Welcome to Little King! With the release of their new album “Lente Viviente” on September 26th, 2025, the band once again showcases their mastery of Progressive and Hard Rock. Over nearly three decades, Little King has evolved from the El Paso roots of “Transmountain” to the intricate, personal soundscapes of “Lente Viviente,” blending complex arrangements, strong melodies, and lyrical depth. Today, we sit down with Ryan, David, Tony, and Laura to discuss the new album, the band’s rich history, and what the future holds for their music.
“Lente Viviente” explores themes of perception, light, and reflection. How did these concepts guide both the songwriting and the visual presentation of the album?
For the last 28 years, I (Ryan Rosoff) have functioned as the primary music writer and the sole lyricist in Little King. And for all of those 28 years, the music has always come first! I may have a concept of what the lyrics are going to address, and this album was definitely conceptual in nature before I wrote a single word, but the machinations always start with my old Washburn acoustic guitar (a gift from my dad in 1988) and a metronome. From there, I write riffs in every permutation of time signatures and tempos possible in an effort to find the “right” feel. I sometimes write an entire song, start to finish, in a day or two; more often, it’s along process of stringing riffs together that make sense and then smoothing the transitions to make a cohesive musical statement. Lyrically, I was inspired by a new business venture I launched in 2024 down here in Tucson, AZ. For my mom’s 80th birthday, my son (an aspiring filmmaker at the University of Arizona) and I interviewed her. It was an eye-opener…she’s such a private person, but she really opened up like I had never seen. As we finished, the proverbial lightbulb went off! What a great idea for a business, especially in a city dominated by Snowbird retirees. So, over the last year, I have spoken to so many interesting people about their lives. The
concept of perception versus reality and the filters through which we all view our own lives kept coming up. We are all the product of our experiences, DNA, and our own prejudices lead us to see things in a way that might be quite different than our neighbor sees them. I am fascinated by the concept of two people being at the same event (take, for example, Woodstock in 1969) and having diametrically opposed recollections of that experience. As I work in downtown Tucson in my studio, I am surrounded almost daily by some rough characters and situations. The fentanyl problem, combined with homelessness, is a scourge of epic proportions here. Those are filters, just as nationalistic identity, nostalgic reflection,
self-perception juxtaposed with how others see us (like psychological dysmorphia, really), and the decisions we make on what we want our remaining years to look like all moved me to write the lyrics for Lente Viviente. And, like any good Little King album, there are metaphors galore…many references to lenses, filters, and light permeate the songs throughout the record.
The album emphasizes “micro-epics,” compact songs that still deliver complexity. How did you approach creating songs that feel expansive yet concise?
When Tony, Dave, and I first got together to jam as a trio, I had already played these songs individually with each of them. We had never TIMED them, though, so I did that for the first time as we played. As we finished rehearsing the first song, “Catch and Release,” I looked at the stopwatch and was perplexed. How the FACK can that song only be 3:30? I asked the guys how long they thought it was, and they both guessed somewhere between 4:30 and 5:00! Nope. We were truly shocked. There’s an intricacy to these 7 songs that stretches the feel of them. I don’t really know how to describe it…it’s an audio illusion, I guess. They are dense and complex, but I also firmly believe that they are catchy and memorable. This is exactly what I’ve been shooting for my whole career, and I think we’ve finally done it. It’s no secret that I am a huge Rush and Yes fan. As Rush progressed into the 80’s, they condensed their arrangements down considerably, starting with Permanent Waves in 1980. Same with Yes, particularly on 90125. It may not be a popular opinion, but those are the high points of those bands’ careers, to me. To be able to combine stellar musicianship, interesting and intricate arrangements that are sprinkled with hooks, some hubris, and with an eye on brevity is a challenge. When people listen to Lente Viviente, I am sure that they will be surprised that it’s only 26-ish minutes. It FEELS longer! That was the goal, and because the individual songs combine to function as something of a set-piece, perhaps it will feel even longer. I don’t now…I took a few days off from hearing them before today, and as I revisited the album, I was extremely pleased. Micro-epics indeed!
Tracks like “Catch” and “Release and Dawn Villa” are rooted in your personal history. How do you transform such intimate memories into music that resonates with a broad audience?
I was a Creative Writing major in college, and later on, I taught English and Creative Writing in high school. The conventional wisdom in those classes was that we should always try and write about what we KNOW, as that is the only way to maintain an air of true verisimilitude. I don’t know that I totally agree with that. There are some phenomenal outliers. I mean, Geddy didn’t really find a f’ing guitar under a waterfall, and Roger Waters didn’t, to the best of my knowledge, swim with whales for 24 minutes. Having said that, I have such vivid and mostly fond memories of my childhood. Fly fishing with my dad and grandfather in Livingston, Montana tops that list. It’s such a wonderful way to spend time – communing with nature, living in the moment, relaxing while working your ass off to stalk a trout – all of these things are what keeps us coming back. I have even had the good fortune to take my 2 kids fishing, and of course they are hooked as well (pun intended). “Dawn Villa” is the name of the neighborhood I grew up in on Mercer Island, Washington. It was a unique and fun place to grow up…we didn’t even mind the rain! Just played a lot of D&D and cards and whatever else we could get into for 6 months. Then, when the clouds parted, it was a true 80’s childhood of Kick the Can, Bike Tag, every sport imaginable, and all with about 20 kids within 3 years of each other on the same block. Dawn Villa truly, as the song says, “Had it all.” But there was a dark side, too, and as youth wore off and our lives took more sinister turns, there was a melancholy feel to the whole experience. The song
reflects that, too, but as is my nature, it ends on a humorous (and quite inside-joke-ish) note. I think the ‘hood is gonna love it. The thought is that if one uses vivid imagery and clear language, that even very specific allusions and memories can translate into broader meaning for listeners who don’t really know what the “Spider Web” is or why “Barry threw that deadly leaf.” And if they don’t? Well, there are 20 people who will love the song, and honestly, that’s good enough for me.
Songs such as “Who’s Illegal?” and “Pass Through Filters” touch on social issues and real-world events. How do you balance conveying meaningful messages with maintaining engaging musicality?
I’m INSPIRED by my situation downtown. The studio is gritty, and it’s in an area called The Presidio, which is named after the fort (officially known as Presidio San Agustin del Tucson) that was built by Spanish soldiers near there almost exactly 250 years ago. I walk the area almost daily to get the juices flowing, and it strikes me every time how odd it is that now some people are considered “Illegal” when a mere 150 years ago, generations of families went back and forth freely. Time is so relative, you know? 250 years may seem like a long time, but the rocks outside in the parking lot don’t think so. Make sense? The Presidio area, as I said, includes my studio on Pennington Street. “The spot on Pennington,” as it’s called in the song “Pass Through Filters,” is notorious and infamous in Tucson music circles. It’s a dingy, dirty, lovely place! The cast of characters that come in and out of the smoke shop downstairs could fill the pages of a great series of novels, for sure. So, as I walk amongst the madness in an area that is arbitrarily “American,” I can’t help but consider these things. Who listens to the words? What are they really talking about in your favorite song? I used to ask these questions to my students. In fact, the first assignment I gave as a teacher was for my 170 kids to listen to their favorite song, write down the words, and tell me what it means. They were SO SURPRISED. Honestly, most of them (and the general listening public) just sing along without giving a ton of thought as to what the deeper meaning might be. I am banking on the fact that Little King fans come for the jams but come back for the words. I know that is what brings me back to my favorite bands.
Laura Sadie Bette joins on a couple of tracks, adding a powerful vocal presence. How do guest artists influence the sound and dynamics of your songs?
It is different with every guest artist, of course. Her voice is INSANELY powerful, so we had to tame it! But Dave Hamilton is the (AMAZING) bass player on the record, and he was the guest cellist on the last couple records. His arrangements made songs like “The Skin That I’m In” from Occam’s Foil (2019) and “How Could You?” from Amuse De Q (2021) take a whole different route. I am not a classically trained musician…I get it and can speak the language of notes and chords and time sigs, but I didn’t ever study it. Dave did! He’s the man… I am not a drummer, I am not a cellist, I am not a (decent) bassist. I don’t claim to be an expert in any of those things…but I know what I like and what sounds good. So I manage the band members in a way that gives them general direction but allows them maximum creativity to write what they want. Within reason, of course! But I am a firm believer that a song cannot be great if everyone isn’t 100% committed to their parts. We all hear and create differently. Tracking back to the discussion earlier on perception and filters, when I work with talented creatives, they will invariably hear things differently than I. That’s where the magic is. Yes, I write the songs and create the structures, but those skeletons are just canvases, really, for the players to leave their mark.
From “Transmountain” to “Amuse De Q,” Little King’s sound has continuously evolved. How does “Lente Viviente” reflect the band’s current musical identity?
It’s the best things we’ve ever done, period. I am so much more confident as an arranger and vocalist. We spent the last three years playing live. LK songs are HARD TO PLAY AND SING LIVE. Seriously…the woodshed is the only way. The time and effort we put in down at Pennington paid off. This is the most rehearsed and prepared my OCD ass has ever been entering the studio. The results clearly illustrate that. Tony and Dave are monsters. They are so diverse, too. Tony is from Mexico and has done everything from professional busking in NYC Subways (there is a whole backstory as to how one auditions and is slotted to busk in New York) all the way to playing at Red Rocks. Dave is the leader of the entire music department at a school district, plays in an immensely popular funk band called Fungi Mungle, and plays about 10 instruments. My stated goal is to always play with people better than me, and I nailed it this time! We are confident, together, unified, intentional, and happy. There was an ease to making this album that flowed from day 1…I think our engineer, Ricky Wascher, played a big part in that. This is the first time since 2003 that we haven’t worked with Eddy Garcia (both as drummer and studio engineer), and so that fresh perspective helped immensely. He is also a genius at vocal harmonies, so I really stretched them on this record, and that definitely adds a huge new dimension to our music. Lucky Dave and Tony…they’re gonna find out how hard these songs are to play and sing at the same time in front of an audience. They’ll hate me soon.
Each track has its own story and musical approach. Which song on the album do you feel most perfectly captures the essence of “Lente Viviente,” and why?
Short answer? I think “Who’s Illegal?” is the best thing I’ve ever written. It just has all of the elements of a good Little King tune – introspection, humor, a slightly political and humanistic bent – and the music is in odd times that flow pretty seamlessly. The middle 8 is crazy to play live…gotta really work on that. But I’m in love with everything about that song. We are filming a video for it next week that features a bunch of murals in downtown Tucson, apropos of everything. I think that song will be very well-received. It’s a true “micro-epic,” too. Just under 4 minutes, but wow does it stretch…
The album was recorded across multiple studios with different engineers and mastering professionals. How did you maintain cohesion and energy throughout the production process?
The music IS the cohesion. The bits and bytes are what they are, no matter who messes with them. We tracked with Ricky at his studio (Cimamusic), but we mixed with Daniel Salcido at Command Space Audio in downtown LA. Daniel also mixed the last 2 singles, “Silver Tongue” and “Amber Waves (GoodBye),” as well as the album Amuse De Q. He’s
become a really good friend and a pleasure to work with. We share a sense of humor and love of sports, and he REALLY took the time back in 2021 to understand what I was looking for. Again, seamless transition from tracking to mixing this time, and I am grateful for their professionalism and ears. Maor Appelbaum is a mastering guru, and he did the honors again after mastering “Silver Tongue” and Amuse De Q. So, even though it passed through several sets of ears, at least with Daniel and Maor, we have history together and that helps immensely. I LIKE having several sets of ears, by the way. If something slips past me, the recording engineer, the mixing engineer, and the mastering engineer, then F me! Seriously, having 3 pros with their expertise and focus on my art is invaluable.
Your lyrics often combine personal reflection with broader observations. How do you decide which stories or messages make it into a song?
It’s what moves me at any given time. I am getting older, as are my friends, kids, and parents. Things aren’t the same, and they will be different again tomorrow as I take my mom to a neurology appointment to discuss test results and then drive over to film a 91-year old man for his memoir. I don’t understand writer’s block. I mean, is there not enough going on to be inspired? If there’s not, you’re not trying hard enough. I don’t write necessarily WHEN I’m inspired. I make a plan to write, then I stick to it. Yes, I am making notes and jotting down ideas, but there are no words until it’s time! I toggle back and forth between the stories and situations that move me and the broader theme of the record, which in this case is perception vs truth and the filters through which we observe the world and reflect on ourselves. These are absolutely universal themes, but as you said earlier, one has to maintain the musicality to match the message. It’s not a simple dance, but after 28 years, I feel like I’ve got a handle on it. Everyone can relate to getting older. Most of us can relate to having aging parent and/or children, most of us have seen homeless people or have family members struggling with mental illness or addiction. MY stories aren’t special, but they are universal. I hope our audience can relate to them in a personal way.
Given the intricate arrangements on “Lente Viviente,” how do you plan to translate these songs into live settings? Any upcoming tours or special performances?
HA! You should come to a rehearsal. In a few weeks though, please…we sound like a bad garage band right now. Or at least, I do. Haven’t even begun to involve the others just yet. I won’t let them hear me until I am 90% ready! Yes to touring, although it will be limited until next year. These are great dudes and serious musicians who, miracle of miracles, DO NOT have any major issues. That’s a first for me, honestly. I have had some issues in the past with addicts and assholes, and I am not going back to that place. No worries with Dave and Tony, though. Thank God. I want to play festivals, particularly in Europe, in 2026. We have 28 years and 8 albums + of material, so we have the ability to put together an incredibly dynamic and powerful set, whether it’s 20 minutes or 90 minutes. I’m competitive, particularly internally…I wanna show the world what we’ve got. I love music and I love musicians, and I just want to be immersed in my own music and bandmates for a time. That camaraderie, that TEAM feeling, it reminds me of playing competitive sports at a high level. There is no better feeling than coming off stage and knowing that, together, we CRUSHED IT.
Little King has nearly 30 years of history. Are there any pivotal moments or stories from the band’s past that shaped its identity and music?
Tons! Marriages and divorces, births and deaths, several moves across the country. We have seen a lot of change and ‘pivotal moments.” I think working with Rush’s old producer, Terry Brown, on the Virus Divine album in 2004 was massive. He is such a legend and such a nice man…such a pro, too. His acceptance of Little King as a legit entity gave me the confidence that maybe I was onto something. They say you shouldn’t meet your heroes, but I am glad I met him.
From early releases like “Time Extension” to pandemic-era projects, the band has faced many challenges. How have these experiences informed your artistic growth?
Yeah, persistence and perseverance have been the hallmarks of our career. I REFUSE to give up! I love it too much. There is no greater feeling for me than to mix and master a record, take a couple weeks away from it, and then sit back down and listen with fresh ears. I did that last week with Lente Viviente, and it was one of the most satisfying experiences of
my professional life. It’s like, “YES! That’s how it sounded in my head for the last year.” It sounds even better, really.
I’m in an indie 3 piece prog-ish band from Tucson. I am 53 years old. I have NO delusions of grandeur or aspirations beyond just playing these songs live and hoping that someone, somewhere, is moved by our art. The act of making that art is all that matters anymore, so whether there are lineup changes, drunk drummers, blown transmissions, clipping guitar
tracks, or less-than stellar performances, it’s all in the name of creating and sharing our music. There is NO other end goal, and that gives one such freedom. I feel that in my core, and as a result, the music is better. Freedom from expectations other than just hard work and a final product is an immensely powerful thing.
Which artists, genres, or experiences have most influenced the sound and direction of “Lente Viviente”?
Laundry list time! In no particular order, here is my playlist over the last month. Let’s go with that, okay?
Rush, Zeppelin, Floyd, Steely Dan, Talking Heads, Midnight Oil, Pissing Razors, Iron Maiden, Megadeth, Allah Las, Tupac, Above the Law, The Who, MIles Davis, Grateful Dead, and the Allman Brothers.
Finally, what’s next for Little King? Are there future albums, collaborations, or projects fans should be excited about?
Look for us live, for sure. We will not play for you unless we know we can absolutely BRING IT! I am resisting the itch to write again, but I know another album is gonna happen next year. I absolutely love collaborating with Tony and Dave, and we have a lot left to say. Please keep up with us on social media @littlekingtunes or at https://littlekingtunes.com/. We are incredibly grateful to you, the faithful FOLK (Friends Of Little King), and I am so eager for you all to hear the new record. Much love and gratitude to you all…on we go!
Thank you, Ryan, David, Tony, and Laura, for sharing your thoughts and stories with us. “Lente Viviente” is a testament to Little King’s enduring creativity, blending personal narratives, social awareness, and musical sophistication. We look forward to seeing fans experience the album and catching the band live on stage in the near future.