Interview with Herb Lore (July, 2026)
In March we released Mysticism by Herb Lore, our first release together and the second in the Herb Lore discography. Here we get to learn more about what informs his creative practice and the process behind the two Herb Lore records thus far.
1. What are some recent inspirations?
The Dawn The Desert Daytime Moon Smell of Rain Agnes Pelton Donald Judd The Ocean Long Distance Running Dying Earth Science Fantasy Mardi Gras
2. When you start working on an Herb Lore track do you have a sense of what you want the final piece to be or feel like? Or does that evolve as you work on them?
Oh the tracks always evolve, but through a process of subtraction rather than addition. I let myself record whatever I’m feeling, but ultimately end up removing elements. Oftentimes, this creates a totally different feeling to the track than I had originally intended.
3. Do you have any devices for guiding your improvisations (like words or phrases, images, etc.)?
For me, it’s all a sensory experience. I try to engage as many of my senses as possible. The field recordings, incense, and small treasures from my travels inform the energetic experience and I follow that feeling while improvising. I really try to steep in the present moment. If I am too much in my head, the improv loses the feeling I’m after.
4. How did the process of recording Mysticism feel different than your first Herb Lore album, I?
While ‘Mysticism’ is a deeper exploration of themes that I started during ‘I’, the composition and recording process was vastly different. I had been sitting on the field recordings from 'I' (& a track that predated Herb Lore) for a very long time, but didn’t compose anything outside of ‘Evening’. I had a clear New Age/Ambient intention in mind when it began. ‘Evening’ sat dormant for a few years, but because of that absence, my intention shifted when I started working on the project again. Nothing was really off limits and I composed/recorded everything during a very long week in March 2023.
On the contrary, I really tried slowing down with ‘Mysticism’. All the material was newly composed and I spent a lot more time letting the compositions evolve and being honest with myself about how a particular piece was feeling in the context of the album. I also chose to record most of it in my apartment and only return to the practice space when recording drums and loud guitars.
5. Does the Herb Lore project have boundaries? Are there things that must be there and things that aren't allowed?
Oh yes, even some boundaries that I’m still discovering! At the heart of it, I need to challenge myself. Whether that’s fighting against internal (& external) expectations, finger-picking for extended periods of time, or restricting what gear I use, that push and pull must be there.
I also must evoke the Natural World & be as present in the music as I’m able to.
6. Since you collaborate with folks both on record and live, how do those collaborations function differently?
My only note for live collaborations is to restrain yourself as much as you can. Other than that, I leave the music open to free interpretation. Depending on the collective energy and the energy of the space, the live performances are always different and exciting. I avoid rehearsing with the group as it creates expectations that I can never meet.
Recording is a bit different as I do most of it myself, but the collaboration is still based in improvisation. I’ll have instrumentation in mind, but let the players freely improvise over the track with the same note as above.
7. Do you need to be inspired to work on your music? Or do you just show up regardless of inspiration and see what happens?
A little bit of both. To be happy with what I’m making, I need to be inspired. But I’m always playing music regardless of inspiration or not. When I work without being inspired, it ends up feeling forced, but it’s all part of the process. Similar to meditation, I have to show up regardless of how I’m feeling. A lot of times, the uninspired pieces will evolve into the right vibe once the inspiration hits.
8. Is there any connection for you between music and ritual or ceremony?
Yes! There’s ritual both in how I create music and perform music. In creation, I try to be very intentional. This intentionality begins with a brief meditation, lighting some incense, and solely playing guitar for an extended period of time. How I create music is an extension of my meditation practice - as thoughts and other distractions arise, I try to let them pass by me and just observe. This gives me a necessary break from daily stress and helps center myself in the present moment. It allows me to play freely. Performing is similar and will always incorporate some incense and prior meditation.
9. Do you see your work as part of a particular lineage or lineages?
I think that it is impossible to separate myself from any kind of lineage, since of course I’m always informed by all my experiences up to this point. I grew up in Laguna Beach, and came up around garage rock, Ty Segall, etc. so I feel a kinship there, but I’m also very much following the rhythm of Neil Young and Trad Gras & Stenar. Their music deeply evokes the Natural World.
10. Words of wisdom you like to recall in times of need?
“You are the Captain of your own ship”. And for long runs and other arduous journeys “just a little bit farther”, is a constant comfort.
