Setting Sun is three albums into what promises to be a rewarding body of work. Beginning with the lo-fi introspective, beautifully orchestrated holed up, continuing with the more rocking and electric Math and Magic, and releasing their best album yet with last year’s unique Children of the Wild and its companion remix EP Children of the Remix, Gary Levitt and his ever-changing line-up have reinvented themselves and made consistently enjoyable, melodic, and surprising music for the past decade. Currently based in New Paltz, New York, where he engineers out of a few studios and runs his own Young Love Studio, producing himself and others, and continually touring in Europe and America, Gary and long time partner Erica Quitzow (multi-instrumentalist and brilliant songwriter herself) are finally getting some of the recognition they deserve, not as much for Setting Sun’s sake, but for what people are missing. Recently, Gary granted an interview.

What is the most frustrating aspect of being a musician in the 21st century?
Well... I've never been a musician in the 17th century but, I guess it's probably easier now with the internet and the easy access to plenty of information. Being able to use cars and vans instead of horses is also a big time saver.

Have you ever found yourself becoming dependent on any outside substance or stimulants to help break down inhibitions and the critical voice in order to better facilitate the creative process?
It's probably different for everyone, but I think the problem with relying on any one thing to help the creative process is that you become reliant on it and you start to associate the two together. Then it becomes like milk and cookies. You can't enjoy the cookies if you don't have your milk. Nevertheless, I am reliant on being inspired. Seeking out new music that sparks my creativity is something I've always done.

What is the major difference between touring in Europe and America?
As an artist touring both places, the feeling is very different. The way I've come to describe it is that the 'bottom line' is different between the two. Here in the US we know the 'bottom line' is the dollar it too often all boils down to that. Our experience in Europe was that the bottom line is about culture. If we had a bad night and attendance was low, the club owner was still grateful to pay us and very appreciative of the music we brought. They also treat you much better in general, though the UK is an exception.

When touring, what do you do to keep the songs fresh and still interesting to you?
I sometimes improvise lyrics or change a word or two around just to keep myself on my toes. If I find my mind drifting to thinking about the laundry or something like that I do what you'd do in meditation and bring myself back to the moment. There's no reason to get bored onstage or anywhere. There's so much going on in every moment that we're not absorbing. I start to listen and look for the things that are all simultaneously happening in that moment.

Is there a question you wished an interviewer would ask you?
I like talking about the creative process. Probably because I like reading about it. Being a songwriter and a recording engineer I'm constantly surrounded by it, whether it's my own or facilitating someone else's. I read a lot of recording magazines and books and love soaking up all that kind of information. Anything that helps me in my craft, interpersonal skills and my imagination...

Do you have any piece of advice for someone trying to get established  or make at least some money playing their music?
From that perspective I'd say be totally completely sure you want to do that because unfortunately it takes more than just a lot of talent. It takes a lot of hard work, sacrifice and travel.  If a person wanted to play music for just the playings sake I would completely encourage that. I think music is a powerful thing and does great things for a person. Even just singing out loud in the shower can be very beneficial.