Interviews

Kevin Renick: Not So Up In the Air

Your career of playing music is kind of more recent to the public eye.

Well, yeah, I was described as going through the looking glass, 'cause for many years, even though I did music as a hobby — I wrote songs and played guitar for my own amusement and for friends — I was a music journalist. I wrote for Sauce for a couple years, a local magazine. I wrote for Playback: stl for many years. I did a little bit for the River Front Times and other publications as well, so that's kind of what I was doing besides my regular proofreading job at an ad agency, but that was the bread and butter.

Yeah, you always have to have something steady.

Yeah, 'cause very few people make a living from writing about music, you know. [laughs]

Dave Marsh maybe...

Yeah, exactly. I was doing that for a long time and I had dreamed about making a record some day. I always felt like I had enough good songs to make a record but had no delusions about actually getting into it seriously until late 2008. I did a Neil Young tribute show and people started telling me I sounded like Neil Young; the guy that owned this little coffee shop was really impressed with this little guest slot I did there, so he asked me if I wanted to do my own show and I said sure. I talked a couple of friends into joining the deal with me, and I just started doing that very casually. But meanwhile I'd written this song called "Up in the Air ." Most of my songs tended to be about uncertainty or not knowing what the heck I was doing with my life or longing for love — all the grandiose things. So I thought it was a pretty decent song, but I wouldn't have done anything with it if a movie hadn't come along called Up in the Air. It was an astonishing bit of serendipity. And still, nothing would have happened if Jason Reitman hadn't come to St. Louis. If he had been shooting it in L.A. or something, and I sent him a tape or CD through the mail, it never would have gotten to him. I know that.

<!--//<![CDATA[ var m3_u = (location.protocol=='https:'?'https://openx.tapeop.com/www/delivery/ajs.php':'http://openx.tapeop.com/www/delivery/ajs.php'); var m3_r = Math.floor(Math.random()*99999999999); if (!document.MAX_used) document.MAX_used = ','; document.write ("<scr"+"ipt type='text/javascript' src='"+m3_u); document.write ("?zoneid=7"); document.write ('&cb=' + m3_r); if (document.MAX_used != ',') document.write ("&exclude=" + document.MAX_used); document.write (document.charset ? '&charset='+document.charset : (document.characterSet ? '&charset='+document.characterSet : '')); document.write ("&loc=" + escape(window.location)); if (document.referrer) document.write ("&referer=" + escape(document.referrer)); if (document.context) document.write ("&context=" + escape(document.context)); if (document.mmm_fo) document.write ("&mmm_fo=1"); document.write ("'><\/scr"+"ipt>"); //]]>--> Advertisement

You gave him a cassette tape, right?

I gave him a cassette tape. I had recorded most of my songs on cassette. I was a lo-fi kind of guy. I didn't have the money to buy digital equipment at that point.

So were you using just a stereo cassette deck to record things to or a 4-track?

It was a little Realistic recorder — an old RadioShack thing. The night before his lecture, here in St. Louis, I just put a couple of takes of the song on there and I even described why I thought it might be appropriate for the movie.

You knew the movie was called Up in the Air but you'd already written the song called "Up in the Air?" That's a weird coincidence.

Yeah, right. And I wasn't sure even what the theme was of the movie. I knew that George Clooney was in it. I thought George Clooney played a pilot who was trying to find the meaning of life or something. So, I just barged up to him — first, I asked if it was okay to give him the song and there was some laughter in the audience cause it was a Q&A. So I put my hand up, but I'll never forget what he said. I said, "Would you be kind enough to listen to this song?" And there was a pause and he said, "Sure." He said, "The more different the way I get the music, the better." I thought that was kind of cool.

Not a music supervisor shoving things under his nose.

Yeah, right. So then he probably didn't think I was going to follow through, but I chased him down after his lecture and handed him this package. He actually felt it and said, "Oh, this is a cassette. I don't even have a cassette recorder. I don't know where I'm going to listen to it." I thought I was doomed; I thought nothing's going to happen with this. But I found out that either that day or the next day he actually went over to a friend's car with a car stereo and played it and liked it. That was just the most wild thing that could have happened to me.

And they used your original cassette version for the movie, right?

They used the same thing I recorded on that little recorder. They even used my voice introduction saying, "Hi, Jason. My name is Kevin and this is a song about uncertainty and trying to find my way." That's in the credits. [laughs]

So that was your demo setup, just catch it on a cassette recorder?

MORE INTERVIEWS

Hidden Musics
INTERVIEWS · ISSUE #175 · Sep 2026

Hidden Musics

By Ian Brennan

By 2014, I'd already been transitioning for more than five years from working in traditional studios to almost exclusively doing field recordings overseas. As a result, I'd had some success with groups like Tinariwen, Malawi Mouse Boys, and The Good Ones. At that point, the...

Yves Jarvis
INTERVIEWS · ISSUE #175 · Sep 2026

Yves Jarvis

By Geoff Stanfield

Yves Jarvis is the moniker of Canadian musician Jean-Sébastien Yves Jarvis. His latest release, All Cylinders, won Canada’s Polaris Music Prize for best album of 2025, a record on which Jarvis wrote and performed all of the 16 tracks. Made entirely using Audacity and a half-broken...

Joe Boles
INTERVIEWS · ISSUE #175 · Sep 2026

Joe Boles Seattle Recording Pioneer

By Alex Kostelnik

In the mid-1950s, Seattle was host to the little-known music recording legacy of Jay F. "Joe" Boles. A fraction of his discography includes The Ventures, The Wailers, Cab Calloway, Big Jay McNeely, Buck Owens, The Fleetwoods, Robert "Bumps" Blackwell, Ella...

  Rostam Batmanglij
INTERVIEWS · ISSUE #175 · Sep 2026

Rostam Batmanglij Sonic Cinema

By Sam Retzer

Ever since Rostam Batmanglij burst onto the scene as a founding member of Vampire Weekend, he’s been known for his penchant for baroque and leftfield sounds in pop-leaning indie music. Fresh out of college, he handled production for the first three Vampire Weekend albums (Vampire...

Melina Duterte
INTERVIEWS · ISSUE #175 · Sep 2026

Melina Duterte Sharing Curiosity

By Danielle Goldsmith

Melina Duterte began recording her own music armed with little more than a laptop, a budget mic, and a fascination with how records are made. As Jay Som, she crafted a distinctive sound defined by textural, layered guitars, and soft, intimate vocals. Since then, Duterte has expanded...

Oli Jacobs
INTERVIEWS · ISSUE #175 · Sep 2026

Oli Jacobs Friends & Commitment

By Larry Crane

A graduate of the Tonmeister course, a former Head Engineer at Peter Gabriel’s Real World Studios [Tape Op#63], and now an in-demand mixer, engineer, and collaborator with Jack Antonoff and Laura Sisk [#135], Oli Jacobs has had a heck of a career path. He’s worked on records for artists...