping the album rollout and discussing what we could actually do on the music video side at the time. Restrictions were a little bit more extreme then. The WPI idea made sense and was actually something we were able to further develop. The iPhone footage is all real and genuine incorporations of our day to day. Pretty wild!
There are often references to streets, parks and bars in your songs, I feel like we get a tour of your hometown as well as thinking about places around where I live too. How important are your surroundings and your area to you when it comes to songwriting?
Haha — I mean, absolutely in character for IIOI. I’ve spent years singing about where I am at any given time. These songs are all about 2017 specifically and a majority of that year was spent in and around Logan Square in Chicago. Chicago has almost become a leading role in past IIOI records. It really shines through on this one. These images and locations were just the truth from that year.
You’ve had multiple projects over the years but started Into It. Over It. in 2008? 12 years on what are some key moments that stand out that you’ve learned from most?
Actually 2007. Crazy right? It’ll be 13 years since the start on my birthday this year (September 27th).
Key learnings: Collaboration is key. No one owes you anything. Brush that chip off your shoulder. If you put good out into the world you get good back. Take care of your crew.
I didn’t know all of these at the start. I didn’t know all of these in the middle. I know all of these now.
As hard as it is to plan, what can we hope from you following this album release?
We had plans. Now we don’t. Going to be getting very creative over the next 12 months on our Patreon. Have a ton of ideas, not to mention monthly vinyl releases for subscribers. patreon.com/intotioverit
Hopefully we can begin to travel sooner than later, but I’m not going to rush it or put anyone, fans or band, in danger. When the time is right we will see you.
Quickfire Questions:
Karaoke song of choice?
Joe Jackson - Steppin’ Out, The Police - Every Little Thing She Does Is Magic.
Favourite movies?
The Shawshank Redemption, Rushmore, Wayne’s World.
4 essential items you have to take on tour…
A tuner. A toothbrush. A capo. A passport.
If you were curating a festival, who would your three headliners be?
Pearl Jam, Sunny Day Real Estate, Death Cab For Cutie — And it would happen in Seattle I guess.
Where is your favourite place to perform?
I have a few. Tokyo, Orlando, Boston, NYC, Philadelphia, Chicago.
The best gig you've ever been to?
Pearl Jam — Madison Square Garden in 1998.
Who have you enjoyed listening to most in the last 6 months?
Harold Budd, Makaya McCraven, John Fahey.