1 00:00:15,516 --> 00:00:15,996 Speaker 1: Pushkin. 2 00:00:20,236 --> 00:00:23,236 Speaker 2: Today on the show, we have Hiatus Coyote in conversation 3 00:00:23,556 --> 00:00:27,996 Speaker 2: and in performance. This incredibly talented group of four Australians 4 00:00:28,076 --> 00:00:32,116 Speaker 2: have dazzled audiences, making fans of not only layman like myself, 5 00:00:32,556 --> 00:00:35,996 Speaker 2: but also have some incredibly interesting and accomplished musicians like 6 00:00:36,116 --> 00:00:40,556 Speaker 2: Erica Bado, Robert Glasper and even Willow Smith. They've also 7 00:00:40,636 --> 00:00:43,676 Speaker 2: been able to collaborate with giants of music like Q 8 00:00:43,876 --> 00:00:48,796 Speaker 2: Tip salam Remi in Brazil's Arthur Verocai. The group Hiatus 9 00:00:48,836 --> 00:00:53,516 Speaker 2: Coyote is vocalist and guitarist Napalm, drummer Paren Moss, bassist 10 00:00:53,556 --> 00:00:57,556 Speaker 2: Paul Bender and don keys Simon Mavin, but those aren't 11 00:00:57,596 --> 00:01:00,516 Speaker 2: permanent stations for them. Any of the four at any 12 00:01:00,516 --> 00:01:03,356 Speaker 2: time can move between instruments and all contribute to writing 13 00:01:03,396 --> 00:01:06,356 Speaker 2: some of the most beautiful, soulful music of the last decade. 14 00:01:07,356 --> 00:01:09,716 Speaker 2: Their latest album, to come out just early this year, 15 00:01:09,876 --> 00:01:13,036 Speaker 2: is Love Heart Cheat Code. It's the group's fourth proper 16 00:01:13,076 --> 00:01:15,556 Speaker 2: album and features, to my mind, some of their strongest 17 00:01:15,596 --> 00:01:18,116 Speaker 2: songwriting yet, while still managing to weave in some of 18 00:01:18,116 --> 00:01:22,356 Speaker 2: the incredibly complex musical ideas they're known for. I met 19 00:01:22,356 --> 00:01:24,836 Speaker 2: with the foursome at Energy Studios in Los Angeles at 20 00:01:24,836 --> 00:01:26,596 Speaker 2: the end of their US tour, to talk through the 21 00:01:26,636 --> 00:01:29,756 Speaker 2: new album, their role as collaborators within and outside of 22 00:01:29,796 --> 00:01:33,476 Speaker 2: the group, and to witness their magic up close and personal. 23 00:01:36,116 --> 00:01:39,356 Speaker 2: This is Broken Record liner notes for the Digital Age. 24 00:01:39,516 --> 00:01:40,476 Speaker 1: I'm justin Richmond. 25 00:01:45,076 --> 00:01:47,356 Speaker 2: To see the full video version of this episode, along 26 00:01:47,396 --> 00:01:49,916 Speaker 2: with the band's live set, including a version of their 27 00:01:49,956 --> 00:01:53,956 Speaker 2: songmak friends, visit YouTube dot com slash Broken Record podcast. 28 00:01:54,556 --> 00:01:58,636 Speaker 2: But for now, here's Hetus Coyote performing their song Dimitri. 29 00:02:10,676 --> 00:02:20,436 Speaker 3: Bound down. 30 00:02:23,316 --> 00:02:28,156 Speaker 4: Chi lots of things danger. 31 00:02:30,116 --> 00:02:36,036 Speaker 5: My sick colors in the out further around and give. 32 00:02:35,916 --> 00:02:38,876 Speaker 6: It about dry. 33 00:02:41,236 --> 00:02:49,996 Speaker 7: Lots of thing danger my si colors now around and 34 00:02:50,316 --> 00:02:52,516 Speaker 7: now give it about. 35 00:02:54,196 --> 00:03:07,236 Speaker 3: Up alone with the world man, fine, where have you teacher? 36 00:03:07,796 --> 00:03:22,156 Speaker 8: Definition colling me aar s f W roll the dream 37 00:03:22,236 --> 00:03:25,236 Speaker 8: home way so I get try. 38 00:03:27,436 --> 00:03:28,876 Speaker 7: Concert them to. 39 00:03:31,596 --> 00:03:32,396 Speaker 1: I s t. 40 00:03:35,116 --> 00:03:39,276 Speaker 7: Try it down. I'll give it up about Yeah. 41 00:03:39,596 --> 00:03:42,716 Speaker 4: You try in a whole world. 42 00:03:50,476 --> 00:03:55,116 Speaker 8: Jun down and now give it about to you if 43 00:03:55,156 --> 00:03:59,476 Speaker 8: it says too to your head time because you times if. 44 00:03:59,396 --> 00:04:02,796 Speaker 9: You sit still to your head crime, I can't hear us. 45 00:04:03,156 --> 00:04:06,876 Speaker 9: Times your sid stoll to your head, I can't hear 46 00:04:06,956 --> 00:04:15,116 Speaker 9: us eight times. You may find an angel, he. 47 00:04:16,676 --> 00:04:22,996 Speaker 7: Shut umble. 48 00:04:28,036 --> 00:04:45,516 Speaker 5: Unto fry Jeezo, counter thinganger monteze intend Japan, londer down 49 00:04:45,676 --> 00:04:50,636 Speaker 5: and give it up, Bouser, you try to. 50 00:04:55,036 --> 00:04:56,356 Speaker 4: Until they intend to. 51 00:04:58,476 --> 00:05:02,516 Speaker 7: Well running down and half give it up. 52 00:05:02,676 --> 00:05:05,476 Speaker 4: Bout you old. 53 00:05:06,836 --> 00:05:14,436 Speaker 7: Lord the world world. 54 00:05:15,316 --> 00:05:19,836 Speaker 10: Fine, well have beauties ibund to venish. 55 00:05:22,236 --> 00:05:33,476 Speaker 7: Love joy you fack I have had the dream world 56 00:05:33,596 --> 00:05:34,996 Speaker 7: War of the swagon. 57 00:05:35,316 --> 00:05:40,236 Speaker 11: You said, still digital head back mack out you, Joe said, 58 00:05:40,276 --> 00:05:43,956 Speaker 11: still Tito, head back, make out here three times to 59 00:05:44,036 --> 00:05:46,796 Speaker 11: persist digital heaven, Oh. 60 00:05:46,756 --> 00:05:48,316 Speaker 7: Make out here three times? 61 00:05:48,556 --> 00:05:50,316 Speaker 4: You may find as. 62 00:05:55,436 --> 00:06:18,516 Speaker 10: He your sister didn't your head back tack came? He'll says, 63 00:06:18,636 --> 00:06:19,196 Speaker 10: my sister. 64 00:06:19,836 --> 00:06:21,516 Speaker 4: Didn't your hair tack? 65 00:06:21,716 --> 00:06:24,676 Speaker 7: He's a chap six in a home. 66 00:06:24,836 --> 00:06:26,916 Speaker 6: Din't your hand back us? 67 00:06:28,996 --> 00:06:33,516 Speaker 7: Did you had finger us your sister? Did you hair? 68 00:06:36,716 --> 00:06:39,836 Speaker 4: Did you look at you use your. 69 00:06:39,996 --> 00:06:41,036 Speaker 7: Sister to. 70 00:06:43,036 --> 00:06:43,836 Speaker 6: Sing you ls? 71 00:06:44,156 --> 00:06:44,516 Speaker 3: Sister? 72 00:06:45,236 --> 00:06:49,236 Speaker 7: Did you tell us stoo. 73 00:06:55,276 --> 00:07:28,956 Speaker 1: Whoa man? That was an incredible set, guys, you was beautiful, 74 00:07:29,636 --> 00:07:31,276 Speaker 1: maybe even more I was happy able to see it, 75 00:07:31,316 --> 00:07:33,396 Speaker 1: but maybe even more sad that there's not a l 76 00:07:33,476 --> 00:07:38,516 Speaker 1: a stop on the on the tour. Congratulations on the 77 00:07:38,556 --> 00:07:44,756 Speaker 1: new album. It's phenomenal. It is really good. It feels 78 00:07:44,796 --> 00:07:50,076 Speaker 1: like a perfectly sequenced record too, And hold on, guys, 79 00:07:50,516 --> 00:07:53,876 Speaker 1: was how many how many songs did you guys record 80 00:07:53,956 --> 00:07:54,476 Speaker 1: for the record? 81 00:07:55,436 --> 00:07:59,276 Speaker 12: There's like a couple more extras. It didn't quite make it. 82 00:07:59,716 --> 00:08:02,596 Speaker 12: That's kinda happens every record. There's always a fear that 83 00:08:02,716 --> 00:08:05,716 Speaker 12: we were like, it's not quite it's not quite you know, 84 00:08:05,836 --> 00:08:08,516 Speaker 12: cooked enough, or we gotta, you know, maybe try to 85 00:08:08,556 --> 00:08:12,716 Speaker 12: reapproach it, so you know that, and they always usually 86 00:08:12,796 --> 00:08:15,516 Speaker 12: end up on the next record that always but not 87 00:08:15,596 --> 00:08:17,556 Speaker 12: always has been around. 88 00:08:17,356 --> 00:08:17,756 Speaker 13: For a while. 89 00:08:19,076 --> 00:08:22,196 Speaker 4: Also, the thing is like once you start the recording 90 00:08:22,316 --> 00:08:25,756 Speaker 4: process and trying to document the songs that we already have, 91 00:08:25,916 --> 00:08:30,036 Speaker 4: we also write a lot like Make Friends was a 92 00:08:30,436 --> 00:08:32,916 Speaker 4: very last minute addition to the record because we're just 93 00:08:33,036 --> 00:08:37,636 Speaker 4: like you know, in the mood to create, and so 94 00:08:38,116 --> 00:08:41,196 Speaker 4: there's always like something that just sneaks in, like Red 95 00:08:41,316 --> 00:08:43,236 Speaker 4: Room was like that on the last one, you know. 96 00:08:44,156 --> 00:08:49,036 Speaker 4: So yeah, it's never like a set amount of songs. 97 00:08:49,356 --> 00:08:50,556 Speaker 1: How do you make Friends come together? 98 00:08:50,636 --> 00:08:52,236 Speaker 4: Then Simon wrote the riff. 99 00:08:53,116 --> 00:08:55,116 Speaker 14: Yeah, I was sitting at home on my upright piano 100 00:08:55,436 --> 00:08:59,316 Speaker 14: with my wife sitting on the couch and I just 101 00:08:59,396 --> 00:08:59,996 Speaker 14: started going. 102 00:09:02,396 --> 00:09:05,076 Speaker 4: She was like, Simon made an unplugged. 103 00:09:05,116 --> 00:09:07,236 Speaker 14: She was like, that's that was that's good and I 104 00:09:07,316 --> 00:09:10,356 Speaker 14: was like, all right, if if a non musician says 105 00:09:10,596 --> 00:09:12,916 Speaker 14: I like that, then generally that's a good thing. 106 00:09:13,116 --> 00:09:15,036 Speaker 4: What was the turnaround on that? Because he just came 107 00:09:15,116 --> 00:09:16,676 Speaker 4: to the studio and was playing it and then I 108 00:09:16,836 --> 00:09:18,956 Speaker 4: literally wrote to it overnight. I was like, that's excellent. 109 00:09:19,116 --> 00:09:20,276 Speaker 14: I didn't think it was going to be a higher 110 00:09:20,396 --> 00:09:23,156 Speaker 14: song really now, yeah, I didn't. I didn't hear it 111 00:09:23,236 --> 00:09:25,116 Speaker 14: to be a higher so he didn't present it that way. 112 00:09:26,356 --> 00:09:28,076 Speaker 14: I was just playing for the studio and then they 113 00:09:28,236 --> 00:09:31,676 Speaker 14: was like, what do you get this recorded on her iPhone? 114 00:09:32,236 --> 00:09:35,716 Speaker 14: And then at like three am sent me audio message 115 00:09:35,716 --> 00:09:37,716 Speaker 14: of her singing to it. Wow, And then it was 116 00:09:37,756 --> 00:09:39,356 Speaker 14: like all right, this is going to be a hiatus 117 00:09:40,876 --> 00:09:42,476 Speaker 14: And then we just went in the studio and it 118 00:09:42,676 --> 00:09:47,156 Speaker 14: just sort of came about really easily. Everyone just sunk 119 00:09:47,196 --> 00:09:49,436 Speaker 14: into it and we had it done in a few weeks. 120 00:09:49,476 --> 00:09:49,596 Speaker 1: You know. 121 00:09:50,476 --> 00:09:52,996 Speaker 4: We also like came up with the last vocal bit 122 00:09:53,516 --> 00:09:56,036 Speaker 4: after we recorded it, and we're mixing with Mario c 123 00:09:56,716 --> 00:10:00,636 Speaker 4: who is a legend. He produced like Beast Boys and shit. Anyway, 124 00:10:00,676 --> 00:10:03,316 Speaker 4: we're at his house and just kind of added that 125 00:10:03,396 --> 00:10:05,836 Speaker 4: in last minute, so he's singing on it, Scott our 126 00:10:05,916 --> 00:10:08,236 Speaker 4: managers singing on it. So we just kind of had 127 00:10:08,276 --> 00:10:10,516 Speaker 4: like a little party vibe in the answer. That was 128 00:10:10,556 --> 00:10:12,716 Speaker 4: a really cute addition to the song. 129 00:10:13,076 --> 00:10:15,356 Speaker 1: What song were you guys recording when you started playing 130 00:10:15,396 --> 00:10:15,756 Speaker 1: that riff? 131 00:10:16,316 --> 00:10:19,636 Speaker 15: Do you remember we're just probably rehearsing, We're just working 132 00:10:19,676 --> 00:10:23,716 Speaker 15: on the record, and then I think in your room room, 133 00:10:23,796 --> 00:10:26,836 Speaker 15: But it was like, I don't remember how it actually 134 00:10:26,876 --> 00:10:28,316 Speaker 15: came back because I didn't hear it, Like I only 135 00:10:28,356 --> 00:10:30,316 Speaker 15: heard it once and they had vocals on it, and 136 00:10:30,356 --> 00:10:31,676 Speaker 15: I think we were just jamming on it in my 137 00:10:31,796 --> 00:10:33,756 Speaker 15: room and then we just kind of pipped the microphones 138 00:10:33,796 --> 00:10:35,596 Speaker 15: up and just recorded. 139 00:10:35,996 --> 00:10:38,516 Speaker 4: And it was telescope because it was like the Skulls 140 00:10:39,756 --> 00:10:42,756 Speaker 4: when I was recording the Skulls on that don't conkkunk. 141 00:10:43,556 --> 00:10:45,316 Speaker 14: It was in that actual skulls. 142 00:10:48,156 --> 00:10:51,236 Speaker 4: Telescope has witchy but no they what are they? 143 00:10:51,676 --> 00:10:59,236 Speaker 1: Ik wood blocks, Alm sound way more bad ass. It's 144 00:10:59,276 --> 00:11:06,676 Speaker 1: a great remare was Dreamboat? Like? Was was Dreamboat done 145 00:11:06,756 --> 00:11:07,756 Speaker 1: before Telescope? 146 00:11:08,036 --> 00:11:14,076 Speaker 14: Or did you Yeah, there's another song, Yeah, another one 147 00:11:14,076 --> 00:11:15,716 Speaker 14: that I didn't think would be a lot of the 148 00:11:15,796 --> 00:11:17,356 Speaker 14: things that I bring sometimes I'm like, this is going 149 00:11:17,436 --> 00:11:19,516 Speaker 14: to be the highest thing, and then all of a sudden, no, 150 00:11:19,636 --> 00:11:20,156 Speaker 14: it really. 151 00:11:20,076 --> 00:11:22,636 Speaker 4: Is a highus song because everyone writes, you know what 152 00:11:22,676 --> 00:11:24,956 Speaker 4: I mean, like different bits and pieces, and that's what's 153 00:11:25,516 --> 00:11:28,676 Speaker 4: beautiful about this collaboration is it's like, I don't know, 154 00:11:28,676 --> 00:11:30,636 Speaker 4: all these like amazing artists want to work with us, 155 00:11:30,676 --> 00:11:33,996 Speaker 4: but I'm like so spoiled for choice because it's not 156 00:11:34,116 --> 00:11:37,236 Speaker 4: like people just playing instruments like everyone writes, so you 157 00:11:37,356 --> 00:11:40,196 Speaker 4: never really know what's going to develop into a hiatus song. 158 00:11:40,316 --> 00:11:44,316 Speaker 4: Sometimes it's just like a sound or like a little piece, 159 00:11:44,356 --> 00:11:48,876 Speaker 4: so like Cinnamon Temple, you know. So there's no real formula, 160 00:11:49,276 --> 00:11:51,796 Speaker 4: and I'm always like I'm like a spy. I always 161 00:11:51,876 --> 00:11:54,436 Speaker 4: have my voice notes like recording them. 162 00:11:54,476 --> 00:11:58,956 Speaker 14: And then yeah, I think Dreamboat was earlier than Telescope 163 00:11:58,956 --> 00:12:01,436 Speaker 14: because yeah, we started playing it live as an intro 164 00:12:01,596 --> 00:12:05,836 Speaker 14: to the set before we did the record, so that 165 00:12:05,996 --> 00:12:09,516 Speaker 14: was the first kind of the I think the last 166 00:12:09,716 --> 00:12:11,396 Speaker 14: tour that we did in the States, that was kind 167 00:12:11,436 --> 00:12:13,116 Speaker 14: of our addition to open the set up. 168 00:12:13,676 --> 00:12:16,596 Speaker 1: And then so was Telescope like an outgrowth from dream 169 00:12:16,596 --> 00:12:18,196 Speaker 1: because it's just no, no. 170 00:12:18,676 --> 00:12:19,476 Speaker 13: It's a separate thing. 171 00:12:19,676 --> 00:12:22,956 Speaker 4: Yeah, separate thing they both have concert harp on them though, 172 00:12:23,436 --> 00:12:25,876 Speaker 4: do you remember that's a thought also, so that kind 173 00:12:25,916 --> 00:12:29,956 Speaker 4: of ties it in Melina, Yeah, because it's like, I 174 00:12:29,996 --> 00:12:34,036 Speaker 4: don't know, when Simon showed us Streamboat, it had this 175 00:12:34,316 --> 00:12:38,676 Speaker 4: kind of like like Alice Coltrane elements, and I was like, 176 00:12:38,756 --> 00:12:41,436 Speaker 4: we should have harp on it. And I even like, 177 00:12:41,636 --> 00:12:44,796 Speaker 4: Dreamboat lyrically is inspired by a piece of hers called 178 00:12:45,396 --> 00:12:48,676 Speaker 4: Lovely Skyboat, and so like a dream boat is like 179 00:12:49,196 --> 00:12:53,196 Speaker 4: my version of skyboat. So we had harp on it 180 00:12:53,356 --> 00:12:57,676 Speaker 4: and then telescope sequencing coming after that is it's kind 181 00:12:57,716 --> 00:13:00,516 Speaker 4: of like it's a it's a boat, it's a dream boat, 182 00:13:01,116 --> 00:13:03,636 Speaker 4: a skyboat that takes you into space. So it made 183 00:13:03,676 --> 00:13:05,676 Speaker 4: sense to put telescope next, and then we're like, fucking 184 00:13:05,756 --> 00:13:08,956 Speaker 4: let's put harp on that as well. So that's why 185 00:13:08,996 --> 00:13:10,916 Speaker 4: it kind of seemed like sister songs. 186 00:13:11,076 --> 00:13:12,836 Speaker 13: Yeah, and also once we heard the harp, it's like 187 00:13:12,916 --> 00:13:13,516 Speaker 13: he's kind of kind of. 188 00:13:16,396 --> 00:13:17,356 Speaker 1: Who did the harp on that? 189 00:13:18,156 --> 00:13:21,956 Speaker 4: Molina is something I played is a gijiang. There's like 190 00:13:22,036 --> 00:13:25,556 Speaker 4: a Chinese harp that There's just like there's heaps of 191 00:13:25,756 --> 00:13:30,396 Speaker 4: random instruments around the studio because the boys are nerds. 192 00:13:30,436 --> 00:13:32,836 Speaker 4: And collect things like harpsichords and stuff. 193 00:13:32,876 --> 00:13:35,836 Speaker 7: So but that one was a jam as well. 194 00:13:35,956 --> 00:13:38,436 Speaker 4: It was just like Simon found this like synth sound 195 00:13:38,916 --> 00:13:41,116 Speaker 4: and I was playing these gijang I can't actually play it, 196 00:13:41,196 --> 00:13:43,196 Speaker 4: but I was just like, you know, fucking about or whatever. 197 00:13:44,356 --> 00:13:49,036 Speaker 4: And on NASA's website, you can like type in your 198 00:13:49,116 --> 00:13:51,196 Speaker 4: birthday and it will show you a picture of what 199 00:13:51,276 --> 00:13:54,996 Speaker 4: the Hubble telescope took on your birthday. So each verse 200 00:13:55,076 --> 00:13:57,276 Speaker 4: is about like we just typed in each band member's 201 00:13:57,316 --> 00:14:00,356 Speaker 4: birthday and each verse is about that. Yeah, it was 202 00:14:00,476 --> 00:14:02,276 Speaker 4: very kind of just came together. I think that was 203 00:14:02,316 --> 00:14:04,396 Speaker 4: like during COVID when we were locked down and just 204 00:14:04,556 --> 00:14:07,996 Speaker 4: like being really creative and shipping away at stuff and 205 00:14:08,396 --> 00:14:09,116 Speaker 4: having a break. 206 00:14:08,956 --> 00:14:12,316 Speaker 15: From mixing Mood Valiant. Yeah, just kind of came about 207 00:14:12,356 --> 00:14:13,996 Speaker 15: and then we're just like, actually, this is pretty cool. 208 00:14:14,076 --> 00:14:15,596 Speaker 15: Maybe next record potentially. 209 00:14:15,796 --> 00:14:17,836 Speaker 1: And then I was going to ask about the lyrics, 210 00:14:17,916 --> 00:14:21,596 Speaker 1: like if you knew about like Einstein Ring, I was like, 211 00:14:21,956 --> 00:14:24,596 Speaker 1: this incredible stuff. I didn't, you know. I like to 212 00:14:24,596 --> 00:14:27,716 Speaker 1: look at space, but I don't really know space is 213 00:14:27,756 --> 00:14:30,516 Speaker 1: the place. I don't going on up there though, But 214 00:14:30,676 --> 00:14:33,436 Speaker 1: it's like, does anybody. 215 00:14:35,476 --> 00:14:38,476 Speaker 4: Well, someone who does know who knows about Einstein Ring, 216 00:14:39,196 --> 00:14:41,276 Speaker 4: which is like maybe the coolest bit of trigger I've 217 00:14:41,316 --> 00:14:43,356 Speaker 4: heard about this record. But like a friend of ours 218 00:14:43,996 --> 00:14:46,516 Speaker 4: is doing an exhibition at the Planetarium in New York 219 00:14:46,916 --> 00:14:51,156 Speaker 4: and Neil degressed Tyson's office is down the hall from there, 220 00:14:51,916 --> 00:14:55,876 Speaker 4: and like I heard our friend playing it and like 221 00:14:56,036 --> 00:14:58,516 Speaker 4: walked in and was like, I think thing about Einstein Ring, 222 00:14:58,956 --> 00:15:00,716 Speaker 4: And I was like, who was the best? 223 00:15:00,876 --> 00:15:05,876 Speaker 1: Like Coastline, you're joking, He's going to be. 224 00:15:05,876 --> 00:15:09,196 Speaker 13: On our next record, going to get a collabor spoken. 225 00:15:08,916 --> 00:15:12,636 Speaker 1: With this record and next record. I think that'd be 226 00:15:12,716 --> 00:15:18,716 Speaker 1: incredible because it's like it really is like a like 227 00:15:19,396 --> 00:15:21,556 Speaker 1: I mean, there's it's kind of like a dent lyrically, 228 00:15:21,596 --> 00:15:24,436 Speaker 1: it's a little dance but you but it's also like 229 00:15:24,476 --> 00:15:27,396 Speaker 1: the way you constructed it is it's concise too, Like 230 00:15:27,476 --> 00:15:28,756 Speaker 1: I don't know how you got away with it. 231 00:15:28,796 --> 00:15:30,956 Speaker 4: It's I don't know how I get away with anything. 232 00:15:32,956 --> 00:15:36,956 Speaker 4: Just you know, raw dogging life right now, swing it. 233 00:15:37,316 --> 00:15:38,316 Speaker 1: That's a good way to go for it. 234 00:15:41,836 --> 00:15:44,276 Speaker 2: We'll be right back with more from hiatus Kyote after 235 00:15:44,356 --> 00:15:50,996 Speaker 2: the break. We're back with more from hiatus Kyote. 236 00:15:52,516 --> 00:15:54,796 Speaker 1: How do you guys change things from like when you 237 00:15:54,836 --> 00:15:57,036 Speaker 1: guys are preparing to go out on tour and hit 238 00:15:57,076 --> 00:15:59,876 Speaker 1: the road, how do you like and what's the rehearsal 239 00:16:00,076 --> 00:16:02,316 Speaker 1: like for the album versus the rehearsal like for the 240 00:16:02,476 --> 00:16:04,516 Speaker 1: road and what are you guys looking for? 241 00:16:05,036 --> 00:16:06,956 Speaker 4: They don't really rehearse for the album. 242 00:16:07,436 --> 00:16:09,436 Speaker 13: We just make ye just. 243 00:16:09,596 --> 00:16:11,476 Speaker 16: Make make things. 244 00:16:11,716 --> 00:16:13,796 Speaker 12: And then it's like, you know, the sky's sort of 245 00:16:13,876 --> 00:16:16,236 Speaker 12: the limit, so you can just put any sound on 246 00:16:16,316 --> 00:16:18,956 Speaker 12: the record that feels right, and then and then it's 247 00:16:18,996 --> 00:16:20,636 Speaker 12: like cool, We've got to go on tour. And then 248 00:16:20,716 --> 00:16:26,236 Speaker 12: it's like, oh, ship, Like how do we actually execute this? 249 00:16:26,836 --> 00:16:29,716 Speaker 12: How do we do something that feels like has the 250 00:16:30,196 --> 00:16:33,236 Speaker 12: scope and the you know, and and the color of 251 00:16:33,796 --> 00:16:35,436 Speaker 12: the production that we've put together. 252 00:16:36,356 --> 00:16:38,076 Speaker 4: So look how many fucking pedals? 253 00:16:38,116 --> 00:16:41,196 Speaker 16: He has three boards and these. 254 00:16:42,316 --> 00:16:45,156 Speaker 4: Got simmons and he's doing live effects as the drums, 255 00:16:45,156 --> 00:16:46,596 Speaker 4: which a lot of people don't really realize. 256 00:16:46,956 --> 00:16:49,356 Speaker 16: Usually I have, like, you know, I didn't need for 257 00:16:49,436 --> 00:16:50,076 Speaker 16: the songs today. 258 00:16:50,116 --> 00:16:53,716 Speaker 12: But there's sampler and bass synth, and he's got to 259 00:16:53,836 --> 00:16:55,836 Speaker 12: you know, JJ's got a sampler over there. So it's 260 00:16:55,916 --> 00:16:59,636 Speaker 12: just this puzzle of like you know, sampling stuff on 261 00:16:59,676 --> 00:17:03,276 Speaker 12: the record and making heaps of different sounds and trying 262 00:17:03,316 --> 00:17:06,716 Speaker 12: to figure out how to you know, encapsulate the energy 263 00:17:06,836 --> 00:17:09,716 Speaker 12: and the you know, the colors of what we did. 264 00:17:09,876 --> 00:17:13,516 Speaker 12: But yeah, it's always we did ourselves a pretty big 265 00:17:13,556 --> 00:17:16,716 Speaker 12: hole every time, at least at least some of the 266 00:17:16,756 --> 00:17:18,876 Speaker 12: tracks on the albums, like White Rabbit. 267 00:17:19,396 --> 00:17:23,596 Speaker 4: White Rabbit was like hat like a fever dream. I mean, 268 00:17:23,636 --> 00:17:27,276 Speaker 4: it's supposed to be a fever dream, but basically, like Bender, 269 00:17:27,436 --> 00:17:30,116 Speaker 4: there was like an omnichord and we were running like 270 00:17:30,196 --> 00:17:34,556 Speaker 4: this shitty rhythm thing from it through his distortion pedals, 271 00:17:34,596 --> 00:17:38,876 Speaker 4: like his bass pedals, and like there was like a 272 00:17:39,116 --> 00:17:41,276 Speaker 4: mixer called it Alice. 273 00:17:41,676 --> 00:17:43,876 Speaker 16: What is it Alice broadcast mixer? 274 00:17:44,156 --> 00:17:45,756 Speaker 4: Yeah, and it has a little picture of a white 275 00:17:45,836 --> 00:17:47,716 Speaker 4: rabbit on it. So I just started singing what I 276 00:17:47,756 --> 00:17:52,196 Speaker 4: could remember of White Rabbit over this curse like distorted 277 00:17:52,276 --> 00:17:56,516 Speaker 4: rhythm thing of this like JANKI omnichord thing, and it 278 00:17:56,676 --> 00:17:58,996 Speaker 4: was just like an experiment, just fun, and then we 279 00:17:59,156 --> 00:18:02,676 Speaker 4: just kept like adding things and expanding on it, and 280 00:18:02,796 --> 00:18:04,996 Speaker 4: like Benders taught himself how to play Cello's there's like 281 00:18:05,116 --> 00:18:08,676 Speaker 4: cello on it, and there's a reference to like Dubussy. 282 00:18:08,236 --> 00:18:10,436 Speaker 1: On it, and like what's the diversity reference. 283 00:18:10,756 --> 00:18:13,276 Speaker 4: It's like claridalone is the B section because I didn't 284 00:18:13,316 --> 00:18:15,356 Speaker 4: love the B section similar cords. 285 00:18:20,076 --> 00:18:21,196 Speaker 14: Oh god, I can't remember. 286 00:18:21,956 --> 00:18:24,356 Speaker 1: I want to hear it, but the people, yeah, the. 287 00:18:27,036 --> 00:18:30,836 Speaker 4: It and the cool thing is is like I never 288 00:18:30,956 --> 00:18:32,556 Speaker 4: really expected to a cover, but it just kind of 289 00:18:32,596 --> 00:18:35,476 Speaker 4: came together through playfulness, which is a big part of 290 00:18:35,556 --> 00:18:39,916 Speaker 4: our ethos. But also I like the idea that with 291 00:18:40,036 --> 00:18:44,076 Speaker 4: White Rabbit, it's kind of like, you know, it's it's 292 00:18:44,196 --> 00:18:49,916 Speaker 4: such a like iconic psychedelic moment in time, and when 293 00:18:49,996 --> 00:18:53,236 Speaker 4: people cover it, they kind of do like a throwback 294 00:18:53,996 --> 00:18:56,356 Speaker 4: psych thing, and I'm like, we have a whole new 295 00:18:56,516 --> 00:18:57,836 Speaker 4: level of psychedelia now. 296 00:18:57,916 --> 00:18:58,076 Speaker 15: You know. 297 00:18:58,196 --> 00:19:01,636 Speaker 4: It's like there is new drugs, there's new wars. There's 298 00:19:01,836 --> 00:19:07,076 Speaker 4: like there's like social media and like tech, you know, evolutions. 299 00:19:07,156 --> 00:19:10,196 Speaker 4: So there's like it's like what does what are those 300 00:19:10,436 --> 00:19:13,396 Speaker 4: themes that are still very much present today that will 301 00:19:13,436 --> 00:19:15,876 Speaker 4: probably always be present as long as humans are around, 302 00:19:15,876 --> 00:19:18,756 Speaker 4: because you know, but what was that sound like today? 303 00:19:18,916 --> 00:19:23,716 Speaker 4: And how how how do you like approach psychedelia without 304 00:19:24,356 --> 00:19:28,316 Speaker 4: referencing the sixties the sound of the sound of it 305 00:19:28,396 --> 00:19:32,596 Speaker 4: exactly so so we got real weird on it. But 306 00:19:32,836 --> 00:19:34,996 Speaker 4: that one's really hard to do live because there's just 307 00:19:35,116 --> 00:19:35,876 Speaker 4: so much going on. 308 00:19:37,036 --> 00:19:39,476 Speaker 15: Do you know where we've got it together? We did 309 00:19:39,556 --> 00:19:42,316 Speaker 15: get it together so and then and then yeah, we 310 00:19:42,476 --> 00:19:43,876 Speaker 15: just we just stopped. 311 00:19:43,916 --> 00:19:44,396 Speaker 13: We gave up. 312 00:19:44,516 --> 00:19:46,356 Speaker 1: What's the part that like, fuck you guys up? 313 00:19:46,756 --> 00:19:49,556 Speaker 15: Just sound wise, in headphones, it's really hard to like 314 00:19:50,236 --> 00:19:53,316 Speaker 15: get because we have so many variety of sound within 315 00:19:53,716 --> 00:19:56,076 Speaker 15: within all the songs. So like for White Rabbit, it's 316 00:19:56,116 --> 00:19:58,116 Speaker 15: a whole new journey for us, and we don't really 317 00:19:58,396 --> 00:20:00,476 Speaker 15: understand what we all need to be able to play 318 00:20:00,516 --> 00:20:02,956 Speaker 15: the song within the headphones. So it's kind of like 319 00:20:03,716 --> 00:20:05,156 Speaker 15: it's going to take a long time for us to 320 00:20:05,196 --> 00:20:07,036 Speaker 15: get it right. But in the rehearsal room we kind 321 00:20:07,076 --> 00:20:09,796 Speaker 15: of got it. But it's a different situation to how 322 00:20:09,836 --> 00:20:13,396 Speaker 15: we play live. Get there, Yeah, we'll get there. 323 00:20:13,436 --> 00:20:15,756 Speaker 4: We'll get We have too much material as it is, 324 00:20:15,836 --> 00:20:18,636 Speaker 4: you know, like most people like make ship and then 325 00:20:18,716 --> 00:20:20,996 Speaker 4: gate keep it and then eventually show people. But we're 326 00:20:20,996 --> 00:20:22,916 Speaker 4: always just like whenever something's ready, we're. 327 00:20:22,796 --> 00:20:25,396 Speaker 1: Like, you know, this is this is close enough. I 328 00:20:25,436 --> 00:20:26,996 Speaker 1: feel like to rehearsal setting right. 329 00:20:28,516 --> 00:20:30,676 Speaker 15: It is, but there's so many sounds like I've got buttons, 330 00:20:30,756 --> 00:20:33,276 Speaker 15: JJ's got buttons, Bender's got buttons, and then we're all 331 00:20:33,316 --> 00:20:34,516 Speaker 15: playing as well. 332 00:20:34,636 --> 00:20:36,156 Speaker 13: And then it's like he's got distortion. 333 00:20:36,276 --> 00:20:38,836 Speaker 15: My ex law's got like reverb mix and there's like 334 00:20:38,836 --> 00:20:40,076 Speaker 15: a whole bunch of layers on. 335 00:20:40,116 --> 00:20:40,636 Speaker 13: The song, and. 336 00:20:42,156 --> 00:20:43,516 Speaker 4: Yeah, it's distortion. 337 00:20:43,756 --> 00:20:45,676 Speaker 13: It's hard to get it right, but we'll get there. 338 00:20:46,036 --> 00:20:48,076 Speaker 4: We also have like nearly any time we go to 339 00:20:48,156 --> 00:20:51,156 Speaker 4: the airport, like uber drivers just drive away. They look 340 00:20:51,196 --> 00:20:55,156 Speaker 4: at the sheer amount ship we have and they're like 341 00:20:55,756 --> 00:20:56,556 Speaker 4: it's not worth it. 342 00:20:56,716 --> 00:20:57,956 Speaker 12: They just know. 343 00:20:58,036 --> 00:20:59,476 Speaker 1: Way you guys don't have cars. I had a time 344 00:20:59,556 --> 00:21:01,236 Speaker 1: right with the amount of stuff required. 345 00:21:01,356 --> 00:21:03,596 Speaker 4: Yeah, we do, but there's definitely been times where people 346 00:21:03,796 --> 00:21:04,636 Speaker 4: just like fucked off. 347 00:21:04,596 --> 00:21:08,836 Speaker 1: And it's like, yeah, yeah, I could see that. It's 348 00:21:09,196 --> 00:21:11,516 Speaker 1: it's it's intimidating to see, like I was, I was 349 00:21:11,556 --> 00:21:14,596 Speaker 1: talking to you guys. Is a todo who does sound 350 00:21:14,636 --> 00:21:19,236 Speaker 1: for you guys, and like it's it's an ambitious you know, 351 00:21:19,676 --> 00:21:20,956 Speaker 1: getting this on the road. 352 00:21:20,876 --> 00:21:22,476 Speaker 13: And he does such a good job. 353 00:21:22,996 --> 00:21:28,116 Speaker 12: I mean, the the the obvious choice, you know, really 354 00:21:28,156 --> 00:21:30,356 Speaker 12: would just be like put a bunch of stuff on 355 00:21:30,476 --> 00:21:32,956 Speaker 12: a backing track on a laptop and just like have 356 00:21:33,036 --> 00:21:35,436 Speaker 12: a click track in your ears and just like do that, 357 00:21:35,556 --> 00:21:36,476 Speaker 12: but none of us want to. 358 00:21:36,476 --> 00:21:39,356 Speaker 16: Do that about it, Like we we'd all just like 359 00:21:39,636 --> 00:21:41,756 Speaker 16: hate it and have the worst time possible. 360 00:21:41,956 --> 00:21:45,396 Speaker 12: So you know, there's a lot of complexity and just 361 00:21:45,436 --> 00:21:49,276 Speaker 12: trying to recreate everything where everyone's playing as much of 362 00:21:49,316 --> 00:21:51,396 Speaker 12: it as possible and we're not like leaning on any 363 00:21:51,436 --> 00:21:53,836 Speaker 12: of that stuff. So you know, it's like, oh, I 364 00:21:53,996 --> 00:21:56,716 Speaker 12: need to have distorted like drums on this song, you know, 365 00:21:56,916 --> 00:21:57,996 Speaker 12: so that's a thing. 366 00:21:58,276 --> 00:22:00,396 Speaker 15: Yeah, and that's I got a new toy here, which 367 00:22:00,476 --> 00:22:02,956 Speaker 15: is like Johnny who does find a house for us 368 00:22:03,036 --> 00:22:05,436 Speaker 15: and he recorded today as well. He gave me a 369 00:22:05,476 --> 00:22:08,276 Speaker 15: little distortion box and that's a new element, so like, 370 00:22:08,436 --> 00:22:09,996 Speaker 15: you know, just get it's like a tire a little box. 371 00:22:10,036 --> 00:22:12,516 Speaker 13: And now I've got distortion of my drums so I 372 00:22:12,556 --> 00:22:13,156 Speaker 13: can dial. 373 00:22:12,996 --> 00:22:15,596 Speaker 1: In continue to play with that so we can hear. 374 00:22:16,196 --> 00:22:19,036 Speaker 13: Yeah, I'll show you how much what it does. 375 00:22:20,156 --> 00:22:24,316 Speaker 4: Also, there's so much improvisation, Like it's very specific arrangements, 376 00:22:24,476 --> 00:22:27,956 Speaker 4: but like there's by not playing to a clicking track, 377 00:22:28,036 --> 00:22:29,956 Speaker 4: if you're feeling something or you want to loop something 378 00:22:30,076 --> 00:22:32,796 Speaker 4: or stand something, you want to improvise, like you have 379 00:22:32,956 --> 00:22:33,756 Speaker 4: the capacity to do that. 380 00:22:34,076 --> 00:22:35,356 Speaker 1: I wanted to ask about that because I did. I 381 00:22:35,396 --> 00:22:35,996 Speaker 1: did notice that. 382 00:22:36,716 --> 00:22:44,236 Speaker 13: So this is zero mm hmm. This is like. 383 00:22:55,516 --> 00:22:55,876 Speaker 1: There you go. 384 00:22:56,156 --> 00:23:02,476 Speaker 15: She said, it's the microphones down here. Yeah, that's it. 385 00:23:02,636 --> 00:23:04,276 Speaker 15: So I got that now, and then you turn an offense. 386 00:23:06,556 --> 00:23:07,436 Speaker 15: It's a big difference. 387 00:23:09,596 --> 00:23:12,076 Speaker 1: Yeah, how many sounds can you get out of your kit? 388 00:23:12,156 --> 00:23:13,236 Speaker 13: Do you figure a lot? 389 00:23:14,476 --> 00:23:15,756 Speaker 4: Probably twenty seven? 390 00:23:16,236 --> 00:23:19,436 Speaker 13: Yeah, I think twenty seven is the maximum number. No more, 391 00:23:19,596 --> 00:23:20,156 Speaker 13: no more than that. 392 00:23:21,436 --> 00:23:24,516 Speaker 15: Yeah, No, I've got like I've got like a Simmons 393 00:23:24,556 --> 00:23:28,756 Speaker 15: over here that's got triggers to so that first row 394 00:23:28,916 --> 00:23:32,516 Speaker 15: is a kick and I can change it the pitch 395 00:23:32,596 --> 00:23:37,036 Speaker 15: of the length of that, and then like same with 396 00:23:37,156 --> 00:23:42,916 Speaker 15: all the and then with all those guys that can 397 00:23:43,356 --> 00:23:51,196 Speaker 15: can mix over here that does the the effects. And 398 00:23:51,236 --> 00:23:53,156 Speaker 15: then microphone over here to record. 399 00:23:55,356 --> 00:23:56,116 Speaker 13: Stuff, and then. 400 00:23:57,676 --> 00:23:59,676 Speaker 1: That kind of the year you're doing something to like 401 00:23:59,836 --> 00:24:00,156 Speaker 1: mess with. 402 00:24:00,556 --> 00:24:02,676 Speaker 4: Yeah, yeah, I got like can you want to tell 403 00:24:02,676 --> 00:24:03,436 Speaker 4: that from the Indians? 404 00:24:04,716 --> 00:24:06,956 Speaker 15: Oh, if you don't have headphones, you can't tell you, 405 00:24:07,396 --> 00:24:09,956 Speaker 15: Like you're showing a thing that No, but I feel 406 00:24:09,996 --> 00:24:11,436 Speaker 15: like they in the studio. 407 00:24:11,396 --> 00:24:13,036 Speaker 1: Yeah yeah, they can hear it. 408 00:24:13,756 --> 00:24:14,076 Speaker 4: Yeah, but. 409 00:24:16,876 --> 00:24:18,556 Speaker 13: It sounds it sounds so boring. 410 00:24:18,556 --> 00:24:23,836 Speaker 15: When I'm not so umb dum dumb exactly. 411 00:24:24,596 --> 00:24:25,316 Speaker 13: It's happened before. 412 00:24:25,356 --> 00:24:27,836 Speaker 15: When I'm just hitting at timents, it's like oh ship, 413 00:24:27,956 --> 00:24:30,036 Speaker 15: but you know, without the headphones on, it just sounds 414 00:24:30,036 --> 00:24:30,796 Speaker 15: like I'm doing nothing. 415 00:24:31,316 --> 00:24:35,956 Speaker 1: Yeah, but yeah, it's crazy because usually like people have 416 00:24:36,116 --> 00:24:39,676 Speaker 1: like big, like big kits. It's like, yeah, you know, 417 00:24:41,236 --> 00:24:43,116 Speaker 1: not to say it's necessarily overkilled, but they do a 418 00:24:43,156 --> 00:24:45,156 Speaker 1: lot with it all the time. Like you know, I 419 00:24:45,236 --> 00:24:46,756 Speaker 1: guess you think of like a Neil Pert, you know, 420 00:24:46,996 --> 00:24:48,996 Speaker 1: and he's cool to listen to, but it is like 421 00:24:49,076 --> 00:24:50,876 Speaker 1: a lot that he's doing and it's a big kid, 422 00:24:51,516 --> 00:24:53,436 Speaker 1: you know. Like it is cool how you choose to 423 00:24:53,596 --> 00:24:54,596 Speaker 1: use things and when. 424 00:24:54,476 --> 00:24:58,116 Speaker 15: You it's coming from like a production background, and like 425 00:24:58,356 --> 00:25:00,836 Speaker 15: in the beginning, like we didn't have any of this stuff, 426 00:25:00,836 --> 00:25:03,076 Speaker 15: and then we'll be playing like songs off choose your weapon, 427 00:25:03,156 --> 00:25:05,756 Speaker 15: and like I didn't have the Simmons either, so it'll 428 00:25:05,796 --> 00:25:08,316 Speaker 15: just be like chucking things on snares and symbols to 429 00:25:08,356 --> 00:25:11,596 Speaker 15: try and create like the feeling of distortion or whatever. 430 00:25:11,756 --> 00:25:14,556 Speaker 15: And then eventually, like you know, found the Simmons and 431 00:25:14,676 --> 00:25:17,436 Speaker 15: it was like I was able to tune the drums 432 00:25:17,436 --> 00:25:19,236 Speaker 15: and then it's kind of like then I'm kind of producing. 433 00:25:19,236 --> 00:25:22,076 Speaker 15: I've got my own little production world here, so it's cool. 434 00:25:22,116 --> 00:25:23,556 Speaker 15: And then I don't need as many drums. I and 435 00:25:23,676 --> 00:25:26,476 Speaker 15: just like these two drums can change pitch so and 436 00:25:26,596 --> 00:25:29,556 Speaker 15: that's why they're so dead. So like the deader they are, 437 00:25:29,676 --> 00:25:32,676 Speaker 15: the more I rely on the Simmons to change the 438 00:25:33,076 --> 00:25:35,676 Speaker 15: notes and the pitch and stuff like that. 439 00:25:35,876 --> 00:25:37,276 Speaker 13: And just keep adding on to this. 440 00:25:37,436 --> 00:25:39,316 Speaker 15: But yeah, the actual drums was only like a three 441 00:25:39,356 --> 00:25:42,276 Speaker 15: piece kit really with symbols and all the other stuff. 442 00:25:42,996 --> 00:25:44,836 Speaker 1: And what came first for you? Was it production? Like 443 00:25:44,956 --> 00:25:46,836 Speaker 1: did you start producing stuff first or did you start 444 00:25:46,916 --> 00:25:47,276 Speaker 1: drum Like? 445 00:25:47,356 --> 00:25:48,876 Speaker 13: No producing really? 446 00:25:48,996 --> 00:25:50,716 Speaker 1: Yeah, so when did you pick up drums. 447 00:25:51,396 --> 00:25:54,036 Speaker 15: Or like I've been playing a hand percussion like for 448 00:25:54,476 --> 00:25:56,956 Speaker 15: a while. And then when I went moved to Melbourne, 449 00:25:58,516 --> 00:26:00,876 Speaker 15: I kind of like we moved down. I was in 450 00:26:00,956 --> 00:26:03,556 Speaker 15: another band and we moved down to Melbourne without the drummer. 451 00:26:04,236 --> 00:26:06,476 Speaker 15: So we had another drummer, the Fisher that was playing 452 00:26:06,516 --> 00:26:09,756 Speaker 15: with us in Melbourne. But I would just picked up 453 00:26:09,756 --> 00:26:11,596 Speaker 15: the drums and because I knew the songs and I'm 454 00:26:11,676 --> 00:26:15,036 Speaker 15: like kind of get away with playing like basic basic 455 00:26:15,116 --> 00:26:16,836 Speaker 15: patterns from just hand drumming. 456 00:26:16,876 --> 00:26:18,996 Speaker 13: And that's kind of how it started. Really. 457 00:26:19,516 --> 00:26:22,316 Speaker 15: It would have been like how twenty one twenty two, Yeah, 458 00:26:23,876 --> 00:26:25,836 Speaker 15: like where we really went in where and then and 459 00:26:25,876 --> 00:26:27,796 Speaker 15: then I moved in with these guys and then like 460 00:26:28,076 --> 00:26:31,356 Speaker 15: they're all amazing musicians. And then I just basically like 461 00:26:32,036 --> 00:26:33,916 Speaker 15: tated like a day job and just did like eight 462 00:26:33,996 --> 00:26:37,116 Speaker 15: hours a day, just kept playing drums and learning so 463 00:26:37,236 --> 00:26:39,636 Speaker 15: much from these guys, and yeah, it was fun. 464 00:26:39,796 --> 00:26:43,836 Speaker 4: It was initially like doing production and percussion or whatever, 465 00:26:43,916 --> 00:26:45,836 Speaker 4: and it was like, actually, you're the drummer. 466 00:26:45,516 --> 00:26:48,476 Speaker 15: Now, and so yeah, Nakamara was the first song. H 467 00:26:48,516 --> 00:26:49,836 Speaker 15: it was a less Skull or something like that. 468 00:26:50,516 --> 00:26:54,796 Speaker 13: Yeah, from the first record. Yeah, yeah, I was the percussionists. 469 00:26:54,956 --> 00:26:56,556 Speaker 1: That's around the time that you really started. I mean, 470 00:26:56,556 --> 00:26:57,956 Speaker 1: it's that's we were. 471 00:26:57,876 --> 00:26:59,636 Speaker 4: Supposed to get a drummer. It was like, yeah, we're 472 00:26:59,676 --> 00:27:00,156 Speaker 4: the drummer. 473 00:27:02,236 --> 00:27:02,516 Speaker 7: How are you. 474 00:27:02,596 --> 00:27:03,476 Speaker 15: Trapped with us now? 475 00:27:03,516 --> 00:27:05,316 Speaker 13: I'm trapped. No, it's good, it's great. 476 00:27:06,716 --> 00:27:09,236 Speaker 15: Yeah, it was like it was a little bit later on, 477 00:27:09,356 --> 00:27:12,676 Speaker 15: but I just like, you know, I was, you know, 478 00:27:12,716 --> 00:27:14,436 Speaker 15: I'm a big believer in like, if you want to 479 00:27:14,476 --> 00:27:16,956 Speaker 15: do it, then you can you can make anything. Anything's 480 00:27:16,956 --> 00:27:20,396 Speaker 15: Possiblely you know you've got the drive to do it, 481 00:27:20,516 --> 00:27:22,236 Speaker 15: then you can kind of achieve a lot. So it's 482 00:27:22,316 --> 00:27:24,676 Speaker 15: kind of proved to myself and other people around me 483 00:27:24,756 --> 00:27:26,796 Speaker 15: that doesn't matter what age you are. You know, you 484 00:27:26,836 --> 00:27:28,996 Speaker 15: can kind of get if you're really passionate about something, 485 00:27:29,036 --> 00:27:30,916 Speaker 15: you can just you can get it done if you 486 00:27:31,036 --> 00:27:33,196 Speaker 15: dedicate your like a lot of time to it. 487 00:27:33,636 --> 00:27:36,356 Speaker 1: It's just crazy. I mean there's drummers who, like I mean, 488 00:27:36,436 --> 00:27:37,956 Speaker 1: who are big fans of yours who've been you know, 489 00:27:37,996 --> 00:27:40,116 Speaker 1: they've been playing make us think of like Quest Loves 490 00:27:40,156 --> 00:27:42,876 Speaker 1: and playing since he was a toddler, or like Chris Dave, 491 00:27:43,156 --> 00:27:45,276 Speaker 1: like you know what I mean, Like like you are, 492 00:27:45,476 --> 00:27:48,436 Speaker 1: like twenty years after them, you're picking the instrument. It's 493 00:27:48,756 --> 00:27:50,036 Speaker 1: it's nuts, It's. 494 00:27:50,596 --> 00:27:52,236 Speaker 13: But I mean those guys like paved the way. 495 00:27:52,356 --> 00:27:54,236 Speaker 15: Like I listened to the records that there's guys played 496 00:27:54,276 --> 00:27:57,516 Speaker 15: on and it's like you know, hearing just hearing how 497 00:27:57,876 --> 00:27:59,756 Speaker 15: it sounds and a record, and that's where I'm listening. 498 00:27:59,836 --> 00:28:01,276 Speaker 13: I'm listening to like what they're playing. 499 00:28:01,276 --> 00:28:04,276 Speaker 15: I'm listening to how it sounds on the recording, and 500 00:28:04,396 --> 00:28:06,196 Speaker 15: then I'm like making up my own mind of how 501 00:28:06,316 --> 00:28:09,036 Speaker 15: that's that's happening. You know, it's like naivety in a bit, 502 00:28:09,236 --> 00:28:11,236 Speaker 15: like you know, like just kind of going, oh, that's 503 00:28:11,476 --> 00:28:14,356 Speaker 15: probably how they did it, and it's most of the 504 00:28:14,396 --> 00:28:15,796 Speaker 15: time it's not how they did it. But then it's 505 00:28:15,836 --> 00:28:18,436 Speaker 15: kind of form my own sound by just making up 506 00:28:18,516 --> 00:28:21,196 Speaker 15: what other people did and then just trying to achieve that. 507 00:28:21,516 --> 00:28:22,076 Speaker 13: That makes sense. 508 00:28:22,196 --> 00:28:24,036 Speaker 1: Is that a different mindset then than when you're on 509 00:28:24,116 --> 00:28:24,756 Speaker 1: the road and. 510 00:28:25,236 --> 00:28:27,556 Speaker 15: Yeah, yeah, recording in the studio and playing live is 511 00:28:27,556 --> 00:28:28,796 Speaker 15: a totally different thing for sure. 512 00:28:28,916 --> 00:28:31,076 Speaker 1: How do you try or how do you like how 513 00:28:31,116 --> 00:28:31,756 Speaker 1: do you adjust? 514 00:28:33,276 --> 00:28:33,636 Speaker 13: I don't know. 515 00:28:33,676 --> 00:28:36,076 Speaker 15: I feel like on live gigs it's more about like 516 00:28:36,236 --> 00:28:39,876 Speaker 15: being like a bit more of a timekeeper, but also. 517 00:28:41,916 --> 00:28:44,316 Speaker 13: I'm like I have them Like I feel like I 518 00:28:44,436 --> 00:28:44,876 Speaker 13: have a lot of. 519 00:28:44,876 --> 00:28:47,756 Speaker 15: Freedom in the band because I don't have anything melodic, 520 00:28:48,716 --> 00:28:50,396 Speaker 15: so I kind of like can I've got to just 521 00:28:50,596 --> 00:28:53,356 Speaker 15: make it move, like I've got to move within everyone 522 00:28:53,596 --> 00:28:55,276 Speaker 15: and try and make it feel really good for people 523 00:28:55,316 --> 00:28:58,036 Speaker 15: to dance too. That's kind of like how I approach it. 524 00:28:58,156 --> 00:29:00,316 Speaker 15: But in the studio, I'm like, it's more tone and 525 00:29:00,556 --> 00:29:03,276 Speaker 15: what the song needs, you know. In the live it's 526 00:29:03,316 --> 00:29:05,516 Speaker 15: like I might hit the high harder on this section, 527 00:29:05,636 --> 00:29:07,556 Speaker 15: but in the studio I would be taming it down 528 00:29:07,556 --> 00:29:10,076 Speaker 15: because I can hear how it sounds in the microphone, 529 00:29:10,116 --> 00:29:12,116 Speaker 15: so I'm like, I don't want to play louder because 530 00:29:12,116 --> 00:29:13,356 Speaker 15: it's going to fuck up the sound. 531 00:29:14,276 --> 00:29:14,996 Speaker 13: And that makes sense. 532 00:29:15,076 --> 00:29:17,636 Speaker 4: Yeah, that's really very creative. I think the thing is 533 00:29:17,756 --> 00:29:20,756 Speaker 4: is like there's all these amazing drummers that have been 534 00:29:20,836 --> 00:29:23,556 Speaker 4: playing since forever, and they've got chops and they've got 535 00:29:23,836 --> 00:29:30,436 Speaker 4: twenty five symbols and that's amazing. But like like literally 536 00:29:30,516 --> 00:29:33,076 Speaker 4: Thomas Pridgin the other day, who's like such a g 537 00:29:33,316 --> 00:29:35,196 Speaker 4: you know, and he's he's the homie and he's played 538 00:29:35,236 --> 00:29:38,596 Speaker 4: with fucking everyone. Yeah, and we did a show I 539 00:29:38,636 --> 00:29:41,316 Speaker 4: can't remember where we were somewhere the other day and 540 00:29:41,436 --> 00:29:43,956 Speaker 4: he gave pez this like I call it the orange 541 00:29:44,036 --> 00:29:47,876 Speaker 4: pil symbol. It's like yeah, and he was like and 542 00:29:48,076 --> 00:29:50,356 Speaker 4: he was like losing his shit over Pezzy setup, and 543 00:29:50,516 --> 00:29:52,196 Speaker 4: it's just like this is the thing is. It's like 544 00:29:53,676 --> 00:29:57,276 Speaker 4: you don't It's like there is this like competitive thing 545 00:29:57,436 --> 00:29:59,556 Speaker 4: of like who is the best drummer in the world, 546 00:30:00,076 --> 00:30:02,276 Speaker 4: and it's like none of that counts for a shit, 547 00:30:02,956 --> 00:30:05,276 Speaker 4: you know. Like I mean, it's impressive and it's cool 548 00:30:05,316 --> 00:30:07,556 Speaker 4: and it's beautiful and you can get session gigs and 549 00:30:08,036 --> 00:30:12,436 Speaker 4: all of that, but like creativity speaks volumes and you 550 00:30:12,516 --> 00:30:15,036 Speaker 4: can like you can do so much with that, and 551 00:30:15,356 --> 00:30:20,756 Speaker 4: I think, yeah, it's just like not gatekeeping music, you know, 552 00:30:20,916 --> 00:30:24,276 Speaker 4: people like not wanting to like learn an instrument because 553 00:30:24,316 --> 00:30:25,956 Speaker 4: they didn't grow up with it. It's like I'm too old, 554 00:30:25,956 --> 00:30:28,036 Speaker 4: I'll ever be the best at is like just be 555 00:30:28,196 --> 00:30:31,716 Speaker 4: yourself with it, you know, and explore it and be creative. 556 00:30:31,756 --> 00:30:33,876 Speaker 4: And Pairs is like so good at that to the 557 00:30:33,996 --> 00:30:37,796 Speaker 4: point where these these amazing world class drummers look up 558 00:30:37,836 --> 00:30:40,596 Speaker 4: to him, are like or respect what he does because 559 00:30:41,356 --> 00:30:43,556 Speaker 4: no one plays drums like him because he plays drums 560 00:30:43,676 --> 00:30:46,796 Speaker 4: like him, you know, And I think we're all like that. 561 00:30:46,956 --> 00:30:50,196 Speaker 4: It's it's like we we value our craft and we 562 00:30:50,356 --> 00:30:53,076 Speaker 4: develop it. But at the end, like at the core 563 00:30:53,156 --> 00:30:56,476 Speaker 4: of it is just like what does the song need? 564 00:30:57,276 --> 00:30:59,756 Speaker 4: You know, let me show off. 565 00:30:59,996 --> 00:31:02,076 Speaker 1: And it feels like you guys have even like you 566 00:31:02,116 --> 00:31:05,356 Speaker 1: guys have gotten to that place even more like on 567 00:31:05,396 --> 00:31:08,916 Speaker 1: the last two records, it feels like, I don't know, 568 00:31:08,996 --> 00:31:12,756 Speaker 1: it feels you guys are all virtue wassick, you know, 569 00:31:13,036 --> 00:31:15,956 Speaker 1: But it feels like the records showcase some of that. 570 00:31:16,076 --> 00:31:19,556 Speaker 1: The last two Mood Valiant and love our cheat code, 571 00:31:19,636 --> 00:31:21,956 Speaker 1: but like there's still is. There's like a lot of 572 00:31:21,996 --> 00:31:23,916 Speaker 1: emphasis especially in the new one, like on song and 573 00:31:24,196 --> 00:31:26,596 Speaker 1: like the conciseness of the record, just like eleven, and 574 00:31:26,676 --> 00:31:30,236 Speaker 1: it really moves, like starting with Dreamboat ending with White Rabbit, 575 00:31:30,316 --> 00:31:32,836 Speaker 1: like the record really goes somewhere like and it does. 576 00:31:33,076 --> 00:31:35,276 Speaker 1: It doesn't happen a lot on records these days. I 577 00:31:35,276 --> 00:31:36,676 Speaker 1: don't know if people don't think about them that way, 578 00:31:36,716 --> 00:31:39,156 Speaker 1: but you really it's like, I don't know, it's like 579 00:31:39,196 --> 00:31:40,796 Speaker 1: a film that way, or story or narrative. 580 00:31:40,876 --> 00:31:43,036 Speaker 4: You know, it is a film, you know, And I like, 581 00:31:43,156 --> 00:31:44,636 Speaker 4: I don't know. I think a lot of people just 582 00:31:44,716 --> 00:31:48,956 Speaker 4: want like collaborations and hits and songs, and it's like 583 00:31:49,276 --> 00:31:52,556 Speaker 4: our attention span is just like shrinking, you know, and 584 00:31:52,756 --> 00:31:55,156 Speaker 4: like that's cool. But I think to be able to 585 00:31:55,436 --> 00:31:58,396 Speaker 4: create a whole universe that you can just put on 586 00:31:58,996 --> 00:32:03,156 Speaker 4: and like leave and experience something is also really valuable. 587 00:32:03,396 --> 00:32:06,836 Speaker 14: And that's the most exciting thing about being in a studio. 588 00:32:06,996 --> 00:32:07,156 Speaker 15: Man. 589 00:32:07,716 --> 00:32:10,076 Speaker 14: It's like you can have so much fun and you've 590 00:32:10,116 --> 00:32:16,196 Speaker 14: got like this unlimited resource of sound that you can 591 00:32:16,236 --> 00:32:20,276 Speaker 14: play with. Especially these days, it's like it's crazy, It's 592 00:32:20,356 --> 00:32:22,076 Speaker 14: like why should you limit yourself. 593 00:32:23,476 --> 00:32:25,476 Speaker 1: Just seeing you brought up Thomas Bridge, because I thought 594 00:32:25,516 --> 00:32:27,756 Speaker 1: a lot about Thomas Bridge just for some like the 595 00:32:27,876 --> 00:32:32,116 Speaker 1: way that it's just the heaviness, but the creativity in 596 00:32:32,356 --> 00:32:33,636 Speaker 1: really also what you're doing. 597 00:32:34,476 --> 00:32:37,156 Speaker 15: Was Bender was the main source of inspiration for that one, 598 00:32:37,316 --> 00:32:40,436 Speaker 15: and like you know, like Bender was like like I 599 00:32:40,556 --> 00:32:43,796 Speaker 15: was never playing anything heavy until I met Bender, like honestly, 600 00:32:43,916 --> 00:32:46,476 Speaker 15: like I didn't wasn't listening to much heavy music at all. 601 00:32:46,556 --> 00:32:48,956 Speaker 15: And then he showed me like a band called Lightning Bolt, 602 00:32:49,396 --> 00:32:52,276 Speaker 15: and I remember that really opened up my ears to 603 00:32:52,436 --> 00:32:55,316 Speaker 15: like those sounds and like if you want to go 604 00:32:55,516 --> 00:32:56,436 Speaker 15: forward from that, because like. 605 00:32:56,556 --> 00:33:00,116 Speaker 12: Yeah, yeah, definitely a Lightning Bolt was a huge influence 606 00:33:00,276 --> 00:33:03,436 Speaker 12: on that song. There was a few main influences for me. 607 00:33:03,516 --> 00:33:09,356 Speaker 12: It was Lightning Bolt, Deerhof and there's this particular form 608 00:33:09,396 --> 00:33:12,676 Speaker 12: of West African music that like you showed me called takamba, 609 00:33:12,756 --> 00:33:13,196 Speaker 12: which is like. 610 00:33:13,636 --> 00:33:15,876 Speaker 4: That's what I always wanted to interrupt and says that 611 00:33:15,956 --> 00:33:17,916 Speaker 4: you say, I wasn't really listening to every music. It's 612 00:33:17,956 --> 00:33:21,876 Speaker 4: like to cop like some fucking Northwest African records that 613 00:33:21,916 --> 00:33:24,956 Speaker 4: are just like recorded on the most distorted like fucking 614 00:33:24,996 --> 00:33:29,356 Speaker 4: shit like that is had I mean Nakana. It's like 615 00:33:29,636 --> 00:33:33,516 Speaker 4: just because it's not metal doesn't mean it's not fucking yeah. 616 00:33:33,996 --> 00:33:35,796 Speaker 12: I mean, for me, I grew up like the first 617 00:33:35,876 --> 00:33:37,676 Speaker 12: man I was in, you know, that was the first 618 00:33:37,756 --> 00:33:41,516 Speaker 12: music that I played was like punk and metal and 619 00:33:41,796 --> 00:33:44,076 Speaker 12: grunge and stuff, you know, just being in a band 620 00:33:44,116 --> 00:33:48,196 Speaker 12: with my brother and you know, covering you know, Varna 621 00:33:48,316 --> 00:33:53,476 Speaker 12: and Panterra and Slayer and you know Metallica and Ship. 622 00:33:53,356 --> 00:33:54,756 Speaker 14: You know, just and. 623 00:33:56,316 --> 00:33:57,916 Speaker 16: You know, and it's it's like a kind of. 624 00:33:59,876 --> 00:34:02,436 Speaker 12: World that you know, I kind of drifted away from 625 00:34:02,556 --> 00:34:04,796 Speaker 12: just trying to learn as much about as many things 626 00:34:04,836 --> 00:34:08,036 Speaker 12: as possible and kind of just coming back to just 627 00:34:08,196 --> 00:34:10,316 Speaker 12: like you know, you know, just which is really fun, 628 00:34:10,996 --> 00:34:16,036 Speaker 12: and you know, just that kind of energy is really fun. 629 00:34:16,356 --> 00:34:19,516 Speaker 12: And I think I think it's also really cool to 630 00:34:19,596 --> 00:34:23,956 Speaker 12: play that stuff live because I feel like most people 631 00:34:24,116 --> 00:34:26,316 Speaker 12: have a soft spot for it, but it's it's not 632 00:34:26,436 --> 00:34:29,556 Speaker 12: necessarily something I want to listen to, Like, you know, 633 00:34:30,076 --> 00:34:32,036 Speaker 12: most people don't want to go to like a you know, 634 00:34:32,236 --> 00:34:35,316 Speaker 12: three day metal festival and just get barrags the whole time. 635 00:34:35,956 --> 00:34:37,236 Speaker 12: But if you hit them with like a couple of 636 00:34:37,316 --> 00:34:39,076 Speaker 12: songs on the set that are just ape shit and 637 00:34:39,276 --> 00:34:41,236 Speaker 12: just out of control. Then it's just like, you know, 638 00:34:41,756 --> 00:34:45,476 Speaker 12: it's such a release, it's very therapeutic. 639 00:34:45,556 --> 00:34:46,316 Speaker 16: It's super therapy. 640 00:34:46,756 --> 00:34:49,156 Speaker 4: Release the pressure is one of the lyrics. It's like, Okay, 641 00:34:49,196 --> 00:34:51,596 Speaker 4: here's a moment where you can just like shed the 642 00:34:51,716 --> 00:34:54,796 Speaker 4: fucking demons. And sometimes we'll be having a hard show 643 00:34:54,796 --> 00:34:56,796 Speaker 4: where people like me has one two, one two, three 644 00:34:56,796 --> 00:34:58,956 Speaker 4: four five six, and you just like just fucking be 645 00:34:59,116 --> 00:35:01,196 Speaker 4: in the room and give us love, like we're human 646 00:35:01,236 --> 00:35:02,276 Speaker 4: beings and we need that ship. 647 00:35:02,476 --> 00:35:02,676 Speaker 12: Yeah. 648 00:35:02,796 --> 00:35:05,676 Speaker 4: You know, sometimes like Cinnamon Temple can be like a 649 00:35:05,996 --> 00:35:07,116 Speaker 4: palt heavy. 650 00:35:06,956 --> 00:35:08,196 Speaker 16: Heavy, you know heavy music. 651 00:35:08,396 --> 00:35:11,396 Speaker 12: It's like it's a cathartic thing, you know, and a 652 00:35:11,516 --> 00:35:14,636 Speaker 12: lot of stuff gets kind of you know, very like 653 00:35:15,316 --> 00:35:19,076 Speaker 12: overemphasized with all the sort of kind of cliche satanic 654 00:35:19,156 --> 00:35:20,076 Speaker 12: imagery or whatever. 655 00:35:20,356 --> 00:35:21,596 Speaker 16: It's what like I don't know. 656 00:35:21,636 --> 00:35:23,556 Speaker 12: When I discovered Lightning Bolt and really got into them, 657 00:35:23,636 --> 00:35:25,396 Speaker 12: they like really blew my mind because they had a 658 00:35:25,556 --> 00:35:28,436 Speaker 12: really different take on it, even like you can kind 659 00:35:28,476 --> 00:35:31,356 Speaker 12: of see it reflected in their cover art and everything 660 00:35:31,396 --> 00:35:34,076 Speaker 12: where it's all like crazy like over the top like 661 00:35:34,316 --> 00:35:36,876 Speaker 12: rainbow explosion colors, because that's kind of what it's like, 662 00:35:36,956 --> 00:35:39,316 Speaker 12: you know, it's like you just get in there and 663 00:35:39,356 --> 00:35:41,636 Speaker 12: it's just like being on a roller coaster and it's 664 00:35:41,756 --> 00:35:45,676 Speaker 12: just fun, you know, being like elbow to elbow with 665 00:35:45,756 --> 00:35:48,996 Speaker 12: people while someone's just like going as hard as they can. 666 00:35:49,716 --> 00:35:52,156 Speaker 12: Like I was lucky to see them play Lightning Bolt 667 00:35:52,316 --> 00:35:56,476 Speaker 12: in Melbourne like many many years ago, and they they 668 00:35:56,556 --> 00:36:00,116 Speaker 12: set up on the ground like they don't they set 669 00:36:00,116 --> 00:36:02,716 Speaker 12: it in front of the stage, so it's just like 670 00:36:02,756 --> 00:36:06,876 Speaker 12: a drama and a bass player going full ape shit 671 00:36:06,956 --> 00:36:09,676 Speaker 12: and everyone's just around them. So it's some point during 672 00:36:09,716 --> 00:36:13,356 Speaker 12: the set, I'm literally holding on to the drummer's floor, 673 00:36:13,476 --> 00:36:19,076 Speaker 12: Tom or what all these people I like, and he like, no, God, yeah, 674 00:36:19,436 --> 00:36:22,876 Speaker 12: it's just like it's just yeah, it's just like it's 675 00:36:22,956 --> 00:36:25,476 Speaker 12: just like someone driving as fast as possible, you know, 676 00:36:26,796 --> 00:36:29,436 Speaker 12: for the whole set. So you know, there's something just 677 00:36:29,556 --> 00:36:32,756 Speaker 12: so joyous about that. You know, it doesn't have to 678 00:36:32,836 --> 00:36:35,476 Speaker 12: be like dark. It's just like yeah, you know, it's 679 00:36:35,596 --> 00:36:36,356 Speaker 12: like let's let's go. 680 00:36:36,916 --> 00:36:37,156 Speaker 1: Yeah. 681 00:36:37,356 --> 00:36:38,076 Speaker 13: I was so happy. 682 00:36:38,116 --> 00:36:39,556 Speaker 1: I was so happy when it gets to that part 683 00:36:39,596 --> 00:36:41,756 Speaker 1: of the record because it just I hadn't even listened 684 00:36:41,796 --> 00:36:43,676 Speaker 1: to music that happy in a while. That's like, I mean, 685 00:36:43,716 --> 00:36:45,956 Speaker 1: to your point, I kind of I mean I grew 686 00:36:46,316 --> 00:36:48,196 Speaker 1: rest in peace like Diamonbag Daryl. I mean I used 687 00:36:48,196 --> 00:36:49,836 Speaker 1: to love Pantera. I grew up on that, you know, 688 00:36:49,956 --> 00:36:52,756 Speaker 1: but spent three days at ours fast. But I can't, 689 00:36:52,796 --> 00:36:55,116 Speaker 1: you know, I can't. I can't really, I can't live 690 00:36:55,196 --> 00:36:56,836 Speaker 1: there too long anymore. 691 00:36:57,556 --> 00:36:59,516 Speaker 12: But honestly, like I don't know, mental heads are all 692 00:36:59,636 --> 00:37:00,716 Speaker 12: really nice people for. 693 00:37:00,756 --> 00:37:03,156 Speaker 1: The most part, the most part. 694 00:37:03,316 --> 00:37:07,516 Speaker 12: I mean, yeah, like crazy Norwegian like church guys and 695 00:37:07,556 --> 00:37:10,556 Speaker 12: stuff who were actually really hectic, but you know, most 696 00:37:10,556 --> 00:37:12,516 Speaker 12: of them are just like chill nuds, you. 697 00:37:12,556 --> 00:37:13,396 Speaker 7: Know, do you mind? 698 00:37:13,636 --> 00:37:15,356 Speaker 1: Could you play a couple of bars of the of 699 00:37:16,196 --> 00:37:16,676 Speaker 1: w Temples? 700 00:37:16,756 --> 00:37:18,396 Speaker 16: Just have to put Eric down for a second. 701 00:37:18,196 --> 00:37:21,636 Speaker 1: I mean, yeah, the shark can play along please, So. 702 00:37:21,796 --> 00:37:25,276 Speaker 16: Yeah, it'll just sort of started with this initial riff. 703 00:37:28,196 --> 00:37:58,636 Speaker 7: H uh. 704 00:38:00,836 --> 00:38:01,836 Speaker 16: It's a little tyster. 705 00:38:02,716 --> 00:38:03,916 Speaker 13: It so fucking good. 706 00:38:05,436 --> 00:38:06,796 Speaker 1: I didn't even really get to hear it, but I 707 00:38:06,956 --> 00:38:07,556 Speaker 1: was just hearing that. 708 00:38:11,676 --> 00:38:13,356 Speaker 16: Hit the drama go bang bang bang. 709 00:38:15,476 --> 00:38:17,676 Speaker 1: You guys have been playing that for like almost ten 710 00:38:17,756 --> 00:38:18,156 Speaker 1: years now. 711 00:38:18,636 --> 00:38:18,836 Speaker 13: Yeah. 712 00:38:19,036 --> 00:38:23,276 Speaker 4: Probably we have like no concept of time. Ever, most 713 00:38:23,356 --> 00:38:25,716 Speaker 4: of the time, like how long did it take you 714 00:38:25,836 --> 00:38:29,636 Speaker 4: to make this thing? We're like when the record labels 715 00:38:29,676 --> 00:38:32,476 Speaker 4: and it has to be finished a while. 716 00:38:32,796 --> 00:38:35,516 Speaker 15: Yeah, we have a while and it's even the recorded 717 00:38:35,636 --> 00:38:37,716 Speaker 15: version of it is actually quite old too. 718 00:38:38,676 --> 00:38:40,956 Speaker 1: Yeah, it's super different, right, yeah, yeah, yeah. 719 00:38:41,116 --> 00:38:43,116 Speaker 15: We've got another song that was recorded at the same 720 00:38:43,156 --> 00:38:45,436 Speaker 15: time that's still not out, you know, like, so that 721 00:38:45,436 --> 00:38:46,476 Speaker 15: will probably be the next record. 722 00:38:46,556 --> 00:38:49,156 Speaker 12: Everything's just everything's just a puzzle, you know. It's just 723 00:38:49,316 --> 00:38:52,876 Speaker 12: like some puzzles you solve really fast. Another ones you're like, 724 00:38:53,236 --> 00:38:57,276 Speaker 12: why is this not like it yet? Like why wasn't 725 00:38:57,316 --> 00:38:59,156 Speaker 12: it feel the way I want it to make me 726 00:38:59,196 --> 00:39:02,036 Speaker 12: feel it? You know, So certain things are just like 727 00:39:02,876 --> 00:39:04,676 Speaker 12: take a little while to brew, and then you step 728 00:39:04,716 --> 00:39:06,196 Speaker 12: away from it and it's like what do we what 729 00:39:06,276 --> 00:39:06,876 Speaker 12: do we record? 730 00:39:06,916 --> 00:39:08,636 Speaker 16: And you're like, oh, okay, you. 731 00:39:08,716 --> 00:39:11,156 Speaker 12: Know you kind of figure out what it needs at 732 00:39:11,236 --> 00:39:15,076 Speaker 12: some point. We don't like to, you know, rush anything 733 00:39:15,196 --> 00:39:17,156 Speaker 12: or put anything out that doesn't feel right. 734 00:39:17,756 --> 00:39:17,996 Speaker 13: Yeah. 735 00:39:18,236 --> 00:39:20,116 Speaker 12: That's the weird thing about recording, because it's you know, 736 00:39:20,516 --> 00:39:25,076 Speaker 12: it's not it's just it's just sometimes it's really straightforward 737 00:39:25,116 --> 00:39:28,116 Speaker 12: and other times it's really not. You know, it's like 738 00:39:28,276 --> 00:39:31,916 Speaker 12: it's all kind of a sort of an illusion really. 739 00:39:32,476 --> 00:39:35,076 Speaker 12: You know, even if you really record yourselves playing it, 740 00:39:35,316 --> 00:39:38,436 Speaker 12: you know, you're not just standing in the middle of 741 00:39:38,476 --> 00:39:40,796 Speaker 12: the room hearing with two ears. You know, every microphone 742 00:39:40,916 --> 00:39:44,116 Speaker 12: is a weird unique ear placed it places that you 743 00:39:44,236 --> 00:39:47,116 Speaker 12: can't be at once, you know, and then you're just 744 00:39:47,156 --> 00:39:50,156 Speaker 12: trying to put it together in something that just feels right, 745 00:39:50,756 --> 00:39:51,676 Speaker 12: like feels. 746 00:39:51,436 --> 00:39:55,236 Speaker 16: Like the intention. So you know, sometimes that takes a 747 00:39:55,276 --> 00:39:56,596 Speaker 16: while to figure out and. 748 00:39:56,676 --> 00:39:59,236 Speaker 1: Does every song need require something different? 749 00:39:59,316 --> 00:40:01,676 Speaker 12: Or that's the challenge that I mean, I feel like 750 00:40:01,716 --> 00:40:03,636 Speaker 12: it's the great challenge of this project. And why the 751 00:40:03,716 --> 00:40:06,956 Speaker 12: records aren't you aren't like, you know, made that quick 752 00:40:07,236 --> 00:40:09,596 Speaker 12: because you know I feel. 753 00:40:09,516 --> 00:40:12,596 Speaker 13: Is there's not like one sound that suits allSome yeah. 754 00:40:12,476 --> 00:40:15,396 Speaker 12: Exactly, you know, I feel like, for example, I don't know, 755 00:40:15,876 --> 00:40:18,156 Speaker 12: like someone like you know, the dap Kings, who are 756 00:40:18,316 --> 00:40:22,076 Speaker 12: all amazing players, and you know it's just just incredible. 757 00:40:23,556 --> 00:40:25,236 Speaker 12: You know, they will make a whole record that's like 758 00:40:26,156 --> 00:40:29,316 Speaker 12: all the songs are essentially the same sounds. You know, 759 00:40:29,396 --> 00:40:31,276 Speaker 12: it's the sound of this room, you know, with like 760 00:40:31,716 --> 00:40:34,076 Speaker 12: one or two mics over the drum kit. You know, 761 00:40:34,516 --> 00:40:38,516 Speaker 12: all the tones are like in the exactly the same universe, 762 00:40:38,556 --> 00:40:40,756 Speaker 12: and you just get to take to get takes to feel. 763 00:40:40,556 --> 00:40:44,436 Speaker 16: Good, and you know, the whole record has that sound. 764 00:40:44,556 --> 00:40:49,876 Speaker 12: But for us, it's like every track is like drawing from, 765 00:40:51,436 --> 00:40:55,356 Speaker 12: you know, a different genre that has a different production 766 00:40:55,996 --> 00:41:00,836 Speaker 12: and process and stuffs as well. Yeah, yeah, exactly, it 767 00:41:00,916 --> 00:41:02,356 Speaker 12: might be like this, you know, I don't know, Like 768 00:41:02,436 --> 00:41:05,076 Speaker 12: for example, when we were making the song Attari from 769 00:41:05,196 --> 00:41:07,436 Speaker 12: Jusual Weapon, it's like, okay, so this is kind of 770 00:41:07,516 --> 00:41:08,716 Speaker 12: inspired by video games. 771 00:41:08,716 --> 00:41:09,236 Speaker 16: It's gonna have. 772 00:41:09,236 --> 00:41:11,836 Speaker 12: All these kind of little, you know, eight bitty kind 773 00:41:11,916 --> 00:41:15,116 Speaker 12: of feeling sounds, and then goes into the chorus and 774 00:41:15,236 --> 00:41:18,436 Speaker 12: that has this sort of drum and bass kind of 775 00:41:18,516 --> 00:41:21,316 Speaker 12: inspired thing. So then it's like, well, now we have 776 00:41:21,436 --> 00:41:25,476 Speaker 12: to embrace how that is put together, which is like 777 00:41:25,636 --> 00:41:29,876 Speaker 12: you know, chopping up different drum breaks you know, that 778 00:41:29,956 --> 00:41:33,676 Speaker 12: are all recorded differently. So we literally got you know, 779 00:41:33,796 --> 00:41:39,156 Speaker 12: he has played a bunch of different breaks with different mixes, 780 00:41:39,236 --> 00:41:41,116 Speaker 12: like just going down like it's a stereo mix, and 781 00:41:41,156 --> 00:41:44,116 Speaker 12: the drums do a different mix, play a different variation 782 00:41:44,236 --> 00:41:47,356 Speaker 12: on that feel at a different tempo. Just get We've 783 00:41:47,356 --> 00:41:49,756 Speaker 12: got heaps of those together, and then we change the 784 00:41:49,836 --> 00:41:51,916 Speaker 12: pitch of all of them so they're now all at 785 00:41:51,916 --> 00:41:54,636 Speaker 12: the same tempo, and then it's like kind of chopping 786 00:41:55,516 --> 00:41:57,636 Speaker 12: between them. Like this one's kind of like being split 787 00:41:57,716 --> 00:41:59,916 Speaker 12: up this much as little ride symbol and this one's 788 00:41:59,916 --> 00:42:02,356 Speaker 12: all like super tight and that's kind of been pitched down, 789 00:42:02,796 --> 00:42:06,756 Speaker 12: but it's just like, yeah, just embracing, like how did 790 00:42:06,836 --> 00:42:10,476 Speaker 12: people make stuff? In the stuff that we're referencing sound 791 00:42:10,636 --> 00:42:13,276 Speaker 12: like that style, and it's all really different, and. 792 00:42:13,316 --> 00:42:15,116 Speaker 15: It's super fun for us because it's like, you know, 793 00:42:15,236 --> 00:42:19,796 Speaker 15: that's the full experimental part of creating a record, and 794 00:42:19,916 --> 00:42:22,396 Speaker 15: we get to learn about it and go dive deeper 795 00:42:22,476 --> 00:42:25,476 Speaker 15: into it. And also like you know, like with this 796 00:42:25,716 --> 00:42:29,556 Speaker 15: all our inspirations musically, it's like nay, we'll bring something in, 797 00:42:29,716 --> 00:42:31,996 Speaker 15: someone brings something and it's like, I really love this 798 00:42:32,156 --> 00:42:34,276 Speaker 15: song at this moment, and it's like cool, like how 799 00:42:34,996 --> 00:42:36,556 Speaker 15: would they have done that? They might have like it 800 00:42:36,676 --> 00:42:39,316 Speaker 15: sounds like a microphone's all the way over there, but 801 00:42:39,556 --> 00:42:41,316 Speaker 15: like the singing is like all the way over here, 802 00:42:41,436 --> 00:42:43,156 Speaker 15: you know. And then you kind of like experimenting with 803 00:42:43,236 --> 00:42:45,916 Speaker 15: that stuff, and then you know, we've built up like 804 00:42:46,036 --> 00:42:48,716 Speaker 15: a reptile and like an arsenal of different sounds that 805 00:42:48,796 --> 00:42:50,916 Speaker 15: we kind of can create. And I feel like we 806 00:42:50,996 --> 00:42:53,756 Speaker 15: did a lot of experimenting on the first four records, 807 00:42:53,796 --> 00:42:56,636 Speaker 15: and and you know, the last one is like we're 808 00:42:57,156 --> 00:43:00,356 Speaker 15: kind of like we definitely have We've got a bag 809 00:43:00,436 --> 00:43:02,396 Speaker 15: and we can like pull sounds out of a bag 810 00:43:02,516 --> 00:43:04,356 Speaker 15: and put them on, you know, like which is cool. 811 00:43:04,716 --> 00:43:04,996 Speaker 14: I think. 812 00:43:05,036 --> 00:43:08,836 Speaker 4: Also another thing to mention is it like us working 813 00:43:08,876 --> 00:43:11,196 Speaker 4: out stuff and like let's go and watch a too 814 00:43:11,276 --> 00:43:12,956 Speaker 4: toori about this. Like a lot of it is just 815 00:43:13,196 --> 00:43:17,596 Speaker 4: listening and reimagining and it's a bastardization, but it's unique 816 00:43:18,596 --> 00:43:22,836 Speaker 4: because of that. It's like how like how you like 817 00:43:22,916 --> 00:43:25,396 Speaker 4: you can give art, but also how you interpret art 818 00:43:25,516 --> 00:43:28,276 Speaker 4: is also creative, you know. And like even the name 819 00:43:28,356 --> 00:43:30,116 Speaker 4: Hiatus coyote was kind of like a pun on that. 820 00:43:30,156 --> 00:43:31,996 Speaker 4: I was like, coyote is not a word. It's a 821 00:43:32,036 --> 00:43:35,556 Speaker 4: made up word, and like however you want to interpret 822 00:43:35,676 --> 00:43:38,316 Speaker 4: that involves your creativity, and I think that's a really 823 00:43:38,356 --> 00:43:40,396 Speaker 4: big part of like what it is that we do, 824 00:43:41,276 --> 00:43:43,956 Speaker 4: what we give to people, but also how we learn. 825 00:43:44,436 --> 00:43:47,996 Speaker 4: You know, it's just like listening and trial and error 826 00:43:48,076 --> 00:43:50,236 Speaker 4: and then you work it out and then you're a 827 00:43:50,276 --> 00:43:53,196 Speaker 4: little tool belled and maybe it'll be the thing that 828 00:43:53,316 --> 00:43:54,956 Speaker 4: you use later down the line, or maybe you have 829 00:43:55,036 --> 00:43:55,876 Speaker 4: to work out something new. 830 00:43:56,156 --> 00:43:58,196 Speaker 1: Yeah, that you say coyote is made up board, but 831 00:43:58,316 --> 00:44:01,236 Speaker 1: you just mean like the way it's spelled coyote. 832 00:44:00,876 --> 00:44:01,436 Speaker 7: Actually. 833 00:44:02,996 --> 00:44:04,636 Speaker 4: Hiatus Kyote. 834 00:44:05,476 --> 00:44:08,716 Speaker 10: A lot of people say coyote, and I don't like what. 835 00:44:11,476 --> 00:44:11,756 Speaker 15: I like. 836 00:44:12,276 --> 00:44:14,436 Speaker 4: I like boss made up. 837 00:44:14,636 --> 00:44:17,916 Speaker 1: I've been put on notice. I'll never I'll never say 838 00:44:17,916 --> 00:44:20,316 Speaker 1: it wrong again. Sorry, guys, it's fine. 839 00:44:20,996 --> 00:44:24,676 Speaker 4: It's a lot to take in with you our elaborate as. 840 00:44:27,156 --> 00:44:28,996 Speaker 2: After this last break, we'll be back with the rest 841 00:44:29,036 --> 00:44:36,516 Speaker 2: of my conversation with Hiatus Kayote. Here's the rest of 842 00:44:36,556 --> 00:44:38,156 Speaker 2: my interview with Hiatus Coyote. 843 00:44:39,116 --> 00:44:43,236 Speaker 1: In terms of lyrics, like lyrically, I really enjoy this album, 844 00:44:43,396 --> 00:44:46,076 Speaker 1: and I was wondering specifically for this album, when did 845 00:44:46,156 --> 00:44:50,916 Speaker 1: you come in? How how soon do you introduce ideas, 846 00:44:51,036 --> 00:44:56,356 Speaker 1: lyrical ideas or do you often just introduce like vocal 847 00:44:56,436 --> 00:45:01,716 Speaker 1: ideas and how early in terms of building constructing the tracks. 848 00:45:01,796 --> 00:45:05,356 Speaker 4: And sometimes it's the first thing. Sometimes it's the last thing. 849 00:45:05,876 --> 00:45:07,516 Speaker 4: You know, there's no formula, it's. 850 00:45:07,396 --> 00:45:07,836 Speaker 7: Like we all. 851 00:45:08,596 --> 00:45:10,876 Speaker 4: Sometimes I write whole songs and bring it to the 852 00:45:10,956 --> 00:45:14,116 Speaker 4: band with guitar and it's like very very formed. And 853 00:45:14,236 --> 00:45:16,956 Speaker 4: other times it's a response to something like in Cinnamon 854 00:45:16,996 --> 00:45:20,236 Speaker 4: Temple in that middle bit, I literally had to count 855 00:45:20,396 --> 00:45:23,836 Speaker 4: out the syllables of each riff and then work out 856 00:45:23,916 --> 00:45:30,236 Speaker 4: what words would make sense within that, you know, or yeah, 857 00:45:30,236 --> 00:45:32,756 Speaker 4: I don't know, there's no there's no set way that 858 00:45:32,876 --> 00:45:36,876 Speaker 4: I go about it, you know. And sometimes like melodies, 859 00:45:36,916 --> 00:45:41,436 Speaker 4: we based off melodic thing like, you know, like instrumental things, 860 00:45:41,476 --> 00:45:43,836 Speaker 4: sometimes the other way around, where an instrument is playing 861 00:45:43,876 --> 00:45:44,476 Speaker 4: what I'm singing. 862 00:45:45,076 --> 00:45:47,236 Speaker 12: I think, unlike Dimitri, you pretty much had like the 863 00:45:47,356 --> 00:45:50,956 Speaker 12: lyrics and the melody straight up. And then I sat 864 00:45:51,036 --> 00:45:52,876 Speaker 12: down with Name and we figured out the chords to 865 00:45:53,156 --> 00:45:55,036 Speaker 12: what was already there. It was like it was such 866 00:45:55,076 --> 00:45:58,636 Speaker 12: a strong idea melodically and lyrically, and then I was 867 00:45:58,716 --> 00:46:02,236 Speaker 12: just like, what are the what's with this? 868 00:46:02,636 --> 00:46:06,076 Speaker 16: And you know, so yeah, it can be really any it. 869 00:46:06,116 --> 00:46:10,156 Speaker 4: Can be a million but jillion different things. There's no Yeah. 870 00:46:10,876 --> 00:46:12,876 Speaker 1: Yeah, I was listening to st I've been listening to 871 00:46:12,876 --> 00:46:14,956 Speaker 1: Steely Dan a lot lately, and I was, I was 872 00:46:14,996 --> 00:46:17,396 Speaker 1: like wondering why it's like as good as they are, 873 00:46:17,476 --> 00:46:20,116 Speaker 1: why didn't they write or like give tracks to other 874 00:46:20,196 --> 00:46:23,116 Speaker 1: people or whole songs, you know, like And I was, 875 00:46:23,356 --> 00:46:26,876 Speaker 1: I guess always had the same similar thought about you guys, 876 00:46:26,956 --> 00:46:29,156 Speaker 1: like as anyone approached you guys to like take it 877 00:46:29,316 --> 00:46:31,236 Speaker 1: like where to say, like, hey, can you guys write 878 00:46:31,316 --> 00:46:33,636 Speaker 1: us a song like the track, the lyrics, everything, or 879 00:46:33,716 --> 00:46:34,356 Speaker 1: have you guys. 880 00:46:34,436 --> 00:46:38,716 Speaker 4: Thought people lots of really really famous people, but we 881 00:46:38,796 --> 00:46:42,356 Speaker 4: don't really care about that. You know, maybe it's I 882 00:46:42,396 --> 00:46:45,116 Speaker 4: don't know, the thing is, yeah, is the thing is. 883 00:46:45,236 --> 00:46:47,876 Speaker 7: Yet we. 884 00:46:49,436 --> 00:46:53,996 Speaker 4: Have so much to explore creatively together, and you know, 885 00:46:54,236 --> 00:46:58,356 Speaker 4: between like recording and writing and touring and photo shoots 886 00:46:58,356 --> 00:47:01,036 Speaker 4: and then a tiny slither of life where you're not 887 00:47:01,196 --> 00:47:04,036 Speaker 4: doing that, it's like there isn't a whole lot of 888 00:47:04,236 --> 00:47:07,876 Speaker 4: like additional time to just be like, you know, I'm 889 00:47:07,876 --> 00:47:12,196 Speaker 4: also very sentiment mental and my shit is like very 890 00:47:12,436 --> 00:47:17,236 Speaker 4: sacred to me. So the idea of like writing something 891 00:47:17,356 --> 00:47:20,436 Speaker 4: for somebody else's life experience is a little bit alien. 892 00:47:20,796 --> 00:47:24,156 Speaker 4: I mean like, yeah, I mean maybe one day, but 893 00:47:24,436 --> 00:47:27,356 Speaker 4: I mean realistically, most people do that because they need 894 00:47:27,436 --> 00:47:29,356 Speaker 4: to pay off a mortgage or something. True. 895 00:47:29,756 --> 00:47:32,116 Speaker 1: But then you did you like, you know, you used 896 00:47:32,116 --> 00:47:36,836 Speaker 1: a little bit of like my girl in well, you know, look, 897 00:47:36,876 --> 00:47:38,916 Speaker 1: I don't know if they'smoking it write that necessarily for 898 00:47:39,836 --> 00:47:41,716 Speaker 1: the paycheck, I don't think, you know, I mean. 899 00:47:41,996 --> 00:47:44,396 Speaker 4: He also didn't write it for us. We interprelated it. 900 00:47:44,636 --> 00:47:45,316 Speaker 1: It's a good point. 901 00:47:45,396 --> 00:47:53,396 Speaker 4: But I don't know, I'm particularly touchy about this because 902 00:47:53,396 --> 00:47:54,916 Speaker 4: I think it's a very la thing to be like, 903 00:47:55,596 --> 00:47:57,556 Speaker 4: you know, I don't know part of that part of 904 00:47:57,596 --> 00:48:01,676 Speaker 4: the industry and be like yeah, maybe things differently. 905 00:48:01,996 --> 00:48:04,076 Speaker 14: I think we just don't find enough time to actually 906 00:48:04,356 --> 00:48:05,556 Speaker 14: make music ourselves. 907 00:48:06,156 --> 00:48:06,316 Speaker 13: You know. 908 00:48:06,516 --> 00:48:08,236 Speaker 14: It's hard enough for us to get in the studio 909 00:48:08,316 --> 00:48:11,196 Speaker 14: and create stuff, let alone. 910 00:48:11,076 --> 00:48:15,276 Speaker 13: For other people. Yeah, I think we take that first. 911 00:48:15,676 --> 00:48:17,356 Speaker 1: Yeah, we have choices. 912 00:48:17,676 --> 00:48:19,116 Speaker 14: You want to write some more hiashit or do you 913 00:48:19,156 --> 00:48:20,596 Speaker 14: want to write it for other people? And it's just 914 00:48:20,676 --> 00:48:22,596 Speaker 14: like we're going to write more hiad shit. 915 00:48:22,956 --> 00:48:24,556 Speaker 12: I kind of think that too, like because we do, 916 00:48:24,756 --> 00:48:28,356 Speaker 12: you know, do stuff with each other side quest outside. 917 00:48:28,036 --> 00:48:28,436 Speaker 7: Of the band. 918 00:48:29,356 --> 00:48:31,996 Speaker 16: You guys do have sac But I think, you know, 919 00:48:32,076 --> 00:48:33,516 Speaker 16: as soon as it's like a thing. 920 00:48:33,436 --> 00:48:36,956 Speaker 12: That we're all writing, we're all invested in, we wouldn't 921 00:48:36,956 --> 00:48:39,276 Speaker 12: be able to give it away. But you know, it's like, 922 00:48:40,436 --> 00:48:42,516 Speaker 12: you know, it's like we're just one of us is 923 00:48:42,636 --> 00:48:45,316 Speaker 12: just making some stuff with another random person. It's like 924 00:48:45,356 --> 00:48:47,796 Speaker 12: cool whatever, Like it's you know, it's cool. But I 925 00:48:47,876 --> 00:48:52,196 Speaker 12: think once it becomes like collectively our thing, it's like no, 926 00:48:52,356 --> 00:48:54,676 Speaker 12: but we like we need to keep this this is 927 00:48:54,756 --> 00:48:57,116 Speaker 12: really good, like and if it wasn't really good, then 928 00:48:57,156 --> 00:48:59,876 Speaker 12: we wouldn't keep working on it, Like if everyone didn't 929 00:48:59,916 --> 00:49:02,956 Speaker 12: love it, it would sort of fall by the wayside. 930 00:49:03,276 --> 00:49:04,516 Speaker 13: And I think it's also. 931 00:49:05,836 --> 00:49:09,676 Speaker 15: I was going to say, like, you know, I think 932 00:49:09,716 --> 00:49:12,036 Speaker 15: we all like individually we all have like and also 933 00:49:12,116 --> 00:49:15,956 Speaker 15: collectively we have like inspirations musically, and it's not necessarily 934 00:49:16,116 --> 00:49:19,716 Speaker 15: like other singers, you know, like or it's more instrumentalists 935 00:49:19,796 --> 00:49:20,956 Speaker 15: and stuff like that, because. 936 00:49:20,716 --> 00:49:23,356 Speaker 13: Like we all have love for Miguel and would like 937 00:49:24,236 --> 00:49:25,596 Speaker 13: those kind of things all like you're. 938 00:49:25,476 --> 00:49:26,156 Speaker 4: Talking about Miguel. 939 00:49:26,156 --> 00:49:30,716 Speaker 15: I would first, that's true, true, true, true, Yeah, it's 940 00:49:30,796 --> 00:49:34,596 Speaker 15: kind of like having these instrumental arrangers that like we 941 00:49:34,956 --> 00:49:38,116 Speaker 15: really respect, and then like you know, that's like definitely 942 00:49:38,116 --> 00:49:40,916 Speaker 15: a possibility and we would do that. And who knows 943 00:49:41,116 --> 00:49:43,636 Speaker 15: if it's on our records or like or in their 944 00:49:43,716 --> 00:49:46,236 Speaker 15: records or it is the collaboration, but like, yeah, it is. 945 00:49:47,316 --> 00:49:48,876 Speaker 15: I just wanted to say that, you know, like it's 946 00:49:48,956 --> 00:49:50,956 Speaker 15: like we do have those, we do have those collective 947 00:49:51,036 --> 00:49:53,036 Speaker 15: like oh my god, imagine working with this person or 948 00:49:53,076 --> 00:49:55,836 Speaker 15: this artist, like you know from the other side of 949 00:49:55,836 --> 00:49:58,556 Speaker 15: the world that is doing something so unique that like 950 00:49:58,716 --> 00:50:00,996 Speaker 15: you can't touch that, you can't recreate that, and that 951 00:50:01,036 --> 00:50:02,836 Speaker 15: would be cool to collaborate with that person, you know. 952 00:50:03,236 --> 00:50:03,436 Speaker 13: Yeah. 953 00:50:03,876 --> 00:50:04,676 Speaker 7: I also don't. 954 00:50:04,476 --> 00:50:06,516 Speaker 4: Feel like like a lot of people like, oh, you know, 955 00:50:06,596 --> 00:50:08,836 Speaker 4: what's your dream list of collaborations, Like we've only really 956 00:50:08,876 --> 00:50:11,556 Speaker 4: worked with like like Pessa, like you know, like allth 957 00:50:11,556 --> 00:50:12,236 Speaker 4: the Erica. 958 00:50:12,396 --> 00:50:14,596 Speaker 13: Does, Like yeah, exactly, He's an example, you. 959 00:50:14,596 --> 00:50:19,156 Speaker 4: Know, Orchestral Rangers for us or you know. I think 960 00:50:19,396 --> 00:50:21,916 Speaker 4: just because I like something doesn't mean I have to 961 00:50:21,956 --> 00:50:24,076 Speaker 4: be a part of it, you know what I mean, 962 00:50:24,236 --> 00:50:26,076 Speaker 4: Like I love be York, but I don't know if 963 00:50:26,116 --> 00:50:29,516 Speaker 4: I would need to contribute something to it because I 964 00:50:29,596 --> 00:50:32,076 Speaker 4: can just like you know what I mean. It's like 965 00:50:32,076 --> 00:50:33,596 Speaker 4: I don't want to need to put my flag on 966 00:50:33,676 --> 00:50:37,116 Speaker 4: the moon all the time, and you don't want to 967 00:50:37,156 --> 00:50:42,316 Speaker 4: colonize others I mean beautiful, but I guess like, yeah, 968 00:50:42,396 --> 00:50:43,876 Speaker 4: it's like I have to be a part of that 969 00:50:43,996 --> 00:50:46,676 Speaker 4: because I like that. It's like you know, if it's 970 00:50:46,796 --> 00:50:50,116 Speaker 4: organic and it makes sense, sure, but not because of 971 00:50:50,836 --> 00:50:53,436 Speaker 4: any like superficial reason. 972 00:50:53,996 --> 00:50:55,956 Speaker 1: I mean, there is kind of like an industry overtone 973 00:50:55,996 --> 00:50:56,156 Speaker 1: to that. 974 00:50:56,476 --> 00:50:56,796 Speaker 13: I guess. 975 00:50:57,436 --> 00:51:00,596 Speaker 4: It's very la in Australia is the other side of 976 00:51:00,636 --> 00:51:02,076 Speaker 4: the world. People are way more chill. 977 00:51:02,236 --> 00:51:03,876 Speaker 1: I mean, I'm not even just for the like Australian 978 00:51:03,876 --> 00:51:05,596 Speaker 1: because I don't know that. You guys are so fucking good. 979 00:51:05,636 --> 00:51:06,956 Speaker 13: I'm like, God, how many like how. 980 00:51:06,996 --> 00:51:11,436 Speaker 1: Many people could use like you know what you guys 981 00:51:11,556 --> 00:51:13,676 Speaker 1: have harnessed together, you know what I mean? 982 00:51:13,916 --> 00:51:15,556 Speaker 13: Hopefully it's inspiration. 983 00:51:16,596 --> 00:51:18,916 Speaker 4: I think that's that's how we contribute. Is like the 984 00:51:18,956 --> 00:51:20,756 Speaker 4: amount of people like we didn't pop up shop the 985 00:51:20,836 --> 00:51:23,516 Speaker 4: other day. The amount of people that are like, seeing 986 00:51:23,636 --> 00:51:28,556 Speaker 4: you be creatively free together is like makes me want 987 00:51:28,596 --> 00:51:30,556 Speaker 4: to do that and that's more exciting to me than 988 00:51:30,596 --> 00:51:32,436 Speaker 4: me being like, hey, seeing this thing that I made, 989 00:51:32,596 --> 00:51:37,156 Speaker 4: you know what I mean. Yeah, But yeah, like Simon said, 990 00:51:37,636 --> 00:51:42,116 Speaker 4: we are so much like material and I'm always writing 991 00:51:42,196 --> 00:51:45,076 Speaker 4: and I'm just like waiting for us to like be 992 00:51:45,236 --> 00:51:46,916 Speaker 4: able to have the time to go home and work 993 00:51:46,956 --> 00:51:48,716 Speaker 4: on that ship because that's my favorite thing to do. 994 00:51:49,116 --> 00:51:51,956 Speaker 4: I love touring. But it's like, yeah, so it's like 995 00:51:52,116 --> 00:51:55,076 Speaker 4: that takes the top priority. But who knows, you know, 996 00:51:55,196 --> 00:51:59,956 Speaker 4: maybe I'll change my mind about that. Stevie Wonder Prince, like. 997 00:52:00,436 --> 00:52:02,276 Speaker 1: A lot of people look at I mean, you know, 998 00:52:02,356 --> 00:52:05,036 Speaker 1: and it's not in a crass kind of industry, you know. 999 00:52:05,356 --> 00:52:07,796 Speaker 13: But it's natural probably. I mean, we don't know because 1000 00:52:07,836 --> 00:52:08,476 Speaker 13: I don't know them. 1001 00:52:08,356 --> 00:52:11,916 Speaker 12: Personal collaborating outside the band, that's just me. I've been 1002 00:52:11,996 --> 00:52:13,716 Speaker 12: I've been trying to rope lots of people into my 1003 00:52:13,796 --> 00:52:15,876 Speaker 12: side project this week enough so we go around. 1004 00:52:15,956 --> 00:52:17,556 Speaker 1: Yeah, but by the way, fucked me up for the 1005 00:52:18,036 --> 00:52:19,676 Speaker 1: Like when I first heard that, I really thought it 1006 00:52:19,756 --> 00:52:21,996 Speaker 1: was like all Polynesian style record. 1007 00:52:24,956 --> 00:52:26,836 Speaker 12: Yeah, me and some have been working on the follow 1008 00:52:26,956 --> 00:52:30,116 Speaker 12: up record and we've we've got a lot of amazing 1009 00:52:30,356 --> 00:52:33,636 Speaker 12: people on it, you know, just which is fun. It's 1010 00:52:33,716 --> 00:52:37,036 Speaker 12: just you know, it's something special about getting cool instrumentalists 1011 00:52:37,076 --> 00:52:39,796 Speaker 12: to just hang out and just like make pretty stuff. 1012 00:52:40,036 --> 00:52:41,796 Speaker 12: Just like we're just going to make pretty music now 1013 00:52:42,436 --> 00:52:45,396 Speaker 12: and you know, do some palm tree swaying energy and 1014 00:52:45,796 --> 00:52:46,396 Speaker 12: have a good time. 1015 00:52:46,996 --> 00:52:49,916 Speaker 1: Just such a great chill time, such a great chill record. 1016 00:52:49,996 --> 00:52:52,796 Speaker 14: Yeah, it's really the best fun in the studio. Just 1017 00:52:53,236 --> 00:52:57,436 Speaker 14: everyone's smiling and super happy, like this record. 1018 00:53:00,636 --> 00:53:01,076 Speaker 16: Stressful. 1019 00:53:01,356 --> 00:53:03,716 Speaker 1: I wanted to ask about Simon about the way you 1020 00:53:03,716 --> 00:53:08,276 Speaker 1: think about chord changes just generally, like like are there 1021 00:53:09,196 --> 00:53:11,196 Speaker 1: changes just when you sit down at the piano you're 1022 00:53:11,796 --> 00:53:13,636 Speaker 1: prone to play more than others or. 1023 00:53:14,076 --> 00:53:19,476 Speaker 14: I feel like chord changes and harmony is something that 1024 00:53:21,836 --> 00:53:25,676 Speaker 14: is you know, when you intellectualize it and when you 1025 00:53:25,836 --> 00:53:29,716 Speaker 14: teach it, everyone kind of learns the same things, right, 1026 00:53:29,836 --> 00:53:32,676 Speaker 14: because this is the popular ones that everyone kind of 1027 00:53:32,716 --> 00:53:36,556 Speaker 14: gets down so that they can play certain styles. And 1028 00:53:36,716 --> 00:53:42,156 Speaker 14: that's cool, But I kind of prefer this sort of 1029 00:53:42,716 --> 00:53:46,556 Speaker 14: method of trying to figure out your own ideas of 1030 00:53:46,756 --> 00:53:52,476 Speaker 14: changes and establishing your own concept of harmony and sound 1031 00:53:53,236 --> 00:53:57,676 Speaker 14: and being able to hear and recall certain interval relationships 1032 00:53:58,556 --> 00:54:01,516 Speaker 14: because of emotional feelings that you connect with them as 1033 00:54:01,556 --> 00:54:06,036 Speaker 14: opposed to three six two five one or whatever, you 1034 00:54:06,156 --> 00:54:08,236 Speaker 14: know what I mean. Yeah, And that's you know, when 1035 00:54:08,236 --> 00:54:10,516 Speaker 14: you kind of think about it like that, you start 1036 00:54:10,596 --> 00:54:14,756 Speaker 14: to explore it in a different way where you really 1037 00:54:14,956 --> 00:54:21,436 Speaker 14: start to attach whether it's theoretical knowledge or emotional connections 1038 00:54:22,116 --> 00:54:25,036 Speaker 14: or you know, imagery that you can attach to certain 1039 00:54:25,836 --> 00:54:29,436 Speaker 14: intervelop things. That's the kind of shit that I'm really into. 1040 00:54:30,356 --> 00:54:32,876 Speaker 1: How often do you sit down just to just to play, 1041 00:54:32,996 --> 00:54:35,956 Speaker 1: like just improvise for or you know what I mean, 1042 00:54:36,036 --> 00:54:38,676 Speaker 1: not sit down to play something or write something. How 1043 00:54:38,716 --> 00:54:39,596 Speaker 1: often do you sit down. 1044 00:54:39,596 --> 00:54:41,596 Speaker 14: Just just to improvise and play. 1045 00:54:41,836 --> 00:54:42,036 Speaker 13: Yeah. 1046 00:54:42,556 --> 00:54:44,276 Speaker 14: Yeah, I mean recently I've been doing it a lot 1047 00:54:44,396 --> 00:54:46,956 Speaker 14: more because I just made it like a solo piano record. 1048 00:54:47,076 --> 00:54:49,636 Speaker 14: Then I was doing some shows with that, so I 1049 00:54:49,756 --> 00:54:51,836 Speaker 14: was playing like a full set of just you know, 1050 00:54:51,916 --> 00:54:55,316 Speaker 14: a piano, and I was just getting back into playing 1051 00:54:55,396 --> 00:54:57,556 Speaker 14: the piano because I don't really play the piano that 1052 00:54:57,676 --> 00:55:00,556 Speaker 14: much anymore. I just played keyboards and since a lot, 1053 00:55:00,996 --> 00:55:03,276 Speaker 14: you know, So that was I've been doing that a 1054 00:55:03,356 --> 00:55:05,996 Speaker 14: lot over the last like five six months, which has 1055 00:55:06,036 --> 00:55:08,876 Speaker 14: been really lovely, just getting to know the instrument again. 1056 00:55:09,756 --> 00:55:13,196 Speaker 1: Has it changed the way you approach synth or anything, 1057 00:55:13,276 --> 00:55:14,356 Speaker 1: or a keyboard or anything. 1058 00:55:14,596 --> 00:55:16,756 Speaker 14: No, No, I just like the piano is a different 1059 00:55:16,796 --> 00:55:19,196 Speaker 14: instrument for me. Like I sit on the piano and 1060 00:55:19,316 --> 00:55:21,956 Speaker 14: that's what I grew up on. So when I start 1061 00:55:21,996 --> 00:55:26,516 Speaker 14: playing that, it's you know, it's so much more complex 1062 00:55:26,676 --> 00:55:31,876 Speaker 14: than these things, really, absolutely, Like the dynamic range on 1063 00:55:31,956 --> 00:55:34,716 Speaker 14: a piano is like almost infinite. You know, you've got 1064 00:55:34,756 --> 00:55:38,636 Speaker 14: this insane whereas this has only got maybe four or 1065 00:55:38,676 --> 00:55:43,276 Speaker 14: five different steps of velocity of the sample or it's 1066 00:55:43,356 --> 00:55:46,236 Speaker 14: one with a synth or you know, so like when 1067 00:55:46,276 --> 00:55:51,236 Speaker 14: you're playing a piano, the velocity level for each finger 1068 00:55:51,476 --> 00:55:54,236 Speaker 14: is crazy. So every time you play a song, and 1069 00:55:54,356 --> 00:55:57,556 Speaker 14: if you get really into that song, you're playing it 1070 00:55:57,636 --> 00:56:00,476 Speaker 14: different because you've got ten fingers on the piano that 1071 00:56:00,556 --> 00:56:03,156 Speaker 14: are hitting the keys at different velocities. Every time, you know, 1072 00:56:03,716 --> 00:56:06,636 Speaker 14: that kind of shit blows my mind. Yeah, man, So 1073 00:56:06,756 --> 00:56:08,796 Speaker 14: then like the more you play, the more you get 1074 00:56:08,836 --> 00:56:12,876 Speaker 14: into that mind space, and then the malady is super important, 1075 00:56:12,916 --> 00:56:15,516 Speaker 14: but then everything that backs it up is also super important. 1076 00:56:15,596 --> 00:56:19,396 Speaker 14: You've got to get this delicate relationship between all your fingers. 1077 00:56:20,356 --> 00:56:22,476 Speaker 1: That's amazing. And I guess also you didn't. 1078 00:56:22,636 --> 00:56:23,596 Speaker 13: I don't know if you ever. 1079 00:56:23,676 --> 00:56:27,116 Speaker 1: Showed the debusy that was in I think we lost 1080 00:56:27,156 --> 00:56:30,796 Speaker 1: that somehow, that perfect time. 1081 00:56:36,876 --> 00:56:37,276 Speaker 13: Something like that. 1082 00:56:41,356 --> 00:56:43,756 Speaker 14: Yeah, it's that kind of movement, And that was. 1083 00:56:43,796 --> 00:56:47,076 Speaker 4: Because I'm particularly obsessed with you love as I love 1084 00:56:47,196 --> 00:56:52,316 Speaker 4: him and like I love like romantic, like close harmony. 1085 00:56:52,676 --> 00:56:54,796 Speaker 4: You know, it's just like super dreamy and beautiful. And 1086 00:56:56,036 --> 00:56:57,756 Speaker 4: Simon has a lot of that going on in the 1087 00:56:57,836 --> 00:57:00,836 Speaker 4: way he writes as well, and so I'm always assassing 1088 00:57:00,956 --> 00:57:03,196 Speaker 4: him to put little things like that into things. 1089 00:57:05,116 --> 00:57:09,556 Speaker 14: Sorry that it was a terrible rendition of that wasize. 1090 00:57:10,716 --> 00:57:12,916 Speaker 1: I'll hear it later. I'll judge it. 1091 00:57:12,996 --> 00:57:17,036 Speaker 4: Later, but yeah, harmony is beautiful. Harmony is like rhythm harmony, 1092 00:57:17,196 --> 00:57:19,436 Speaker 4: Like I don't know, just like there's so much you 1093 00:57:19,476 --> 00:57:22,436 Speaker 4: can do with it, and like things like Telescope and 1094 00:57:22,756 --> 00:57:26,036 Speaker 4: like Love Heart cheat Code. It's like a lot of 1095 00:57:26,036 --> 00:57:27,956 Speaker 4: people like, oh, this album is so much more simple 1096 00:57:27,996 --> 00:57:31,436 Speaker 4: than the other ones. Is like it's actually the thing 1097 00:57:31,556 --> 00:57:34,156 Speaker 4: is it's just like refining shit, and like the chord 1098 00:57:34,276 --> 00:57:36,636 Speaker 4: progression for Love Heart cheat Code and what I'm singing, 1099 00:57:36,676 --> 00:57:39,476 Speaker 4: it's like, if you actually break down what is modulating, 1100 00:57:39,796 --> 00:57:43,236 Speaker 4: it's actually kind of fucking weird. But if you commit 1101 00:57:43,396 --> 00:57:46,836 Speaker 4: to it and you're like really strong in your idea, 1102 00:57:46,996 --> 00:57:49,116 Speaker 4: then people go like just sing along. It's like, oh yeah, whatever, 1103 00:57:49,196 --> 00:57:51,156 Speaker 4: like that's just how it goes. But yeah, if you 1104 00:57:51,196 --> 00:57:53,876 Speaker 4: break it down, it's like more complicated than that. Kind 1105 00:57:53,876 --> 00:57:57,036 Speaker 4: of like single Ladies from Beyonce is like that's actually 1106 00:57:57,196 --> 00:57:58,996 Speaker 4: like a fucking weird ass song, but it's like one 1107 00:57:59,036 --> 00:58:02,276 Speaker 4: of the most famous like pop hits or whatever. I 1108 00:58:02,356 --> 00:58:03,956 Speaker 4: think was really good at that too. 1109 00:58:04,076 --> 00:58:05,836 Speaker 1: Oh yeah, David, I mean David Bowie. 1110 00:58:06,076 --> 00:58:08,036 Speaker 4: Changes like the start of changes, like if you go 1111 00:58:08,116 --> 00:58:11,236 Speaker 4: to learn, like are people just like chi ch chitches 1112 00:58:11,356 --> 00:58:13,436 Speaker 4: and they know that ship was like, try and learn 1113 00:58:13,516 --> 00:58:15,676 Speaker 4: how to play it. It is way more complicated than 1114 00:58:15,716 --> 00:58:15,956 Speaker 4: you think. 1115 00:58:16,196 --> 00:58:19,756 Speaker 1: Yeah, so true, well cool. I know you guys gonna 1116 00:58:19,756 --> 00:58:52,956 Speaker 1: do red room, so I want to go. You got it? 1117 00:58:53,716 --> 00:58:55,756 Speaker 7: It is the red sons as. 1118 00:59:04,716 --> 00:59:05,236 Speaker 1: Got it. 1119 00:59:05,956 --> 00:59:07,996 Speaker 4: It is the red hot sounds as. 1120 00:59:07,876 --> 00:59:08,756 Speaker 3: A big. 1121 00:59:10,516 --> 00:59:10,956 Speaker 4: Feels. 1122 00:59:11,036 --> 00:59:13,636 Speaker 6: I come in inside of fly. 1123 00:59:16,876 --> 00:59:19,796 Speaker 7: I got a record. It is a bad house, so, 1124 00:59:19,996 --> 00:59:23,316 Speaker 7: say's my bed feels. 1125 00:59:23,396 --> 00:59:27,436 Speaker 6: I come in inside of flya. 1126 00:59:29,076 --> 00:59:29,516 Speaker 7: Feels. 1127 00:59:29,596 --> 00:59:32,196 Speaker 6: I come in signmi ey. 1128 00:59:32,636 --> 00:59:47,636 Speaker 7: Least and I don't me hey anyway, buy, I don't 1129 00:59:47,716 --> 00:59:48,116 Speaker 7: want me. 1130 00:59:52,636 --> 01:00:00,156 Speaker 4: Anyway, buy, I. 1131 01:00:00,356 --> 01:00:03,436 Speaker 7: Got a record. It is a bad out. Soon, say's 1132 01:00:03,596 --> 01:00:15,596 Speaker 7: my bet. I gotta wed. It is a bad such 1133 01:00:15,636 --> 01:00:17,236 Speaker 7: as a mo bedroom. 1134 01:00:18,476 --> 01:00:18,836 Speaker 1: Seems. 1135 01:00:18,956 --> 01:00:27,236 Speaker 6: I come be inside of the sees, I come be side. 1136 01:00:29,876 --> 01:00:31,356 Speaker 3: And SI wuld be. 1137 01:00:35,956 --> 01:00:56,236 Speaker 7: Nyway body I want be re bity way. Body got 1138 01:00:56,316 --> 01:01:02,116 Speaker 7: a bedroom. It is the brown something the bedroom. I've 1139 01:01:02,196 --> 01:01:06,196 Speaker 7: got a red room. It is the batrum something, the mopetroom. 1140 01:01:07,916 --> 01:01:10,716 Speaker 7: I got a red It is the red out. When 1141 01:01:10,756 --> 01:01:12,956 Speaker 7: the song is in my bedroom. 1142 01:01:13,996 --> 01:01:23,156 Speaker 3: Seals on the bedside of feels at the sermon. 1143 01:01:25,476 --> 01:01:32,156 Speaker 4: It lay. 1144 01:01:33,316 --> 01:01:49,276 Speaker 7: By the look anyway, I don't want to be in 1145 01:01:49,556 --> 01:02:01,316 Speaker 7: the When the song says am persons out and when 1146 01:02:01,396 --> 01:02:02,276 Speaker 7: the song says. 1147 01:02:02,036 --> 01:02:04,916 Speaker 10: To mc been, just like I gotta REAYTHM man, I 1148 01:02:05,036 --> 01:02:08,876 Speaker 10: gotta d I got answers soon, says a Mapido. 1149 01:02:29,676 --> 01:02:32,116 Speaker 2: Thanks so much to Parn Paul Simon an Apalm of 1150 01:02:32,156 --> 01:02:34,676 Speaker 2: Heitus Kyote for coming through Los Angeles to do that 1151 01:02:34,756 --> 01:02:37,756 Speaker 2: live session and interview. I also want to give a 1152 01:02:37,796 --> 01:02:40,156 Speaker 2: big thanks to Dale Hughes and Jonathan Maya for getting 1153 01:02:40,236 --> 01:02:44,316 Speaker 2: the music in today's episode recorded, mixed and mastered to perfection. 1154 01:02:45,476 --> 01:02:47,636 Speaker 2: To hear some of our favorite Hiatus Kyote songs and 1155 01:02:47,796 --> 01:02:50,996 Speaker 2: songs associated with group, check out the playlist in today's 1156 01:02:50,996 --> 01:02:54,196 Speaker 2: episode description or at our website at broken Record podcast 1157 01:02:54,276 --> 01:02:56,516 Speaker 2: dot com, and of course be sure if you want 1158 01:02:56,516 --> 01:02:59,156 Speaker 2: to see the full video of today's episode to visit 1159 01:02:59,276 --> 01:03:03,036 Speaker 2: YouTube dot com, slash Broken Record Podcast, and be sure 1160 01:03:03,076 --> 01:03:05,636 Speaker 2: to follow us on Instagram at the Broken Record Pod. 1161 01:03:06,316 --> 01:03:09,476 Speaker 2: You can follow us on Twitter at broken Record. Broken 1162 01:03:09,516 --> 01:03:12,556 Speaker 2: Record is produced and edited by Leah Rose, with marketing 1163 01:03:12,636 --> 01:03:15,876 Speaker 2: help from Eric Sandler and Jordan McMillan. Our engineer is 1164 01:03:15,956 --> 01:03:20,156 Speaker 2: Ben Tolladay. Broken Record is a production of Pushkin Industries. 1165 01:03:20,596 --> 01:03:23,356 Speaker 2: If you love this show and others from Pushkin, consider 1166 01:03:23,436 --> 01:03:27,756 Speaker 2: subscribing to Pushkin Plus Pushkin Plus is a podcast subscription 1167 01:03:27,876 --> 01:03:30,636 Speaker 2: that offers bonus content and ad free listening for four 1168 01:03:30,796 --> 01:03:34,036 Speaker 2: ninety nine a month. Look for Pushkin Plus on Apple 1169 01:03:34,116 --> 01:03:38,076 Speaker 2: podcast subscriptions, and if you like this show, please remember 1170 01:03:38,116 --> 01:03:40,636 Speaker 2: to share, rate, and review us on your podcast app. 1171 01:03:40,956 --> 01:03:42,436 Speaker 1: Our theme music's by Kenny Beats. 1172 01:03:42,676 --> 01:03:43,676 Speaker 13: I'm justin Richmond.