Speaker 1: Pushkin.
Speaker 2: Today on the show, we have Hiatus Coyote in conversation
Speaker 2: and in performance. This incredibly talented group of four Australians
Speaker 2: have dazzled audiences, making fans of not only layman like myself,
Speaker 2: but also have some incredibly interesting and accomplished musicians like
Speaker 2: Erica Bado, Robert Glasper and even Willow Smith. They've also
Speaker 2: been able to collaborate with giants of music like Q
Speaker 2: Tip salam Remi in Brazil's Arthur Verocai. The group Hiatus
Speaker 2: Coyote is vocalist and guitarist Napalm, drummer Paren Moss, bassist
Speaker 2: Paul Bender and don keys Simon Mavin, but those aren't
Speaker 2: permanent stations for them. Any of the four at any
Speaker 2: time can move between instruments and all contribute to writing
Speaker 2: some of the most beautiful, soulful music of the last decade.
Speaker 2: Their latest album, to come out just early this year,
Speaker 2: is Love Heart Cheat Code. It's the group's fourth proper
Speaker 2: album and features, to my mind, some of their strongest
Speaker 2: songwriting yet, while still managing to weave in some of
Speaker 2: the incredibly complex musical ideas they're known for. I met
Speaker 2: with the foursome at Energy Studios in Los Angeles at
Speaker 2: the end of their US tour, to talk through the
Speaker 2: new album, their role as collaborators within and outside of
Speaker 2: the group, and to witness their magic up close and personal.
Speaker 2: This is Broken Record liner notes for the Digital Age.
Speaker 1: I'm justin Richmond.
Speaker 2: To see the full video version of this episode, along
Speaker 2: with the band's live set, including a version of their
Speaker 2: songmak friends, visit YouTube dot com slash Broken Record podcast.
Speaker 2: But for now, here's Hetus Coyote performing their song Dimitri.
Speaker 3: Bound down.
Speaker 4: Chi lots of things danger.
Speaker 5: My sick colors in the out further around and give.
Speaker 6: It about dry.
Speaker 7: Lots of thing danger my si colors now around and
Speaker 7: now give it about.
Speaker 3: Up alone with the world man, fine, where have you teacher?
Speaker 8: Definition colling me aar s f W roll the dream
Speaker 8: home way so I get try.
Speaker 7: Concert them to.
Speaker 1: I s t.
Speaker 7: Try it down. I'll give it up about Yeah.
Speaker 4: You try in a whole world.
Speaker 8: Jun down and now give it about to you if
Speaker 8: it says too to your head time because you times if.
Speaker 9: You sit still to your head crime, I can't hear us.
Speaker 9: Times your sid stoll to your head, I can't hear
Speaker 9: us eight times. You may find an angel, he.
Speaker 7: Shut umble.
Speaker 5: Unto fry Jeezo, counter thinganger monteze intend Japan, londer down
Speaker 5: and give it up, Bouser, you try to.
Speaker 4: Until they intend to.
Speaker 7: Well running down and half give it up.
Speaker 4: Bout you old.
Speaker 7: Lord the world world.
Speaker 10: Fine, well have beauties ibund to venish.
Speaker 7: Love joy you fack I have had the dream world
Speaker 7: War of the swagon.
Speaker 11: You said, still digital head back mack out you, Joe said,
Speaker 11: still Tito, head back, make out here three times to
Speaker 11: persist digital heaven, Oh.
Speaker 7: Make out here three times?
Speaker 4: You may find as.
Speaker 10: He your sister didn't your head back tack came? He'll says,
Speaker 10: my sister.
Speaker 4: Didn't your hair tack?
Speaker 7: He's a chap six in a home.
Speaker 6: Din't your hand back us?
Speaker 7: Did you had finger us your sister? Did you hair?
Speaker 4: Did you look at you use your.
Speaker 7: Sister to.
Speaker 6: Sing you ls?
Speaker 3: Sister?
Speaker 7: Did you tell us stoo.
Speaker 1: Whoa man? That was an incredible set, guys, you was beautiful,
Speaker 1: maybe even more I was happy able to see it,
Speaker 1: but maybe even more sad that there's not a l
Speaker 1: a stop on the on the tour. Congratulations on the
Speaker 1: new album. It's phenomenal. It is really good. It feels
Speaker 1: like a perfectly sequenced record too, And hold on, guys,
Speaker 1: was how many how many songs did you guys record
Speaker 1: for the record?
Speaker 12: There's like a couple more extras. It didn't quite make it.
Speaker 12: That's kinda happens every record. There's always a fear that
Speaker 12: we were like, it's not quite it's not quite you know,
Speaker 12: cooked enough, or we gotta, you know, maybe try to
Speaker 12: reapproach it, so you know that, and they always usually
Speaker 12: end up on the next record that always but not
Speaker 12: always has been around.
Speaker 13: For a while.
Speaker 4: Also, the thing is like once you start the recording
Speaker 4: process and trying to document the songs that we already have,
Speaker 4: we also write a lot like Make Friends was a
Speaker 4: very last minute addition to the record because we're just
Speaker 4: like you know, in the mood to create, and so
Speaker 4: there's always like something that just sneaks in, like Red
Speaker 4: Room was like that on the last one, you know.
Speaker 4: So yeah, it's never like a set amount of songs.
Speaker 1: How do you make Friends come together?
Speaker 4: Then Simon wrote the riff.
Speaker 14: Yeah, I was sitting at home on my upright piano
Speaker 14: with my wife sitting on the couch and I just
Speaker 14: started going.
Speaker 4: She was like, Simon made an unplugged.
Speaker 14: She was like, that's that was that's good and I
Speaker 14: was like, all right, if if a non musician says
Speaker 14: I like that, then generally that's a good thing.
Speaker 4: What was the turnaround on that? Because he just came
Speaker 4: to the studio and was playing it and then I
Speaker 4: literally wrote to it overnight. I was like, that's excellent.
Speaker 14: I didn't think it was going to be a higher
Speaker 14: song really now, yeah, I didn't. I didn't hear it
Speaker 14: to be a higher so he didn't present it that way.
Speaker 14: I was just playing for the studio and then they
Speaker 14: was like, what do you get this recorded on her iPhone?
Speaker 14: And then at like three am sent me audio message
Speaker 14: of her singing to it. Wow, And then it was
Speaker 14: like all right, this is going to be a hiatus
Speaker 14: And then we just went in the studio and it
Speaker 14: just sort of came about really easily. Everyone just sunk
Speaker 14: into it and we had it done in a few weeks.
Speaker 1: You know.
Speaker 4: We also like came up with the last vocal bit
Speaker 4: after we recorded it, and we're mixing with Mario c
Speaker 4: who is a legend. He produced like Beast Boys and shit. Anyway,
Speaker 4: we're at his house and just kind of added that
Speaker 4: in last minute, so he's singing on it, Scott our
Speaker 4: managers singing on it. So we just kind of had
Speaker 4: like a little party vibe in the answer. That was
Speaker 4: a really cute addition to the song.
Speaker 1: What song were you guys recording when you started playing
Speaker 1: that riff?
Speaker 15: Do you remember we're just probably rehearsing, We're just working
Speaker 15: on the record, and then I think in your room room,
Speaker 15: But it was like, I don't remember how it actually
Speaker 15: came back because I didn't hear it, Like I only
Speaker 15: heard it once and they had vocals on it, and
Speaker 15: I think we were just jamming on it in my
Speaker 15: room and then we just kind of pipped the microphones
Speaker 15: up and just recorded.
Speaker 4: And it was telescope because it was like the Skulls
Speaker 4: when I was recording the Skulls on that don't conkkunk.
Speaker 14: It was in that actual skulls.
Speaker 4: Telescope has witchy but no they what are they?
Speaker 1: Ik wood blocks, Alm sound way more bad ass. It's
Speaker 1: a great remare was Dreamboat? Like? Was was Dreamboat done
Speaker 1: before Telescope?
Speaker 14: Or did you Yeah, there's another song, Yeah, another one
Speaker 14: that I didn't think would be a lot of the
Speaker 14: things that I bring sometimes I'm like, this is going
Speaker 14: to be the highest thing, and then all of a sudden, no,
Speaker 14: it really.
Speaker 4: Is a highus song because everyone writes, you know what
Speaker 4: I mean, like different bits and pieces, and that's what's
Speaker 4: beautiful about this collaboration is it's like, I don't know,
Speaker 4: all these like amazing artists want to work with us,
Speaker 4: but I'm like so spoiled for choice because it's not
Speaker 4: like people just playing instruments like everyone writes, so you
Speaker 4: never really know what's going to develop into a hiatus song.
Speaker 4: Sometimes it's just like a sound or like a little piece,
Speaker 4: so like Cinnamon Temple, you know. So there's no real formula,
Speaker 4: and I'm always like I'm like a spy. I always
Speaker 4: have my voice notes like recording them.
Speaker 14: And then yeah, I think Dreamboat was earlier than Telescope
Speaker 14: because yeah, we started playing it live as an intro
Speaker 14: to the set before we did the record, so that
Speaker 14: was the first kind of the I think the last
Speaker 14: tour that we did in the States, that was kind
Speaker 14: of our addition to open the set up.
Speaker 1: And then so was Telescope like an outgrowth from dream
Speaker 1: because it's just no, no.
Speaker 13: It's a separate thing.
Speaker 4: Yeah, separate thing they both have concert harp on them though,
Speaker 4: do you remember that's a thought also, so that kind
Speaker 4: of ties it in Melina, Yeah, because it's like, I
Speaker 4: don't know, when Simon showed us Streamboat, it had this
Speaker 4: kind of like like Alice Coltrane elements, and I was like,
Speaker 4: we should have harp on it. And I even like,
Speaker 4: Dreamboat lyrically is inspired by a piece of hers called
Speaker 4: Lovely Skyboat, and so like a dream boat is like
Speaker 4: my version of skyboat. So we had harp on it
Speaker 4: and then telescope sequencing coming after that is it's kind
Speaker 4: of like it's a it's a boat, it's a dream boat,
Speaker 4: a skyboat that takes you into space. So it made
Speaker 4: sense to put telescope next, and then we're like, fucking
Speaker 4: let's put harp on that as well. So that's why
Speaker 4: it kind of seemed like sister songs.
Speaker 13: Yeah, and also once we heard the harp, it's like
Speaker 13: he's kind of kind of.
Speaker 1: Who did the harp on that?
Speaker 4: Molina is something I played is a gijiang. There's like
Speaker 4: a Chinese harp that There's just like there's heaps of
Speaker 4: random instruments around the studio because the boys are nerds.
Speaker 4: And collect things like harpsichords and stuff.
Speaker 7: So but that one was a jam as well.
Speaker 4: It was just like Simon found this like synth sound
Speaker 4: and I was playing these gijang I can't actually play it,
Speaker 4: but I was just like, you know, fucking about or whatever.
Speaker 4: And on NASA's website, you can like type in your
Speaker 4: birthday and it will show you a picture of what
Speaker 4: the Hubble telescope took on your birthday. So each verse
Speaker 4: is about like we just typed in each band member's
Speaker 4: birthday and each verse is about that. Yeah, it was
Speaker 4: very kind of just came together. I think that was
Speaker 4: like during COVID when we were locked down and just
Speaker 4: like being really creative and shipping away at stuff and
Speaker 4: having a break.
Speaker 15: From mixing Mood Valiant. Yeah, just kind of came about
Speaker 15: and then we're just like, actually, this is pretty cool.
Speaker 15: Maybe next record potentially.
Speaker 1: And then I was going to ask about the lyrics,
Speaker 1: like if you knew about like Einstein Ring, I was like,
Speaker 1: this incredible stuff. I didn't, you know. I like to
Speaker 1: look at space, but I don't really know space is
Speaker 1: the place. I don't going on up there though, But
Speaker 1: it's like, does anybody.
Speaker 4: Well, someone who does know who knows about Einstein Ring,
Speaker 4: which is like maybe the coolest bit of trigger I've
Speaker 4: heard about this record. But like a friend of ours
Speaker 4: is doing an exhibition at the Planetarium in New York
Speaker 4: and Neil degressed Tyson's office is down the hall from there,
Speaker 4: and like I heard our friend playing it and like
Speaker 4: walked in and was like, I think thing about Einstein Ring,
Speaker 4: And I was like, who was the best?
Speaker 1: Like Coastline, you're joking, He's going to be.
Speaker 13: On our next record, going to get a collabor spoken.
Speaker 1: With this record and next record. I think that'd be
Speaker 1: incredible because it's like it really is like a like
Speaker 1: I mean, there's it's kind of like a dent lyrically,
Speaker 1: it's a little dance but you but it's also like
Speaker 1: the way you constructed it is it's concise too, Like
Speaker 1: I don't know how you got away with it.
Speaker 4: It's I don't know how I get away with anything.
Speaker 4: Just you know, raw dogging life right now, swing it.
Speaker 1: That's a good way to go for it.
Speaker 2: We'll be right back with more from hiatus Kyote after
Speaker 2: the break. We're back with more from hiatus Kyote.
Speaker 1: How do you guys change things from like when you
Speaker 1: guys are preparing to go out on tour and hit
Speaker 1: the road, how do you like and what's the rehearsal
Speaker 1: like for the album versus the rehearsal like for the
Speaker 1: road and what are you guys looking for?
Speaker 4: They don't really rehearse for the album.
Speaker 13: We just make ye just.
Speaker 16: Make make things.
Speaker 12: And then it's like, you know, the sky's sort of
Speaker 12: the limit, so you can just put any sound on
Speaker 12: the record that feels right, and then and then it's
Speaker 12: like cool, We've got to go on tour. And then
Speaker 12: it's like, oh, ship, Like how do we actually execute this?
Speaker 12: How do we do something that feels like has the
Speaker 12: scope and the you know, and and the color of
Speaker 12: the production that we've put together.
Speaker 4: So look how many fucking pedals?
Speaker 16: He has three boards and these.
Speaker 4: Got simmons and he's doing live effects as the drums,
Speaker 4: which a lot of people don't really realize.
Speaker 16: Usually I have, like, you know, I didn't need for
Speaker 16: the songs today.
Speaker 12: But there's sampler and bass synth, and he's got to
Speaker 12: you know, JJ's got a sampler over there. So it's
Speaker 12: just this puzzle of like you know, sampling stuff on
Speaker 12: the record and making heaps of different sounds and trying
Speaker 12: to figure out how to you know, encapsulate the energy
Speaker 12: and the you know, the colors of what we did.
Speaker 12: But yeah, it's always we did ourselves a pretty big
Speaker 12: hole every time, at least at least some of the
Speaker 12: tracks on the albums, like White Rabbit.
Speaker 4: White Rabbit was like hat like a fever dream. I mean,
Speaker 4: it's supposed to be a fever dream, but basically, like Bender,
Speaker 4: there was like an omnichord and we were running like
Speaker 4: this shitty rhythm thing from it through his distortion pedals,
Speaker 4: like his bass pedals, and like there was like a
Speaker 4: mixer called it Alice.
Speaker 16: What is it Alice broadcast mixer?
Speaker 4: Yeah, and it has a little picture of a white
Speaker 4: rabbit on it. So I just started singing what I
Speaker 4: could remember of White Rabbit over this curse like distorted
Speaker 4: rhythm thing of this like JANKI omnichord thing, and it
Speaker 4: was just like an experiment, just fun, and then we
Speaker 4: just kept like adding things and expanding on it, and
Speaker 4: like Benders taught himself how to play Cello's there's like
Speaker 4: cello on it, and there's a reference to like Dubussy.
Speaker 1: On it, and like what's the diversity reference.
Speaker 4: It's like claridalone is the B section because I didn't
Speaker 4: love the B section similar cords.
Speaker 14: Oh god, I can't remember.
Speaker 1: I want to hear it, but the people, yeah, the.
Speaker 4: It and the cool thing is is like I never
Speaker 4: really expected to a cover, but it just kind of
Speaker 4: came together through playfulness, which is a big part of
Speaker 4: our ethos. But also I like the idea that with
Speaker 4: White Rabbit, it's kind of like, you know, it's it's
Speaker 4: such a like iconic psychedelic moment in time, and when
Speaker 4: people cover it, they kind of do like a throwback
Speaker 4: psych thing, and I'm like, we have a whole new
Speaker 4: level of psychedelia now.
Speaker 15: You know.
Speaker 4: It's like there is new drugs, there's new wars. There's
Speaker 4: like there's like social media and like tech, you know, evolutions.
Speaker 4: So there's like it's like what does what are those
Speaker 4: themes that are still very much present today that will
Speaker 4: probably always be present as long as humans are around,
Speaker 4: because you know, but what was that sound like today?
Speaker 4: And how how how do you like approach psychedelia without
Speaker 4: referencing the sixties the sound of the sound of it
Speaker 4: exactly so so we got real weird on it. But
Speaker 4: that one's really hard to do live because there's just
Speaker 4: so much going on.
Speaker 15: Do you know where we've got it together? We did
Speaker 15: get it together so and then and then yeah, we
Speaker 15: just we just stopped.
Speaker 13: We gave up.
Speaker 1: What's the part that like, fuck you guys up?
Speaker 15: Just sound wise, in headphones, it's really hard to like
Speaker 15: get because we have so many variety of sound within
Speaker 15: within all the songs. So like for White Rabbit, it's
Speaker 15: a whole new journey for us, and we don't really
Speaker 15: understand what we all need to be able to play
Speaker 15: the song within the headphones. So it's kind of like
Speaker 15: it's going to take a long time for us to
Speaker 15: get it right. But in the rehearsal room we kind
Speaker 15: of got it. But it's a different situation to how
Speaker 15: we play live. Get there, Yeah, we'll get there.
Speaker 4: We'll get We have too much material as it is,
Speaker 4: you know, like most people like make ship and then
Speaker 4: gate keep it and then eventually show people. But we're
Speaker 4: always just like whenever something's ready, we're.
Speaker 1: Like, you know, this is this is close enough. I
Speaker 1: feel like to rehearsal setting right.
Speaker 15: It is, but there's so many sounds like I've got buttons,
Speaker 15: JJ's got buttons, Bender's got buttons, and then we're all
Speaker 15: playing as well.
Speaker 13: And then it's like he's got distortion.
Speaker 15: My ex law's got like reverb mix and there's like
Speaker 15: a whole bunch of layers on.
Speaker 13: The song, and.
Speaker 4: Yeah, it's distortion.
Speaker 13: It's hard to get it right, but we'll get there.
Speaker 4: We also have like nearly any time we go to
Speaker 4: the airport, like uber drivers just drive away. They look
Speaker 4: at the sheer amount ship we have and they're like
Speaker 4: it's not worth it.
Speaker 12: They just know.
Speaker 1: Way you guys don't have cars. I had a time
Speaker 1: right with the amount of stuff required.
Speaker 4: Yeah, we do, but there's definitely been times where people
Speaker 4: just like fucked off.
Speaker 1: And it's like, yeah, yeah, I could see that. It's
Speaker 1: it's it's intimidating to see, like I was, I was
Speaker 1: talking to you guys. Is a todo who does sound
Speaker 1: for you guys, and like it's it's an ambitious you know,
Speaker 1: getting this on the road.
Speaker 13: And he does such a good job.
Speaker 12: I mean, the the the obvious choice, you know, really
Speaker 12: would just be like put a bunch of stuff on
Speaker 12: a backing track on a laptop and just like have
Speaker 12: a click track in your ears and just like do that,
Speaker 12: but none of us want to.
Speaker 16: Do that about it, Like we we'd all just like
Speaker 16: hate it and have the worst time possible.
Speaker 12: So you know, there's a lot of complexity and just
Speaker 12: trying to recreate everything where everyone's playing as much of
Speaker 12: it as possible and we're not like leaning on any
Speaker 12: of that stuff. So you know, it's like, oh, I
Speaker 12: need to have distorted like drums on this song, you know,
Speaker 12: so that's a thing.
Speaker 15: Yeah, and that's I got a new toy here, which
Speaker 15: is like Johnny who does find a house for us
Speaker 15: and he recorded today as well. He gave me a
Speaker 15: little distortion box and that's a new element, so like,
Speaker 15: you know, just get it's like a tire a little box.
Speaker 13: And now I've got distortion of my drums so I
Speaker 13: can dial.
Speaker 1: In continue to play with that so we can hear.
Speaker 13: Yeah, I'll show you how much what it does.
Speaker 4: Also, there's so much improvisation, Like it's very specific arrangements,
Speaker 4: but like there's by not playing to a clicking track,
Speaker 4: if you're feeling something or you want to loop something
Speaker 4: or stand something, you want to improvise, like you have
Speaker 4: the capacity to do that.
Speaker 1: I wanted to ask about that because I did. I
Speaker 1: did notice that.
Speaker 13: So this is zero mm hmm. This is like.
Speaker 1: There you go.
Speaker 15: She said, it's the microphones down here. Yeah, that's it.
Speaker 15: So I got that now, and then you turn an offense.
Speaker 15: It's a big difference.
Speaker 1: Yeah, how many sounds can you get out of your kit?
Speaker 13: Do you figure a lot?
Speaker 4: Probably twenty seven?
Speaker 13: Yeah, I think twenty seven is the maximum number. No more,
Speaker 13: no more than that.
Speaker 15: Yeah, No, I've got like I've got like a Simmons
Speaker 15: over here that's got triggers to so that first row
Speaker 15: is a kick and I can change it the pitch
Speaker 15: of the length of that, and then like same with
Speaker 15: all the and then with all those guys that can
Speaker 15: can mix over here that does the the effects. And
Speaker 15: then microphone over here to record.
Speaker 13: Stuff, and then.
Speaker 1: That kind of the year you're doing something to like
Speaker 1: mess with.
Speaker 4: Yeah, yeah, I got like can you want to tell
Speaker 4: that from the Indians?
Speaker 15: Oh, if you don't have headphones, you can't tell you,
Speaker 15: Like you're showing a thing that No, but I feel
Speaker 15: like they in the studio.
Speaker 1: Yeah yeah, they can hear it.
Speaker 4: Yeah, but.
Speaker 13: It sounds it sounds so boring.
Speaker 15: When I'm not so umb dum dumb exactly.
Speaker 13: It's happened before.
Speaker 15: When I'm just hitting at timents, it's like oh ship,
Speaker 15: but you know, without the headphones on, it just sounds
Speaker 15: like I'm doing nothing.
Speaker 1: Yeah, but yeah, it's crazy because usually like people have
Speaker 1: like big, like big kits. It's like, yeah, you know,
Speaker 1: not to say it's necessarily overkilled, but they do a
Speaker 1: lot with it all the time. Like you know, I
Speaker 1: guess you think of like a Neil Pert, you know,
Speaker 1: and he's cool to listen to, but it is like
Speaker 1: a lot that he's doing and it's a big kid,
Speaker 1: you know. Like it is cool how you choose to
Speaker 1: use things and when.
Speaker 15: You it's coming from like a production background, and like
Speaker 15: in the beginning, like we didn't have any of this stuff,
Speaker 15: and then we'll be playing like songs off choose your weapon,
Speaker 15: and like I didn't have the Simmons either, so it'll
Speaker 15: just be like chucking things on snares and symbols to
Speaker 15: try and create like the feeling of distortion or whatever.
Speaker 15: And then eventually, like you know, found the Simmons and
Speaker 15: it was like I was able to tune the drums
Speaker 15: and then it's kind of like then I'm kind of producing.
Speaker 15: I've got my own little production world here, so it's cool.
Speaker 15: And then I don't need as many drums. I and
Speaker 15: just like these two drums can change pitch so and
Speaker 15: that's why they're so dead. So like the deader they are,
Speaker 15: the more I rely on the Simmons to change the
Speaker 15: notes and the pitch and stuff like that.
Speaker 13: And just keep adding on to this.
Speaker 15: But yeah, the actual drums was only like a three
Speaker 15: piece kit really with symbols and all the other stuff.
Speaker 1: And what came first for you? Was it production? Like
Speaker 1: did you start producing stuff first or did you start
Speaker 1: drum Like?
Speaker 13: No producing really?
Speaker 1: Yeah, so when did you pick up drums.
Speaker 15: Or like I've been playing a hand percussion like for
Speaker 15: a while. And then when I went moved to Melbourne,
Speaker 15: I kind of like we moved down. I was in
Speaker 15: another band and we moved down to Melbourne without the drummer.
Speaker 15: So we had another drummer, the Fisher that was playing
Speaker 15: with us in Melbourne. But I would just picked up
Speaker 15: the drums and because I knew the songs and I'm
Speaker 15: like kind of get away with playing like basic basic
Speaker 15: patterns from just hand drumming.
Speaker 13: And that's kind of how it started. Really.
Speaker 15: It would have been like how twenty one twenty two, Yeah,
Speaker 15: like where we really went in where and then and
Speaker 15: then I moved in with these guys and then like
Speaker 15: they're all amazing musicians. And then I just basically like
Speaker 15: tated like a day job and just did like eight
Speaker 15: hours a day, just kept playing drums and learning so
Speaker 15: much from these guys, and yeah, it was fun.
Speaker 4: It was initially like doing production and percussion or whatever,
Speaker 4: and it was like, actually, you're the drummer.
Speaker 15: Now, and so yeah, Nakamara was the first song. H
Speaker 15: it was a less Skull or something like that.
Speaker 13: Yeah, from the first record. Yeah, yeah, I was the percussionists.
Speaker 1: That's around the time that you really started. I mean,
Speaker 1: it's that's we were.
Speaker 4: Supposed to get a drummer. It was like, yeah, we're
Speaker 4: the drummer.
Speaker 7: How are you.
Speaker 15: Trapped with us now?
Speaker 13: I'm trapped. No, it's good, it's great.
Speaker 15: Yeah, it was like it was a little bit later on,
Speaker 15: but I just like, you know, I was, you know,
Speaker 15: I'm a big believer in like, if you want to
Speaker 15: do it, then you can you can make anything. Anything's
Speaker 15: Possiblely you know you've got the drive to do it,
Speaker 15: then you can kind of achieve a lot. So it's
Speaker 15: kind of proved to myself and other people around me
Speaker 15: that doesn't matter what age you are. You know, you
Speaker 15: can kind of get if you're really passionate about something,
Speaker 15: you can just you can get it done if you
Speaker 15: dedicate your like a lot of time to it.
Speaker 1: It's just crazy. I mean there's drummers who, like I mean,
Speaker 1: who are big fans of yours who've been you know,
Speaker 1: they've been playing make us think of like Quest Loves
Speaker 1: and playing since he was a toddler, or like Chris Dave,
Speaker 1: like you know what I mean, Like like you are,
Speaker 1: like twenty years after them, you're picking the instrument. It's
Speaker 1: it's nuts, It's.
Speaker 13: But I mean those guys like paved the way.
Speaker 15: Like I listened to the records that there's guys played
Speaker 15: on and it's like you know, hearing just hearing how
Speaker 15: it sounds and a record, and that's where I'm listening.
Speaker 13: I'm listening to like what they're playing.
Speaker 15: I'm listening to how it sounds on the recording, and
Speaker 15: then I'm like making up my own mind of how
Speaker 15: that's that's happening. You know, it's like naivety in a bit,
Speaker 15: like you know, like just kind of going, oh, that's
Speaker 15: probably how they did it, and it's most of the
Speaker 15: time it's not how they did it. But then it's
Speaker 15: kind of form my own sound by just making up
Speaker 15: what other people did and then just trying to achieve that.
Speaker 13: That makes sense.
Speaker 1: Is that a different mindset then than when you're on
Speaker 1: the road and.
Speaker 15: Yeah, yeah, recording in the studio and playing live is
Speaker 15: a totally different thing for sure.
Speaker 1: How do you try or how do you like how
Speaker 1: do you adjust?
Speaker 13: I don't know.
Speaker 15: I feel like on live gigs it's more about like
Speaker 15: being like a bit more of a timekeeper, but also.
Speaker 13: I'm like I have them Like I feel like I
Speaker 13: have a lot of.
Speaker 15: Freedom in the band because I don't have anything melodic,
Speaker 15: so I kind of like can I've got to just
Speaker 15: make it move, like I've got to move within everyone
Speaker 15: and try and make it feel really good for people
Speaker 15: to dance too. That's kind of like how I approach it.
Speaker 15: But in the studio, I'm like, it's more tone and
Speaker 15: what the song needs, you know. In the live it's
Speaker 15: like I might hit the high harder on this section,
Speaker 15: but in the studio I would be taming it down
Speaker 15: because I can hear how it sounds in the microphone,
Speaker 15: so I'm like, I don't want to play louder because
Speaker 15: it's going to fuck up the sound.
Speaker 13: And that makes sense.
Speaker 4: Yeah, that's really very creative. I think the thing is
Speaker 4: is like there's all these amazing drummers that have been
Speaker 4: playing since forever, and they've got chops and they've got
Speaker 4: twenty five symbols and that's amazing. But like like literally
Speaker 4: Thomas Pridgin the other day, who's like such a g
Speaker 4: you know, and he's he's the homie and he's played
Speaker 4: with fucking everyone. Yeah, and we did a show I
Speaker 4: can't remember where we were somewhere the other day and
Speaker 4: he gave pez this like I call it the orange
Speaker 4: pil symbol. It's like yeah, and he was like and
Speaker 4: he was like losing his shit over Pezzy setup, and
Speaker 4: it's just like this is the thing is. It's like
Speaker 4: you don't It's like there is this like competitive thing
Speaker 4: of like who is the best drummer in the world,
Speaker 4: and it's like none of that counts for a shit,
Speaker 4: you know. Like I mean, it's impressive and it's cool
Speaker 4: and it's beautiful and you can get session gigs and
Speaker 4: all of that, but like creativity speaks volumes and you
Speaker 4: can like you can do so much with that, and
Speaker 4: I think, yeah, it's just like not gatekeeping music, you know,
Speaker 4: people like not wanting to like learn an instrument because
Speaker 4: they didn't grow up with it. It's like I'm too old,
Speaker 4: I'll ever be the best at is like just be
Speaker 4: yourself with it, you know, and explore it and be creative.
Speaker 4: And Pairs is like so good at that to the
Speaker 4: point where these these amazing world class drummers look up
Speaker 4: to him, are like or respect what he does because
Speaker 4: no one plays drums like him because he plays drums
Speaker 4: like him, you know, And I think we're all like that.
Speaker 4: It's it's like we we value our craft and we
Speaker 4: develop it. But at the end, like at the core
Speaker 4: of it is just like what does the song need?
Speaker 4: You know, let me show off.
Speaker 1: And it feels like you guys have even like you
Speaker 1: guys have gotten to that place even more like on
Speaker 1: the last two records, it feels like, I don't know,
Speaker 1: it feels you guys are all virtue wassick, you know,
Speaker 1: But it feels like the records showcase some of that.
Speaker 1: The last two Mood Valiant and love our cheat code,
Speaker 1: but like there's still is. There's like a lot of
Speaker 1: emphasis especially in the new one, like on song and
Speaker 1: like the conciseness of the record, just like eleven, and
Speaker 1: it really moves, like starting with Dreamboat ending with White Rabbit,
Speaker 1: like the record really goes somewhere like and it does.
Speaker 1: It doesn't happen a lot on records these days. I
Speaker 1: don't know if people don't think about them that way,
Speaker 1: but you really it's like, I don't know, it's like
Speaker 1: a film that way, or story or narrative.
Speaker 4: You know, it is a film, you know, And I like,
Speaker 4: I don't know. I think a lot of people just
Speaker 4: want like collaborations and hits and songs, and it's like
Speaker 4: our attention span is just like shrinking, you know, and
Speaker 4: like that's cool. But I think to be able to
Speaker 4: create a whole universe that you can just put on
Speaker 4: and like leave and experience something is also really valuable.
Speaker 14: And that's the most exciting thing about being in a studio.
Speaker 15: Man.
Speaker 14: It's like you can have so much fun and you've
Speaker 14: got like this unlimited resource of sound that you can
Speaker 14: play with. Especially these days, it's like it's crazy, It's
Speaker 14: like why should you limit yourself.
Speaker 1: Just seeing you brought up Thomas Bridge, because I thought
Speaker 1: a lot about Thomas Bridge just for some like the
Speaker 1: way that it's just the heaviness, but the creativity in
Speaker 1: really also what you're doing.
Speaker 15: Was Bender was the main source of inspiration for that one,
Speaker 15: and like you know, like Bender was like like I
Speaker 15: was never playing anything heavy until I met Bender, like honestly,
Speaker 15: like I didn't wasn't listening to much heavy music at all.
Speaker 15: And then he showed me like a band called Lightning Bolt,
Speaker 15: and I remember that really opened up my ears to
Speaker 15: like those sounds and like if you want to go
Speaker 15: forward from that, because like.
Speaker 12: Yeah, yeah, definitely a Lightning Bolt was a huge influence
Speaker 12: on that song. There was a few main influences for me.
Speaker 12: It was Lightning Bolt, Deerhof and there's this particular form
Speaker 12: of West African music that like you showed me called takamba,
Speaker 12: which is like.
Speaker 4: That's what I always wanted to interrupt and says that
Speaker 4: you say, I wasn't really listening to every music. It's
Speaker 4: like to cop like some fucking Northwest African records that
Speaker 4: are just like recorded on the most distorted like fucking
Speaker 4: shit like that is had I mean Nakana. It's like
Speaker 4: just because it's not metal doesn't mean it's not fucking yeah.
Speaker 12: I mean, for me, I grew up like the first
Speaker 12: man I was in, you know, that was the first
Speaker 12: music that I played was like punk and metal and
Speaker 12: grunge and stuff, you know, just being in a band
Speaker 12: with my brother and you know, covering you know, Varna
Speaker 12: and Panterra and Slayer and you know Metallica and Ship.
Speaker 14: You know, just and.
Speaker 16: You know, and it's it's like a kind of.
Speaker 12: World that you know, I kind of drifted away from
Speaker 12: just trying to learn as much about as many things
Speaker 12: as possible and kind of just coming back to just
Speaker 12: like you know, you know, just which is really fun,
Speaker 12: and you know, just that kind of energy is really fun.
Speaker 12: And I think I think it's also really cool to
Speaker 12: play that stuff live because I feel like most people
Speaker 12: have a soft spot for it, but it's it's not
Speaker 12: necessarily something I want to listen to, Like, you know,
Speaker 12: most people don't want to go to like a you know,
Speaker 12: three day metal festival and just get barrags the whole time.
Speaker 12: But if you hit them with like a couple of
Speaker 12: songs on the set that are just ape shit and
Speaker 12: just out of control. Then it's just like, you know,
Speaker 12: it's such a release, it's very therapeutic.
Speaker 16: It's super therapy.
Speaker 4: Release the pressure is one of the lyrics. It's like, Okay,
Speaker 4: here's a moment where you can just like shed the
Speaker 4: fucking demons. And sometimes we'll be having a hard show
Speaker 4: where people like me has one two, one two, three
Speaker 4: four five six, and you just like just fucking be
Speaker 4: in the room and give us love, like we're human
Speaker 4: beings and we need that ship.
Speaker 12: Yeah.
Speaker 4: You know, sometimes like Cinnamon Temple can be like a
Speaker 4: palt heavy.
Speaker 16: Heavy, you know heavy music.
Speaker 12: It's like it's a cathartic thing, you know, and a
Speaker 12: lot of stuff gets kind of you know, very like
Speaker 12: overemphasized with all the sort of kind of cliche satanic
Speaker 12: imagery or whatever.
Speaker 16: It's what like I don't know.
Speaker 12: When I discovered Lightning Bolt and really got into them,
Speaker 12: they like really blew my mind because they had a
Speaker 12: really different take on it, even like you can kind
Speaker 12: of see it reflected in their cover art and everything
Speaker 12: where it's all like crazy like over the top like
Speaker 12: rainbow explosion colors, because that's kind of what it's like,
Speaker 12: you know, it's like you just get in there and
Speaker 12: it's just like being on a roller coaster and it's
Speaker 12: just fun, you know, being like elbow to elbow with
Speaker 12: people while someone's just like going as hard as they can.
Speaker 12: Like I was lucky to see them play Lightning Bolt
Speaker 12: in Melbourne like many many years ago, and they they
Speaker 12: set up on the ground like they don't they set
Speaker 12: it in front of the stage, so it's just like
Speaker 12: a drama and a bass player going full ape shit
Speaker 12: and everyone's just around them. So it's some point during
Speaker 12: the set, I'm literally holding on to the drummer's floor,
Speaker 12: Tom or what all these people I like, and he like, no, God, yeah,
Speaker 12: it's just like it's just yeah, it's just like it's
Speaker 12: just like someone driving as fast as possible, you know,
Speaker 12: for the whole set. So you know, there's something just
Speaker 12: so joyous about that. You know, it doesn't have to
Speaker 12: be like dark. It's just like yeah, you know, it's
Speaker 12: like let's let's go.
Speaker 1: Yeah.
Speaker 13: I was so happy.
Speaker 1: I was so happy when it gets to that part
Speaker 1: of the record because it just I hadn't even listened
Speaker 1: to music that happy in a while. That's like, I mean,
Speaker 1: to your point, I kind of I mean I grew
Speaker 1: rest in peace like Diamonbag Daryl. I mean I used
Speaker 1: to love Pantera. I grew up on that, you know,
Speaker 1: but spent three days at ours fast. But I can't,
Speaker 1: you know, I can't. I can't really, I can't live
Speaker 1: there too long anymore.
Speaker 12: But honestly, like I don't know, mental heads are all
Speaker 12: really nice people for.
Speaker 1: The most part, the most part.
Speaker 12: I mean, yeah, like crazy Norwegian like church guys and
Speaker 12: stuff who were actually really hectic, but you know, most
Speaker 12: of them are just like chill nuds, you.
Speaker 7: Know, do you mind?
Speaker 1: Could you play a couple of bars of the of
Speaker 1: w Temples?
Speaker 16: Just have to put Eric down for a second.
Speaker 1: I mean, yeah, the shark can play along please, So.
Speaker 16: Yeah, it'll just sort of started with this initial riff.
Speaker 7: H uh.
Speaker 16: It's a little tyster.
Speaker 13: It so fucking good.
Speaker 1: I didn't even really get to hear it, but I
Speaker 1: was just hearing that.
Speaker 16: Hit the drama go bang bang bang.
Speaker 1: You guys have been playing that for like almost ten
Speaker 1: years now.
Speaker 13: Yeah.
Speaker 4: Probably we have like no concept of time. Ever, most
Speaker 4: of the time, like how long did it take you
Speaker 4: to make this thing? We're like when the record labels
Speaker 4: and it has to be finished a while.
Speaker 15: Yeah, we have a while and it's even the recorded
Speaker 15: version of it is actually quite old too.
Speaker 1: Yeah, it's super different, right, yeah, yeah, yeah.
Speaker 15: We've got another song that was recorded at the same
Speaker 15: time that's still not out, you know, like, so that
Speaker 15: will probably be the next record.
Speaker 12: Everything's just everything's just a puzzle, you know. It's just
Speaker 12: like some puzzles you solve really fast. Another ones you're like,
Speaker 12: why is this not like it yet? Like why wasn't
Speaker 12: it feel the way I want it to make me
Speaker 12: feel it? You know, So certain things are just like
Speaker 12: take a little while to brew, and then you step
Speaker 12: away from it and it's like what do we what
Speaker 12: do we record?
Speaker 16: And you're like, oh, okay, you.
Speaker 12: Know you kind of figure out what it needs at
Speaker 12: some point. We don't like to, you know, rush anything
Speaker 12: or put anything out that doesn't feel right.
Speaker 13: Yeah.
Speaker 12: That's the weird thing about recording, because it's you know,
Speaker 12: it's not it's just it's just sometimes it's really straightforward
Speaker 12: and other times it's really not. You know, it's like
Speaker 12: it's all kind of a sort of an illusion really.
Speaker 12: You know, even if you really record yourselves playing it,
Speaker 12: you know, you're not just standing in the middle of
Speaker 12: the room hearing with two ears. You know, every microphone
Speaker 12: is a weird unique ear placed it places that you
Speaker 12: can't be at once, you know, and then you're just
Speaker 12: trying to put it together in something that just feels right,
Speaker 12: like feels.
Speaker 16: Like the intention. So you know, sometimes that takes a
Speaker 16: while to figure out and.
Speaker 1: Does every song need require something different?
Speaker 12: Or that's the challenge that I mean, I feel like
Speaker 12: it's the great challenge of this project. And why the
Speaker 12: records aren't you aren't like, you know, made that quick
Speaker 12: because you know I feel.
Speaker 13: Is there's not like one sound that suits allSome yeah.
Speaker 12: Exactly, you know, I feel like, for example, I don't know,
Speaker 12: like someone like you know, the dap Kings, who are
Speaker 12: all amazing players, and you know it's just just incredible.
Speaker 12: You know, they will make a whole record that's like
Speaker 12: all the songs are essentially the same sounds. You know,
Speaker 12: it's the sound of this room, you know, with like
Speaker 12: one or two mics over the drum kit. You know,
Speaker 12: all the tones are like in the exactly the same universe,
Speaker 12: and you just get to take to get takes to feel.
Speaker 16: Good, and you know, the whole record has that sound.
Speaker 12: But for us, it's like every track is like drawing from,
Speaker 12: you know, a different genre that has a different production
Speaker 12: and process and stuffs as well. Yeah, yeah, exactly, it
Speaker 12: might be like this, you know, I don't know, Like
Speaker 12: for example, when we were making the song Attari from
Speaker 12: Jusual Weapon, it's like, okay, so this is kind of
Speaker 12: inspired by video games.
Speaker 16: It's gonna have.
Speaker 12: All these kind of little, you know, eight bitty kind
Speaker 12: of feeling sounds, and then goes into the chorus and
Speaker 12: that has this sort of drum and bass kind of
Speaker 12: inspired thing. So then it's like, well, now we have
Speaker 12: to embrace how that is put together, which is like
Speaker 12: you know, chopping up different drum breaks you know, that
Speaker 12: are all recorded differently. So we literally got you know,
Speaker 12: he has played a bunch of different breaks with different mixes,
Speaker 12: like just going down like it's a stereo mix, and
Speaker 12: the drums do a different mix, play a different variation
Speaker 12: on that feel at a different tempo. Just get We've
Speaker 12: got heaps of those together, and then we change the
Speaker 12: pitch of all of them so they're now all at
Speaker 12: the same tempo, and then it's like kind of chopping
Speaker 12: between them. Like this one's kind of like being split
Speaker 12: up this much as little ride symbol and this one's
Speaker 12: all like super tight and that's kind of been pitched down,
Speaker 12: but it's just like, yeah, just embracing, like how did
Speaker 12: people make stuff? In the stuff that we're referencing sound
Speaker 12: like that style, and it's all really different, and.
Speaker 15: It's super fun for us because it's like, you know,
Speaker 15: that's the full experimental part of creating a record, and
Speaker 15: we get to learn about it and go dive deeper
Speaker 15: into it. And also like you know, like with this
Speaker 15: all our inspirations musically, it's like nay, we'll bring something in,
Speaker 15: someone brings something and it's like, I really love this
Speaker 15: song at this moment, and it's like cool, like how
Speaker 15: would they have done that? They might have like it
Speaker 15: sounds like a microphone's all the way over there, but
Speaker 15: like the singing is like all the way over here,
Speaker 15: you know. And then you kind of like experimenting with
Speaker 15: that stuff, and then you know, we've built up like
Speaker 15: a reptile and like an arsenal of different sounds that
Speaker 15: we kind of can create. And I feel like we
Speaker 15: did a lot of experimenting on the first four records,
Speaker 15: and and you know, the last one is like we're
Speaker 15: kind of like we definitely have We've got a bag
Speaker 15: and we can like pull sounds out of a bag
Speaker 15: and put them on, you know, like which is cool.
Speaker 14: I think.
Speaker 4: Also another thing to mention is it like us working
Speaker 4: out stuff and like let's go and watch a too
Speaker 4: toori about this. Like a lot of it is just
Speaker 4: listening and reimagining and it's a bastardization, but it's unique
Speaker 4: because of that. It's like how like how you like
Speaker 4: you can give art, but also how you interpret art
Speaker 4: is also creative, you know. And like even the name
Speaker 4: Hiatus coyote was kind of like a pun on that.
Speaker 4: I was like, coyote is not a word. It's a
Speaker 4: made up word, and like however you want to interpret
Speaker 4: that involves your creativity, and I think that's a really
Speaker 4: big part of like what it is that we do,
Speaker 4: what we give to people, but also how we learn.
Speaker 4: You know, it's just like listening and trial and error
Speaker 4: and then you work it out and then you're a
Speaker 4: little tool belled and maybe it'll be the thing that
Speaker 4: you use later down the line, or maybe you have
Speaker 4: to work out something new.
Speaker 1: Yeah, that you say coyote is made up board, but
Speaker 1: you just mean like the way it's spelled coyote.
Speaker 7: Actually.
Speaker 4: Hiatus Kyote.
Speaker 10: A lot of people say coyote, and I don't like what.
Speaker 15: I like.
Speaker 4: I like boss made up.
Speaker 1: I've been put on notice. I'll never I'll never say
Speaker 1: it wrong again. Sorry, guys, it's fine.
Speaker 4: It's a lot to take in with you our elaborate as.
Speaker 2: After this last break, we'll be back with the rest
Speaker 2: of my conversation with Hiatus Kayote. Here's the rest of
Speaker 2: my interview with Hiatus Coyote.
Speaker 1: In terms of lyrics, like lyrically, I really enjoy this album,
Speaker 1: and I was wondering specifically for this album, when did
Speaker 1: you come in? How how soon do you introduce ideas,
Speaker 1: lyrical ideas or do you often just introduce like vocal
Speaker 1: ideas and how early in terms of building constructing the tracks.
Speaker 4: And sometimes it's the first thing. Sometimes it's the last thing.
Speaker 4: You know, there's no formula, it's.
Speaker 7: Like we all.
Speaker 4: Sometimes I write whole songs and bring it to the
Speaker 4: band with guitar and it's like very very formed. And
Speaker 4: other times it's a response to something like in Cinnamon
Speaker 4: Temple in that middle bit, I literally had to count
Speaker 4: out the syllables of each riff and then work out
Speaker 4: what words would make sense within that, you know, or yeah,
Speaker 4: I don't know, there's no there's no set way that
Speaker 4: I go about it, you know. And sometimes like melodies,
Speaker 4: we based off melodic thing like, you know, like instrumental things,
Speaker 4: sometimes the other way around, where an instrument is playing
Speaker 4: what I'm singing.
Speaker 12: I think, unlike Dimitri, you pretty much had like the
Speaker 12: lyrics and the melody straight up. And then I sat
Speaker 12: down with Name and we figured out the chords to
Speaker 12: what was already there. It was like it was such
Speaker 12: a strong idea melodically and lyrically, and then I was
Speaker 12: just like, what are the what's with this?
Speaker 16: And you know, so yeah, it can be really any it.
Speaker 4: Can be a million but jillion different things. There's no Yeah.
Speaker 1: Yeah, I was listening to st I've been listening to
Speaker 1: Steely Dan a lot lately, and I was, I was
Speaker 1: like wondering why it's like as good as they are,
Speaker 1: why didn't they write or like give tracks to other
Speaker 1: people or whole songs, you know, like And I was,
Speaker 1: I guess always had the same similar thought about you guys,
Speaker 1: like as anyone approached you guys to like take it
Speaker 1: like where to say, like, hey, can you guys write
Speaker 1: us a song like the track, the lyrics, everything, or
Speaker 1: have you guys.
Speaker 4: Thought people lots of really really famous people, but we
Speaker 4: don't really care about that. You know, maybe it's I
Speaker 4: don't know, the thing is, yeah, is the thing is.
Speaker 7: Yet we.
Speaker 4: Have so much to explore creatively together, and you know,
Speaker 4: between like recording and writing and touring and photo shoots
Speaker 4: and then a tiny slither of life where you're not
Speaker 4: doing that, it's like there isn't a whole lot of
Speaker 4: like additional time to just be like, you know, I'm
Speaker 4: also very sentiment mental and my shit is like very
Speaker 4: sacred to me. So the idea of like writing something
Speaker 4: for somebody else's life experience is a little bit alien.
Speaker 4: I mean like, yeah, I mean maybe one day, but
Speaker 4: I mean realistically, most people do that because they need
Speaker 4: to pay off a mortgage or something. True.
Speaker 1: But then you did you like, you know, you used
Speaker 1: a little bit of like my girl in well, you know, look,
Speaker 1: I don't know if they'smoking it write that necessarily for
Speaker 1: the paycheck, I don't think, you know, I mean.
Speaker 4: He also didn't write it for us. We interprelated it.
Speaker 1: It's a good point.
Speaker 4: But I don't know, I'm particularly touchy about this because
Speaker 4: I think it's a very la thing to be like,
Speaker 4: you know, I don't know part of that part of
Speaker 4: the industry and be like yeah, maybe things differently.
Speaker 14: I think we just don't find enough time to actually
Speaker 14: make music ourselves.
Speaker 13: You know.
Speaker 14: It's hard enough for us to get in the studio
Speaker 14: and create stuff, let alone.
Speaker 13: For other people. Yeah, I think we take that first.
Speaker 1: Yeah, we have choices.
Speaker 14: You want to write some more hiashit or do you
Speaker 14: want to write it for other people? And it's just
Speaker 14: like we're going to write more hiad shit.
Speaker 12: I kind of think that too, like because we do,
Speaker 12: you know, do stuff with each other side quest outside.
Speaker 7: Of the band.
Speaker 16: You guys do have sac But I think, you know,
Speaker 16: as soon as it's like a thing.
Speaker 12: That we're all writing, we're all invested in, we wouldn't
Speaker 12: be able to give it away. But you know, it's like,
Speaker 12: you know, it's like we're just one of us is
Speaker 12: just making some stuff with another random person. It's like
Speaker 12: cool whatever, Like it's you know, it's cool. But I
Speaker 12: think once it becomes like collectively our thing, it's like no,
Speaker 12: but we like we need to keep this this is
Speaker 12: really good, like and if it wasn't really good, then
Speaker 12: we wouldn't keep working on it, Like if everyone didn't
Speaker 12: love it, it would sort of fall by the wayside.
Speaker 13: And I think it's also.
Speaker 15: I was going to say, like, you know, I think
Speaker 15: we all like individually we all have like and also
Speaker 15: collectively we have like inspirations musically, and it's not necessarily
Speaker 15: like other singers, you know, like or it's more instrumentalists
Speaker 15: and stuff like that, because.
Speaker 13: Like we all have love for Miguel and would like
Speaker 13: those kind of things all like you're.
Speaker 4: Talking about Miguel.
Speaker 15: I would first, that's true, true, true, true, Yeah, it's
Speaker 15: kind of like having these instrumental arrangers that like we
Speaker 15: really respect, and then like you know, that's like definitely
Speaker 15: a possibility and we would do that. And who knows
Speaker 15: if it's on our records or like or in their
Speaker 15: records or it is the collaboration, but like, yeah, it is.
Speaker 15: I just wanted to say that, you know, like it's
Speaker 15: like we do have those, we do have those collective
Speaker 15: like oh my god, imagine working with this person or
Speaker 15: this artist, like you know from the other side of
Speaker 15: the world that is doing something so unique that like
Speaker 15: you can't touch that, you can't recreate that, and that
Speaker 15: would be cool to collaborate with that person, you know.
Speaker 13: Yeah.
Speaker 7: I also don't.
Speaker 4: Feel like like a lot of people like, oh, you know,
Speaker 4: what's your dream list of collaborations, Like we've only really
Speaker 4: worked with like like Pessa, like you know, like allth
Speaker 4: the Erica.
Speaker 13: Does, Like yeah, exactly, He's an example, you.
Speaker 4: Know, Orchestral Rangers for us or you know. I think
Speaker 4: just because I like something doesn't mean I have to
Speaker 4: be a part of it, you know what I mean,
Speaker 4: Like I love be York, but I don't know if
Speaker 4: I would need to contribute something to it because I
Speaker 4: can just like you know what I mean. It's like
Speaker 4: I don't want to need to put my flag on
Speaker 4: the moon all the time, and you don't want to
Speaker 4: colonize others I mean beautiful, but I guess like, yeah,
Speaker 4: it's like I have to be a part of that
Speaker 4: because I like that. It's like you know, if it's
Speaker 4: organic and it makes sense, sure, but not because of
Speaker 4: any like superficial reason.
Speaker 1: I mean, there is kind of like an industry overtone
Speaker 1: to that.
Speaker 13: I guess.
Speaker 4: It's very la in Australia is the other side of
Speaker 4: the world. People are way more chill.
Speaker 1: I mean, I'm not even just for the like Australian
Speaker 1: because I don't know that. You guys are so fucking good.
Speaker 13: I'm like, God, how many like how.
Speaker 1: Many people could use like you know what you guys
Speaker 1: have harnessed together, you know what I mean?
Speaker 13: Hopefully it's inspiration.
Speaker 4: I think that's that's how we contribute. Is like the
Speaker 4: amount of people like we didn't pop up shop the
Speaker 4: other day. The amount of people that are like, seeing
Speaker 4: you be creatively free together is like makes me want
Speaker 4: to do that and that's more exciting to me than
Speaker 4: me being like, hey, seeing this thing that I made,
Speaker 4: you know what I mean. Yeah, But yeah, like Simon said,
Speaker 4: we are so much like material and I'm always writing
Speaker 4: and I'm just like waiting for us to like be
Speaker 4: able to have the time to go home and work
Speaker 4: on that ship because that's my favorite thing to do.
Speaker 4: I love touring. But it's like, yeah, so it's like
Speaker 4: that takes the top priority. But who knows, you know,
Speaker 4: maybe I'll change my mind about that. Stevie Wonder Prince, like.
Speaker 1: A lot of people look at I mean, you know,
Speaker 1: and it's not in a crass kind of industry, you know.
Speaker 13: But it's natural probably. I mean, we don't know because
Speaker 13: I don't know them.
Speaker 12: Personal collaborating outside the band, that's just me. I've been
Speaker 12: I've been trying to rope lots of people into my
Speaker 12: side project this week enough so we go around.
Speaker 1: Yeah, but by the way, fucked me up for the
Speaker 1: Like when I first heard that, I really thought it
Speaker 1: was like all Polynesian style record.
Speaker 12: Yeah, me and some have been working on the follow
Speaker 12: up record and we've we've got a lot of amazing
Speaker 12: people on it, you know, just which is fun. It's
Speaker 12: just you know, it's something special about getting cool instrumentalists
Speaker 12: to just hang out and just like make pretty stuff.
Speaker 12: Just like we're just going to make pretty music now
Speaker 12: and you know, do some palm tree swaying energy and
Speaker 12: have a good time.
Speaker 1: Just such a great chill time, such a great chill record.
Speaker 14: Yeah, it's really the best fun in the studio. Just
Speaker 14: everyone's smiling and super happy, like this record.
Speaker 16: Stressful.
Speaker 1: I wanted to ask about Simon about the way you
Speaker 1: think about chord changes just generally, like like are there
Speaker 1: changes just when you sit down at the piano you're
Speaker 1: prone to play more than others or.
Speaker 14: I feel like chord changes and harmony is something that
Speaker 14: is you know, when you intellectualize it and when you
Speaker 14: teach it, everyone kind of learns the same things, right,
Speaker 14: because this is the popular ones that everyone kind of
Speaker 14: gets down so that they can play certain styles. And
Speaker 14: that's cool, But I kind of prefer this sort of
Speaker 14: method of trying to figure out your own ideas of
Speaker 14: changes and establishing your own concept of harmony and sound
Speaker 14: and being able to hear and recall certain interval relationships
Speaker 14: because of emotional feelings that you connect with them as
Speaker 14: opposed to three six two five one or whatever, you
Speaker 14: know what I mean. Yeah, And that's you know, when
Speaker 14: you kind of think about it like that, you start
Speaker 14: to explore it in a different way where you really
Speaker 14: start to attach whether it's theoretical knowledge or emotional connections
Speaker 14: or you know, imagery that you can attach to certain
Speaker 14: intervelop things. That's the kind of shit that I'm really into.
Speaker 1: How often do you sit down just to just to play,
Speaker 1: like just improvise for or you know what I mean,
Speaker 1: not sit down to play something or write something. How
Speaker 1: often do you sit down.
Speaker 14: Just just to improvise and play.
Speaker 13: Yeah.
Speaker 14: Yeah, I mean recently I've been doing it a lot
Speaker 14: more because I just made it like a solo piano record.
Speaker 14: Then I was doing some shows with that, so I
Speaker 14: was playing like a full set of just you know,
Speaker 14: a piano, and I was just getting back into playing
Speaker 14: the piano because I don't really play the piano that
Speaker 14: much anymore. I just played keyboards and since a lot,
Speaker 14: you know, So that was I've been doing that a
Speaker 14: lot over the last like five six months, which has
Speaker 14: been really lovely, just getting to know the instrument again.
Speaker 1: Has it changed the way you approach synth or anything,
Speaker 1: or a keyboard or anything.
Speaker 14: No, No, I just like the piano is a different
Speaker 14: instrument for me. Like I sit on the piano and
Speaker 14: that's what I grew up on. So when I start
Speaker 14: playing that, it's you know, it's so much more complex
Speaker 14: than these things, really, absolutely, Like the dynamic range on
Speaker 14: a piano is like almost infinite. You know, you've got
Speaker 14: this insane whereas this has only got maybe four or
Speaker 14: five different steps of velocity of the sample or it's
Speaker 14: one with a synth or you know, so like when
Speaker 14: you're playing a piano, the velocity level for each finger
Speaker 14: is crazy. So every time you play a song, and
Speaker 14: if you get really into that song, you're playing it
Speaker 14: different because you've got ten fingers on the piano that
Speaker 14: are hitting the keys at different velocities. Every time, you know,
Speaker 14: that kind of shit blows my mind. Yeah, man, So
Speaker 14: then like the more you play, the more you get
Speaker 14: into that mind space, and then the malady is super important,
Speaker 14: but then everything that backs it up is also super important.
Speaker 14: You've got to get this delicate relationship between all your fingers.
Speaker 1: That's amazing. And I guess also you didn't.
Speaker 13: I don't know if you ever.
Speaker 1: Showed the debusy that was in I think we lost
Speaker 1: that somehow, that perfect time.
Speaker 13: Something like that.
Speaker 14: Yeah, it's that kind of movement, And that was.
Speaker 4: Because I'm particularly obsessed with you love as I love
Speaker 4: him and like I love like romantic, like close harmony.
Speaker 4: You know, it's just like super dreamy and beautiful. And
Speaker 4: Simon has a lot of that going on in the
Speaker 4: way he writes as well, and so I'm always assassing
Speaker 4: him to put little things like that into things.
Speaker 14: Sorry that it was a terrible rendition of that wasize.
Speaker 1: I'll hear it later. I'll judge it.
Speaker 4: Later, but yeah, harmony is beautiful. Harmony is like rhythm harmony,
Speaker 4: Like I don't know, just like there's so much you
Speaker 4: can do with it, and like things like Telescope and
Speaker 4: like Love Heart cheat Code. It's like a lot of
Speaker 4: people like, oh, this album is so much more simple
Speaker 4: than the other ones. Is like it's actually the thing
Speaker 4: is it's just like refining shit, and like the chord
Speaker 4: progression for Love Heart cheat Code and what I'm singing,
Speaker 4: it's like, if you actually break down what is modulating,
Speaker 4: it's actually kind of fucking weird. But if you commit
Speaker 4: to it and you're like really strong in your idea,
Speaker 4: then people go like just sing along. It's like, oh yeah, whatever,
Speaker 4: like that's just how it goes. But yeah, if you
Speaker 4: break it down, it's like more complicated than that. Kind
Speaker 4: of like single Ladies from Beyonce is like that's actually
Speaker 4: like a fucking weird ass song, but it's like one
Speaker 4: of the most famous like pop hits or whatever. I
Speaker 4: think was really good at that too.
Speaker 1: Oh yeah, David, I mean David Bowie.
Speaker 4: Changes like the start of changes, like if you go
Speaker 4: to learn, like are people just like chi ch chitches
Speaker 4: and they know that ship was like, try and learn
Speaker 4: how to play it. It is way more complicated than
Speaker 4: you think.
Speaker 1: Yeah, so true, well cool. I know you guys gonna
Speaker 1: do red room, so I want to go. You got it?
Speaker 7: It is the red sons as.
Speaker 1: Got it.
Speaker 4: It is the red hot sounds as.
Speaker 3: A big.
Speaker 4: Feels.
Speaker 6: I come in inside of fly.
Speaker 7: I got a record. It is a bad house, so,
Speaker 7: say's my bed feels.
Speaker 6: I come in inside of flya.
Speaker 7: Feels.
Speaker 6: I come in signmi ey.
Speaker 7: Least and I don't me hey anyway, buy, I don't
Speaker 7: want me.
Speaker 4: Anyway, buy, I.
Speaker 7: Got a record. It is a bad out. Soon, say's
Speaker 7: my bet. I gotta wed. It is a bad such
Speaker 7: as a mo bedroom.
Speaker 1: Seems.
Speaker 6: I come be inside of the sees, I come be side.
Speaker 3: And SI wuld be.
Speaker 7: Nyway body I want be re bity way. Body got
Speaker 7: a bedroom. It is the brown something the bedroom. I've
Speaker 7: got a red room. It is the batrum something, the mopetroom.
Speaker 7: I got a red It is the red out. When
Speaker 7: the song is in my bedroom.
Speaker 3: Seals on the bedside of feels at the sermon.
Speaker 4: It lay.
Speaker 7: By the look anyway, I don't want to be in
Speaker 7: the When the song says am persons out and when
Speaker 7: the song says.
Speaker 10: To mc been, just like I gotta REAYTHM man, I
Speaker 10: gotta d I got answers soon, says a Mapido.
Speaker 2: Thanks so much to Parn Paul Simon an Apalm of
Speaker 2: Heitus Kyote for coming through Los Angeles to do that
Speaker 2: live session and interview. I also want to give a
Speaker 2: big thanks to Dale Hughes and Jonathan Maya for getting
Speaker 2: the music in today's episode recorded, mixed and mastered to perfection.
Speaker 2: To hear some of our favorite Hiatus Kyote songs and
Speaker 2: songs associated with group, check out the playlist in today's
Speaker 2: episode description or at our website at broken Record podcast
Speaker 2: dot com, and of course be sure if you want
Speaker 2: to see the full video of today's episode to visit
Speaker 2: YouTube dot com, slash Broken Record Podcast, and be sure
Speaker 2: to follow us on Instagram at the Broken Record Pod.
Speaker 2: You can follow us on Twitter at broken Record. Broken
Speaker 2: Record is produced and edited by Leah Rose, with marketing
Speaker 2: help from Eric Sandler and Jordan McMillan. Our engineer is
Speaker 2: Ben Tolladay. Broken Record is a production of Pushkin Industries.
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Speaker 1: Our theme music's by Kenny Beats.
Speaker 13: I'm justin Richmond.