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Speaker 1: Pushkin. In the thirteen years since Kevin Parker first posted

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Speaker 1: Tam and Paula music on MySpace, he's gone from being

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Speaker 1: a member of Perth, Australia's psych rock scene to a

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Speaker 1: huge Coachella headlining act in the States. In the process,

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Speaker 1: he's developed the best of both worlds, the respect of

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Speaker 1: all your favorite artists and legions of fans who'd dissect

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Speaker 1: every lyric and sound on his albums. Like most of

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Speaker 1: his past releases, Kevin did everything on the newest Tam

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Speaker 1: and Paula album, The Slow Rush, himself, all the singing, playing, production, mixing. Everything,

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Speaker 1: he tells Krubin is how he's most comfortable creating alone.

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Speaker 1: But in the five years between his last record and

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Speaker 1: the new one, he was busy collaborating with The Weekend,

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Speaker 1: Travis Scott, Kanye West, Sizza and a bunch of other

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Speaker 1: people have talked about wanting to work with him too,

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Speaker 1: everyone from Dua Lipa at Christina and the Queens. Kevin

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Speaker 1: connected recently with Rick on Zoom. It's been sheltern in

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Speaker 1: place back in Australia ever since the coronavirus interrupted his

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Speaker 1: tour after two sold out nights at the Forum in La.

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Speaker 1: He talks with Rick about how being perceived as a

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Speaker 1: band started eating away at him early, and also asked

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Speaker 1: Rick about making two albums. He loves Californication in Jesus.

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Speaker 1: This is broken record liner notes for the digital age.

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Speaker 1: I'm justin Richmond. Here's Rick Rubin and Kevin Parker, and

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Speaker 1: you might hear Rooster's crown in the background every once

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Speaker 1: in a while. Unfortunately, sheltern in place sometimes means being

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Speaker 1: surrounded by wild chickens. What was your introduction to music?

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Speaker 1: What's what are your first memories of listening to music

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Speaker 1: as a kid. My dad was kind of a musician

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Speaker 1: by hobby, like like, loved music, loved playing music and

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Speaker 1: playing like a cover band, just playing kind of sixties

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Speaker 1: you know, Beach Boys, Badels, roll Stones, covers, and so

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Speaker 1: he would always have a sort of guitars and stuff

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Speaker 1: lying on the house and in the end in the garage.

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Speaker 1: I guess of your dad's music was the first Your

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Speaker 1: first memory of was of him playing music or of

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Speaker 1: the music he listened to the music listened to it

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Speaker 1: because he would he would always have music playing in

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Speaker 1: the car. In fact, it's weird because there's this one

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Speaker 1: song that that I have this memory of always asking

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Speaker 1: him to play, and I remember there was every time

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Speaker 1: I heard it was like, you know, I must have

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Speaker 1: been about four years old I was. I was like, damn,

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Speaker 1: play this song. And to this day, I don't know

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Speaker 1: what that song is. It's heartbreak. Does your dad still remember?

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Speaker 1: He passed away about ten years ago, so um so yeah,

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Speaker 1: I don't think. I don't think he would have remembered anyway, though,

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Speaker 1: but it's yeah, I have a feeling it's The Shadows,

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Speaker 1: a song by the Shadows. Do you feel like if

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Speaker 1: you randomly came across the song in life, it would

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Speaker 1: a light bulb would go off and you would say

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Speaker 1: it is It would probably trigger some sort of weird episode,

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Speaker 1: you know, like wherever I was, and probably you know,

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Speaker 1: just sort of stop breakdown in some way. But at

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Speaker 1: the same time, I think it might be a song

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Speaker 1: that I know at the moment by the Shadows, because

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Speaker 1: I have a feeling it was instrumental, and I know

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Speaker 1: that it was really like touching and melancholic, which which

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Speaker 1: kind of points directly to the Shadows. And then what

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Speaker 1: was your first music that was yours? Probably Navana? You know,

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Speaker 1: like I just I would have been about eleven years old.

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Speaker 1: My friend played me vinyl because we were like the

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Speaker 1: first kids in our class to get into music. You know,

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Speaker 1: like I go on his house every Tuesday or something

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Speaker 1: like that after school and we'd kind of like discover

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Speaker 1: rock music. You know. It was kind of it was

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Speaker 1: just like epiphany, absolute revolution of life, like just like

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Speaker 1: jumping around the room that you know that that that

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Speaker 1: whole that whole kind of discover that whole story, which

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Speaker 1: is you know, probably everyone but yeah, I mean Nirvana.

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Speaker 1: And then it was kind of just a cascade of

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Speaker 1: Smashing Pumpkins, silver Chair, anything with distorted guitar, anything with

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Speaker 1: drop D tuning. But there was always the kind of

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Speaker 1: part of that music that was kind of, um it

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Speaker 1: wasn't just like angsty. It was kind of discovered the

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Speaker 1: emotion in it, like like like Smashing Pumpkins. You know,

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Speaker 1: Smashing Pumpkins has that that real, that real kind of

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Speaker 1: sensitivity to even though it's just like blaring wall of sound,

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Speaker 1: you know what I mean. Do you remember when you

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Speaker 1: first started started experimenting with making music. Uh, yeah, Well

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Speaker 1: my brother played drums, so yeah, he's two years older. Um,

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Speaker 1: so he had a drum kit which I just thought

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Speaker 1: was incredible. I like, sort of, you know, just watch him,

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Speaker 1: you know, and it was kind of like wow, so

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Speaker 1: obviously I immediately wanted to copy him. Hea. We had

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Speaker 1: this tape deck in the music room, which was kind

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Speaker 1: of just a room in the house. We had a

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Speaker 1: tape deck that had a microphone input. You remember those

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Speaker 1: like kind of like cassette cassette decks, and for some

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Speaker 1: reason they'd just be like a chorion's jack in the

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Speaker 1: corner just says a microphone, you know, And so we

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Speaker 1: plugged a microphone into it and just recorded ourselves playing drums,

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Speaker 1: just to sort of sealed it sound like. And then

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Speaker 1: we had this little keyboard sitting in the room as

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Speaker 1: a little cassio kind of thing. And one day I

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Speaker 1: was kind of just playing along to myself playing drums

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Speaker 1: with the cat like I didn't even know how to plays,

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Speaker 1: just hitting random notes, you know. It sound like a

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Speaker 1: nursery rhyme probably, And then I noticed in the room

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Speaker 1: there was a second cassette deck with the same thing.

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Speaker 1: So I stuck a mic into that, stuck the mic in,

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Speaker 1: did that and recorded myself just hitting these keys over

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Speaker 1: the top of me. You're playing drums and listened back

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Speaker 1: to that tape and it was me playing keyboard to myself.

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Speaker 1: It was me playing two things at once. It blew

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Speaker 1: my still would have been about eleven amazing. Yeah, yeah,

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Speaker 1: who did the idea of starting to do it with

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Speaker 1: the ideas of making it for other people to hear? Start? Well,

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Speaker 1: I mean, like like every young teenage musician, I had

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Speaker 1: like grandiose dreams of being a rock star, especially because

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Speaker 1: my favorite band was Silver Chair and they were only

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Speaker 1: like fifteen sixteen and I was sort of like twelve

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Speaker 1: thirteen by that point. I was like, I was like,

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Speaker 1: they're fucking like fifteen sixteen. That means I've got like

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Speaker 1: two three years, Like two three years I can I

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Speaker 1: can still get to where they're they are. I can

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Speaker 1: be them. You know, you think it had to do

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Speaker 1: with how young they were, because because they were such

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Speaker 1: little kids. Yeah, for whatever reason, whether it was because

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Speaker 1: I do you know, because they were like young Australian boys,

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Speaker 1: or because like they're kind of they would have been

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Speaker 1: a similar headspace, you know that they kind of like

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Speaker 1: their approach to it would have been in the same

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Speaker 1: realm as mine. How did you decide to end up

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Speaker 1: being a solo artist as opposed to being in a band.

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Speaker 1: Uh well, I always I played in bands the whole

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Speaker 1: time in high school, Like I was obsessed with the

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Speaker 1: idea of playing in bands, but I also had the

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Speaker 1: making music thing at home since before I accidentally multi

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Speaker 1: tracked myself. That time I was playing at a band.

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Speaker 1: It was kind of this um this music school that

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Speaker 1: I went to where like they teach you an instrument,

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Speaker 1: mom's drums, and then every Saturday morning they get all

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Speaker 1: the kids from different instrument like tuitions and put them

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Speaker 1: and put them in bands. So they put me in

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Speaker 1: the in a band. So I was in a band

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Speaker 1: that age eleven, which I fucking loved. I could not wait.

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Speaker 1: I could not wait for Saturday morning to come around

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Speaker 1: because it was like, you know, playing music with other

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Speaker 1: kids was just this another mind blowing thing. But I

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Speaker 1: also and then so I sort of got better at that,

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Speaker 1: and I slowly got better at recording music by myself,

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Speaker 1: and the two worlds never really met, Like even even

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Speaker 1: at the start of like Tamian Parlor, when I was

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Speaker 1: sort of like twenty one twenty two, we were playing

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Speaker 1: songs that I'd written for us to play live and

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Speaker 1: they were different to the ones I was recording at home,

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Speaker 1: we even had on MySpace. It took a while for

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Speaker 1: the two worlds to kind of converge, if that makes sense,

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Speaker 1: because I just didn't know how. I didn't know how

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Speaker 1: to translate what I was kind of doing at home

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Speaker 1: and like expressing on my own because that music was

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Speaker 1: like super kind of I guess, I guess sensitive is

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Speaker 1: the word, and kind of nuanced and genre less. But

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Speaker 1: the music I was making in bands, I mean, like

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Speaker 1: that was music was more kind of like what we

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Speaker 1: had listened to was a group like kind of more angsty,

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Speaker 1: like heavy kind of stuff. At the time that you

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Speaker 1: started making music with the idea of putting it up

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Speaker 1: on my space, what would you say the influences were

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Speaker 1: what we listening to and what might might have been

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Speaker 1: who would you hope to get to play with? For example,

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Speaker 1: that was around the time that I was super kind

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Speaker 1: of obsessed with sixties music, so it was kind of

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Speaker 1: it was all like the doors Jefferson Airplane. I didn't

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Speaker 1: have a lot of kind of like modern day idols

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Speaker 1: um just because of like that was a kind of

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Speaker 1: lifestyle I was leading, and like I was living in

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Speaker 1: a sharehouse with other people were kind of just we

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Speaker 1: were just permanently listened to seventies psycher rock constantly. Um,

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Speaker 1: I mean there was this band called dungyin that I

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Speaker 1: was super into it, still am to this day. That's

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Speaker 1: that's still just gives me goosebumps, you know. Yeah, it's

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Speaker 1: and like it's funny because I listened now and I

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Speaker 1: can hear my first album all over it. You know,

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Speaker 1: It's something I didn't really notice at the time consciously,

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Speaker 1: but just like the Yeah, and then how do you

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Speaker 1: describe how the second album differed from the first. It

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Speaker 1: was it was a hundred times more indulgent, which is

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Speaker 1: what I wanted, you know, because I'd had this kind

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Speaker 1: of like surge of confidence that I didn't have previously prior,

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Speaker 1: you know, like when I made in a Speakers is

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Speaker 1: kind of like shy stoner kind of you know. And uh,

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Speaker 1: and you know, like we had a lot of I

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Speaker 1: had a lot of success the first album. We went

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Speaker 1: on tours and all this kind of stuff, and so

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Speaker 1: I suddenly realized that, um, it kind of validated my

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Speaker 1: approach and my kind of like what I wanted to do.

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Speaker 1: So I can't say Lonerism was kind of like just

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Speaker 1: blowing that wide open. How did the third album when

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Speaker 1: that came, how was that different? Well, I mean the

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Speaker 1: second album, I still didn't fully know what I was doing.

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Speaker 1: I kind of like I got Ableton and I and

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Speaker 1: instead of just sort of it being the corner of

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Speaker 1: my bedroom in a share house that I made it

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Speaker 1: for the second album, I was like, fuck it all right,

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Speaker 1: I'm gonna dedicate to this, you know, So I set

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Speaker 1: up a studio in a in a in a room

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Speaker 1: in my sharehouse. It got it's got, it's my studio,

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Speaker 1: got its own full room for once, um, and I

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Speaker 1: would just make hours and hours of I just I

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Speaker 1: like was using SyncE Organs fucking anything, you know. I

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Speaker 1: was kind of it was kind of just that, you know,

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Speaker 1: that kind of typical moment for a solo artists where

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Speaker 1: they where they make their you know, their self indulgent opens.

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Speaker 1: It really was that. Looking back, like at the time,

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Speaker 1: I was like, fuck yeah, you know, it seemed like

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Speaker 1: the first two albums, the arrangement seemed more complicated. Yeah,

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Speaker 1: that's probably true because in the third one, I was

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Speaker 1: kind of like influenced by a lot of kind of

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Speaker 1: R and B and electronic music. So I was kind

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Speaker 1: of embracing the way that that music was made more,

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Speaker 1: do you know what I mean, sort of like finding

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Speaker 1: a loop and kind of like almost kind of making

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Speaker 1: making a beat like a you know, in like the

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Speaker 1: hip hop sense, like sort of just having like a

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Speaker 1: four bar loop and just sort of making the structure

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Speaker 1: out of that, rather than going like, Okay, we're going

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Speaker 1: to be going with this bit for a while, We're

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Speaker 1: gonna jam on these chords and then like do a

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Speaker 1: huge drum fill and go into these chords and then

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Speaker 1: let this thing for five and a half bars. Do

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Speaker 1: you remember what the music that inspired that switch? Like

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Speaker 1: what would have been the things you were listening to

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Speaker 1: that maybe you want to make more program based music.

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Speaker 1: I mean, like it was always music that I was into,

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Speaker 1: but just music that I'd kind of shied away from

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Speaker 1: making because I figured, like my world was weird, expansive

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Speaker 1: side rock, and like if I tried to do more clean,

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Speaker 1: focused pop kind of stuff, I assumed it wouldn't work,

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Speaker 1: you know. So Currence was the album where I'd kind

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Speaker 1: of like just went, I'm going to try it, you know,

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Speaker 1: try to make kind of like disco R and B

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Speaker 1: kind of like, really the beats are like super strong

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Speaker 1: and heavy. Would you would you consider the first two

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Speaker 1: as a pair and the last two was pair? No,

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Speaker 1: I've never thought of it that way. Um, all right,

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Speaker 1: maybe some people would, I guess with the third one.

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Speaker 1: Third one where I was is the one where I

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Speaker 1: was kind of like I knew that there would be

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Speaker 1: fans of the first two that turn their noses up,

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Speaker 1: Like I was ready for that, do you know what

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Speaker 1: I mean? I was kind of like I decided, you know,

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Speaker 1: kind of definitively that that. Um, but I wanted to

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Speaker 1: change my sound, and I knew that some people wouldn't

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Speaker 1: like it, you know what I mean. That was kind

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Speaker 1: of that part of my career where where I kind

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Speaker 1: of like sucked it up. Do you know what? It's

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Speaker 1: a great thing to do, Earthly on If you'd made

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Speaker 1: four albums that sounded in the same vain and then

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Speaker 1: the fifth one was different, it would have probably alienated

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Speaker 1: more people. Yeah, you know, It's like you did it

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Speaker 1: early enough in the trajectory where you let people let

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Speaker 1: the audience know that, hey, we're gonna go on different

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Speaker 1: rides and I want you to come with me and

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Speaker 1: I think people are more forgiving of the style changes

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Speaker 1: if you prepare them for it. Yeah, yeah, if if

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Speaker 1: if change is one of the constants. Yeah, It's like

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Speaker 1: if if the Ramans fifth album, All of a Sudden

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Speaker 1: was a you know, program dance record, I don't think

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Speaker 1: anybody would have been excited about that, right. And also

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Speaker 1: something I realized was that, I mean, what's funny is

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Speaker 1: that the first album and the second one I like

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Speaker 1: as well, Taiman Palla was always kind of perceived as

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Speaker 1: a band, and I was kind of cool with that

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Speaker 1: because like, because it's it sounded like a band, people

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Speaker 1: will you know, it's it sounds like a bunch of

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Speaker 1: guys jamming, you know, like I love this, I love

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Speaker 1: I love these guys, you know, I love the way

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Speaker 1: they jam out. Um. But I kind of like it.

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Speaker 1: Kind of it was eating away at me that it

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Speaker 1: wasn't like the truth. Um. And also because and also

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Speaker 1: like I wanted I wanted people to know that it

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Speaker 1: was kind of more of a solo recording project because

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Speaker 1: I realized that solo artists get away with completely changing

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Speaker 1: their sound a lot more than bands, do, you know,

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Speaker 1: like with someone like like Beck, you know, Beck can

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Speaker 1: just take a complete left turn with one album, you

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Speaker 1: know um, and everyone'll be like, oh, well, that's that's back,

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Speaker 1: that's what he does. But like with a band, it's

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Speaker 1: kind of like I think, I feel like a few

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Speaker 1: things have to happen, like everyone in the band or

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Speaker 1: everyone in the group rather has to like decide on

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Speaker 1: it together, which is more difficult. You know. They all

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Speaker 1: have to be sort of like moving in the same action,

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Speaker 1: whereas people, you know, people, especially as time goes by,

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Speaker 1: people like Drift Apart. When he decided to give the

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Speaker 1: project a name originally as opposed to your name was

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Speaker 1: it was it the opposite of what you just said

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Speaker 1: was the original impression was for it to seem like

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Speaker 1: a band. Yes. Absolutely. In fact, the record label when

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Speaker 1: they signed us didn't even know we were it didn't

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Speaker 1: it didn't know it was me that was playing drums

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Speaker 1: and guitars and bass and multi jacking like they we

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Speaker 1: I outright lied to them when we met up, Like

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Speaker 1: the contract that we signed was for three of us. Um.

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Speaker 1: I think yeah, because I just I didn't want to

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Speaker 1: say it was just me, you know, um for a

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Speaker 1: number of reasons, Like number one, I was kind of shy.

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Speaker 1: I just you know, it's really weird because looking back,

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Speaker 1: it's kind of like, why the fuck didn't you just

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Speaker 1: like own it? You know. Um. But also, like the

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Speaker 1: kind of music scene I was in was a very

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Speaker 1: communal scene, you know, like we lived to jam and

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Speaker 1: lived to like play gigs. So like for the thing

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Speaker 1: that finally came out of that scene to be just

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Speaker 1: one like a solo project, think it felt kind of wrong,

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Speaker 1: like they'd be it would be the kind of this

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Speaker 1: like scene that we kind of had going in Perth

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Speaker 1: was kind of like a bunch of us, but there

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Speaker 1: weren't that many people. But that what we made tons

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00:17:32,440 --> 00:17:34,960
Speaker 1: of bands out of it, you know, so they'd be

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Speaker 1: like ten people and they'd be like six bands with

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Speaker 1: like different combinations of those people, just just because you know, like, hey,

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Speaker 1: why the fuck, why the funk not when we come back,

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Speaker 1: we'll have more with Kevin Parker. We're back with Rick

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Speaker 1: and Kevin Parker. It feels like it was like four

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Speaker 1: or five years between the third album and the new

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Speaker 1: album M and that before yous you didn't you didn't

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Speaker 1: write songs or make any music. I did. I absolutely did,

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Speaker 1: but I just didn't see it as taim and Parlor,

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Speaker 1: And it kind of seemed more like a drag to

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Speaker 1: think of a song as Tame and Parlor, because it like,

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Speaker 1: every time I thought of a song, if I imagine

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Speaker 1: it as taim and Parlor, it came loaded, like the

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Speaker 1: idea was loaded with all these kind of things that

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Speaker 1: came with it, Like it just seemed so much more

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Speaker 1: magical and wondrous to think of it as a song

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Speaker 1: I could collaborate with a different artist on, you know,

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Speaker 1: like me making taim and Parlor music now, h and

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Speaker 1: always it's like it's a deep dark hole that I

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Speaker 1: have to go into and you know, like come out

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Speaker 1: like it drains, it drains every bit of me, you know.

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Speaker 1: And I realized that the end, like working at the

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Speaker 1: end of the third album, you know, I've I've I

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00:18:55,920 --> 00:18:58,400
Speaker 1: always dreamt of making a tam and Parlor album where

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Speaker 1: I didn't feel completely spent at the end of it,

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00:19:01,000 --> 00:19:04,639
Speaker 1: like completely drained and completely like depressed even And I

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00:19:04,720 --> 00:19:07,240
Speaker 1: kind of realized after a while that that was inevitable

339
00:19:07,280 --> 00:19:09,359
Speaker 1: and that was the only way it could be. In

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00:19:09,400 --> 00:19:12,080
Speaker 1: the course of those four years before you started working

341
00:19:12,200 --> 00:19:15,439
Speaker 1: on a new album, did it reveal itself that it

342
00:19:15,520 --> 00:19:18,639
Speaker 1: was time or was it the decision you made, or

343
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Speaker 1: did one particular track come up where you felt like, oh,

344
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Speaker 1: this could be the beginning of something. It was a

345
00:19:27,359 --> 00:19:30,320
Speaker 1: combination of the first two, you know what it was.

346
00:19:30,480 --> 00:19:35,360
Speaker 1: It was more like it was the process of it,

347
00:19:35,440 --> 00:19:38,600
Speaker 1: because I'd fallen in love so much with this idea

348
00:19:38,680 --> 00:19:43,800
Speaker 1: of music being a collaborative thing, you know, like the

349
00:19:44,000 --> 00:19:49,359
Speaker 1: energy in a room when you're working with other people,

350
00:19:49,440 --> 00:19:51,400
Speaker 1: like you know, I started working with Travis Scott someone

351
00:19:51,440 --> 00:19:53,800
Speaker 1: like that, Like the energy in the room is just

352
00:19:53,840 --> 00:19:58,919
Speaker 1: so electric, you know, and I was like, hey, I

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Speaker 1: can I can have that energy on my own too.

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00:20:01,359 --> 00:20:06,239
Speaker 1: I just have to. I just have to embrace it,

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Speaker 1: you know. And so then I started so like the

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00:20:08,960 --> 00:20:13,120
Speaker 1: way I started working on the album again was by

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Speaker 1: like pretending I was in a recording session with a

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Speaker 1: bunch of other people, you know, staying up late, just

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00:20:18,800 --> 00:20:22,919
Speaker 1: getting getting drunk and stoned, you know, and kind of

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Speaker 1: just having a party by myself. I guess, just embracing

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00:20:27,160 --> 00:20:30,760
Speaker 1: that kind of way that when you're on the in

362
00:20:30,800 --> 00:20:34,200
Speaker 1: the depths of working by yourself, you feel like many people.

363
00:20:34,880 --> 00:20:39,600
Speaker 1: Do you feel like you're channeling particular people or is

364
00:20:39,640 --> 00:20:42,520
Speaker 1: it more of a general feeling of this is not me,

365
00:20:42,560 --> 00:20:45,960
Speaker 1: it's someone else, or do you envision or Travis is

366
00:20:46,000 --> 00:20:49,000
Speaker 1: here with me? What would you do? Both? But in

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00:20:49,040 --> 00:20:51,720
Speaker 1: different times it's like me imagining I'm someone else is

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00:20:51,760 --> 00:20:54,680
Speaker 1: kind of more when I get stuck, you know, it's

369
00:20:54,720 --> 00:20:58,080
Speaker 1: like what would or would Forrell Williams do in this moment?

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00:20:58,119 --> 00:21:01,639
Speaker 1: You know. Actually it's funny. One of the one of

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00:21:01,680 --> 00:21:04,320
Speaker 1: the things that got me inspired I was what I

372
00:21:04,359 --> 00:21:08,679
Speaker 1: started for some reason. I started watching um there's this

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Speaker 1: like six part YouTube video series on the making of Justified,

374
00:21:18,400 --> 00:21:21,720
Speaker 1: and it's it's it almost seems like leaked footage because

375
00:21:21,720 --> 00:21:23,760
Speaker 1: it's just fly on the wall. Someone's just holding a

376
00:21:23,840 --> 00:21:26,160
Speaker 1: video camera the entire time. It starts from like them

377
00:21:26,200 --> 00:21:29,359
Speaker 1: in the in Justin Timberlake's private jet and they're flying

378
00:21:29,400 --> 00:21:32,639
Speaker 1: to the recording session. But most of it is just

379
00:21:32,720 --> 00:21:36,879
Speaker 1: someone sitting on the couch like filming Farrell and Justin

380
00:21:37,840 --> 00:21:40,760
Speaker 1: kind of messing around, like having a laugh and like

381
00:21:40,880 --> 00:21:42,639
Speaker 1: making the song. So you can see Farrell kind of

382
00:21:42,640 --> 00:21:49,240
Speaker 1: piece together um uh Senorita. So like there's like, you know,

383
00:21:49,280 --> 00:21:51,040
Speaker 1: like a twenty minute patch of him just sort of

384
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Speaker 1: playing drums just so good. That's what it's that's not

385
00:21:56,160 --> 00:21:58,960
Speaker 1: how it starts out, but he slowly, it seems slowly

386
00:21:59,000 --> 00:22:03,240
Speaker 1: converge on the beat that ends up being signorated, you know,

387
00:22:04,600 --> 00:22:06,440
Speaker 1: so he's like, Okay, gets up, He's like, hey, leap

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00:22:06,480 --> 00:22:11,080
Speaker 1: that back. And I don't know why, but for some reason,

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00:22:11,119 --> 00:22:14,199
Speaker 1: that kind of just made me think about how I

390
00:22:14,280 --> 00:22:17,240
Speaker 1: make music, and it kind of reminded me. In fact,

391
00:22:17,240 --> 00:22:19,639
Speaker 1: one of the songs on the album kind of like

392
00:22:19,720 --> 00:22:24,920
Speaker 1: came out sounding similar to something I would imagine Forrell

393
00:22:25,000 --> 00:22:27,639
Speaker 1: and Justin would be doing for Justin Team, which is

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00:22:27,680 --> 00:22:30,840
Speaker 1: the song breath Deeper. The first the beat from the

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00:22:30,880 --> 00:22:34,560
Speaker 1: start of Breath Deeper was kind of me pretending us, no,

396
00:22:34,760 --> 00:22:37,439
Speaker 1: it's Farrell and Justin making Justified. Let me ask a

397
00:22:37,440 --> 00:22:43,159
Speaker 1: specific question. You often have a little intro signature intros

398
00:22:43,200 --> 00:22:46,479
Speaker 1: that are not necessarily part of the track, you know,

399
00:22:46,560 --> 00:22:49,600
Speaker 1: like the drums. It will either be a different beat

400
00:22:49,680 --> 00:22:53,760
Speaker 1: or it sounds really different and it sets up the song,

401
00:22:54,440 --> 00:22:56,600
Speaker 1: but it doesn't feel like it's part of the song.

402
00:22:56,800 --> 00:23:03,720
Speaker 1: Did those happen after? I guess that's just me trying

403
00:23:03,880 --> 00:23:08,560
Speaker 1: to um just create those kind of moments of like

404
00:23:09,000 --> 00:23:12,840
Speaker 1: jelting into the track, you know, like in the way

405
00:23:13,000 --> 00:23:18,640
Speaker 1: that you here and hip hop. The way that like

406
00:23:18,640 --> 00:23:22,760
Speaker 1: like just cutting to something completely different is because sometimes

407
00:23:22,800 --> 00:23:25,679
Speaker 1: one of the most satisfying things and so sometimes it

408
00:23:25,680 --> 00:23:30,320
Speaker 1: give me an accident, like accidentally accidentally played the track wrong.

409
00:23:31,040 --> 00:23:33,600
Speaker 1: For example, the start of backwards feels like we're going

410
00:23:33,680 --> 00:23:36,919
Speaker 1: to go backwards on Learnerism was me I had it

411
00:23:36,920 --> 00:23:40,280
Speaker 1: on loop. I had one beat on loop that's kind

412
00:23:40,280 --> 00:23:45,119
Speaker 1: of like you know, the last beat of the chorus

413
00:23:45,200 --> 00:23:49,040
Speaker 1: or something, you know, I had any and I was like,

414
00:23:49,040 --> 00:23:52,680
Speaker 1: oh shit, you know, that's one of like I don't

415
00:23:52,720 --> 00:23:55,080
Speaker 1: have many happy accidents in this year, I've most Not true,

416
00:23:55,119 --> 00:23:56,959
Speaker 1: I do, I have a lot, but um, that's one

417
00:23:57,119 --> 00:23:59,080
Speaker 1: just one of those happy accidents, you know. So I

418
00:23:59,080 --> 00:24:01,240
Speaker 1: guess I'm just always look out for things that can

419
00:24:01,840 --> 00:24:04,040
Speaker 1: consider like take you one way and then quickly back

420
00:24:04,080 --> 00:24:06,160
Speaker 1: the other, you know what I mean. And so more

421
00:24:06,400 --> 00:24:11,880
Speaker 1: more often, some accident might happen somewhere during the course

422
00:24:11,920 --> 00:24:15,400
Speaker 1: of making the song, and you might think, oh, maybe

423
00:24:15,400 --> 00:24:18,520
Speaker 1: I can use this piece at some point and then

424
00:24:18,560 --> 00:24:20,680
Speaker 1: you and then you figure out how to use it,

425
00:24:20,840 --> 00:24:24,480
Speaker 1: or or might you have a finished song and think, okay,

426
00:24:24,520 --> 00:24:26,399
Speaker 1: now I want to I need an intro and I

427
00:24:26,400 --> 00:24:28,520
Speaker 1: don't want it to be like the rest. I mean,

428
00:24:28,640 --> 00:24:31,040
Speaker 1: those kind of things, those kind of moments, those accidents,

429
00:24:31,520 --> 00:24:34,920
Speaker 1: they're almost it's almost something that I rely on happening,

430
00:24:35,359 --> 00:24:40,960
Speaker 1: you know, And because like you know, I i'd like

431
00:24:41,000 --> 00:24:43,240
Speaker 1: to recordpreate late at night. Sometimes I like to get

432
00:24:43,320 --> 00:24:47,080
Speaker 1: kind of just spaced out, and you know, in those times,

433
00:24:47,119 --> 00:24:51,480
Speaker 1: I'm not very musically proficient. You know, but because because

434
00:24:51,520 --> 00:24:56,080
Speaker 1: you're not consciously aware of everything you're doing, it frees

435
00:24:56,119 --> 00:25:00,000
Speaker 1: you from that the boring straight down the line cognitive

436
00:25:00,119 --> 00:25:02,040
Speaker 1: thinking that you do. You know. It's that kind of

437
00:25:02,800 --> 00:25:05,560
Speaker 1: so it's almost like your subconscious is involved in the

438
00:25:05,640 --> 00:25:10,720
Speaker 1: rating process. Yeah, exactly exactly. I mean I try I

439
00:25:10,800 --> 00:25:13,119
Speaker 1: try to bring that as much as possible because I'm

440
00:25:13,160 --> 00:25:17,320
Speaker 1: someone that naturally I'll try and process everything. You know,

441
00:25:17,320 --> 00:25:24,240
Speaker 1: I'm probably more um uh naturally an overthinker than i'd

442
00:25:24,280 --> 00:25:28,159
Speaker 1: like to be, you know, So like smoking weed in

443
00:25:28,200 --> 00:25:30,040
Speaker 1: a recording session, that's kind of just something I do

444
00:25:30,080 --> 00:25:33,240
Speaker 1: to stop myself from overthinking, because that's that's that's that's

445
00:25:33,240 --> 00:25:35,480
Speaker 1: a time when I'm just like, oh, yeah, that's cool,

446
00:25:35,560 --> 00:25:37,760
Speaker 1: let's go with that, you know, like, oh that's sick.

447
00:25:38,440 --> 00:25:40,439
Speaker 1: Don't think about it, don't think about it, you know,

448
00:25:41,800 --> 00:25:43,320
Speaker 1: not that not the nothing you need to be done

449
00:25:43,480 --> 00:25:45,399
Speaker 1: to to like to get into that kind of space,

450
00:25:45,440 --> 00:25:49,000
Speaker 1: but all those kind of times. It's it's also like

451
00:25:49,480 --> 00:25:52,280
Speaker 1: like being being in a heightened emotional state, like being

452
00:25:52,320 --> 00:25:58,840
Speaker 1: super feeling super emotional in whichever direction is also something

453
00:25:58,840 --> 00:26:00,840
Speaker 1: that brings out that where you're not you're not thinking

454
00:26:00,880 --> 00:26:03,520
Speaker 1: about whether something's good, it's just it just it hits

455
00:26:03,520 --> 00:26:06,520
Speaker 1: a spot of you because you're feeling depressed, or because

456
00:26:06,520 --> 00:26:11,040
Speaker 1: you're feeling elated, or or you know, particularly joyous or

457
00:26:11,080 --> 00:26:14,600
Speaker 1: particularly sad. Those are times when you don't overthink things too.

458
00:26:15,119 --> 00:26:19,119
Speaker 1: Are all of these things we're talking about all instrumental

459
00:26:19,720 --> 00:26:23,600
Speaker 1: at this point where we're at in talking about making

460
00:26:23,680 --> 00:26:27,760
Speaker 1: music and those feelings that you get excited about. Are

461
00:26:27,800 --> 00:26:31,439
Speaker 1: we only talking about instrumental at this point? Uh? No,

462
00:26:31,680 --> 00:26:33,600
Speaker 1: it can happen all at once. I mean, in fact,

463
00:26:33,760 --> 00:26:36,880
Speaker 1: like most of the ideas I have for songs, our

464
00:26:36,920 --> 00:26:39,480
Speaker 1: ideas I've had not even in the studio. And that's

465
00:26:39,520 --> 00:26:42,000
Speaker 1: kind of the other thing about catching you off guard

466
00:26:42,119 --> 00:26:47,280
Speaker 1: is that songs come to me when I'm not thinking

467
00:26:47,280 --> 00:26:52,120
Speaker 1: about writing a song. You know, in fact, if I

468
00:26:52,200 --> 00:26:54,840
Speaker 1: consciously decide that I want to write a song I

469
00:26:54,920 --> 00:26:56,840
Speaker 1: can you can pretty much guarantee it's going to be

470
00:26:56,960 --> 00:27:02,360
Speaker 1: the shitter song I've ever written. I've often tried to research,

471
00:27:02,680 --> 00:27:04,880
Speaker 1: like when it is that I that an idea will

472
00:27:04,920 --> 00:27:06,719
Speaker 1: come to me, and like the only thing I can

473
00:27:07,600 --> 00:27:10,560
Speaker 1: um that I've noticed, like a pattern or whatever, is

474
00:27:10,560 --> 00:27:14,960
Speaker 1: like going from like a loud place or like a

475
00:27:15,000 --> 00:27:17,879
Speaker 1: place where there's a lot of energy into us into it,

476
00:27:18,000 --> 00:27:21,560
Speaker 1: just like like walking outside, stepping outside from a room

477
00:27:21,600 --> 00:27:25,280
Speaker 1: of people, suddenly going from like lots of shit going on,

478
00:27:25,720 --> 00:27:28,000
Speaker 1: thinking about it and then suddenly nothing, and then my

479
00:27:28,080 --> 00:27:30,800
Speaker 1: brain has to find some way of feeling that void.

480
00:27:31,000 --> 00:27:36,000
Speaker 1: Suddenly a beard. I think that's something that's as great

481
00:27:36,040 --> 00:27:39,840
Speaker 1: and the fact that you notice that is really it's

482
00:27:40,280 --> 00:27:43,800
Speaker 1: it's a beautiful note. And I'm really helpful for you

483
00:27:43,880 --> 00:27:49,720
Speaker 1: that I'm so happy that you realized it. Sure, yeah, yeah, well,

484
00:27:49,760 --> 00:27:52,679
Speaker 1: I mean, like I think I'm a science person, so

485
00:27:52,720 --> 00:27:55,840
Speaker 1: I'm always like, how how does that happen? Not not

486
00:27:55,880 --> 00:27:59,240
Speaker 1: so that I can fabricate it or not that I

487
00:27:59,280 --> 00:28:01,440
Speaker 1: can like force it to happen, but just just because

488
00:28:01,480 --> 00:28:03,600
Speaker 1: I want to know you. I'm just curious, like what

489
00:28:03,760 --> 00:28:07,160
Speaker 1: makes me think of ten songs in three days sometimes

490
00:28:07,160 --> 00:28:09,960
Speaker 1: and then nothing for five months. Okay, So now let's

491
00:28:10,000 --> 00:28:12,800
Speaker 1: say you just left the loud room where there's a

492
00:28:12,840 --> 00:28:16,640
Speaker 1: lot going on. You stepped outside and it's silent. What

493
00:28:16,920 --> 00:28:20,880
Speaker 1: might one of these seed ideas look like? What would

494
00:28:20,880 --> 00:28:24,600
Speaker 1: be the first thing that would come. It's like flicking

495
00:28:24,600 --> 00:28:30,679
Speaker 1: on the radio, melody, lyric, both both all all at

496
00:28:30,720 --> 00:28:34,200
Speaker 1: the same time. Yeah, it's like it's like it's it's

497
00:28:34,240 --> 00:28:36,280
Speaker 1: like flicking on the radio, and it's like fee on

498
00:28:36,320 --> 00:28:38,520
Speaker 1: the radio because it's not like it's not like starting

499
00:28:38,520 --> 00:28:41,200
Speaker 1: the song at the Start's like a song starts, you know,

500
00:28:41,720 --> 00:28:45,280
Speaker 1: zero point zero zero song starts. It's like coming in

501
00:28:45,320 --> 00:28:48,040
Speaker 1: halfway through a chorus. You know, it's a vibe. You

502
00:28:48,120 --> 00:28:52,360
Speaker 1: pick up on the vibe. Yeah, and then and then

503
00:28:52,400 --> 00:28:56,320
Speaker 1: I just do my best. I do my best to

504
00:28:56,440 --> 00:28:58,960
Speaker 1: get to a place where I can record it before

505
00:28:59,000 --> 00:29:02,520
Speaker 1: I forget it. Um. So I've obviously got like a

506
00:29:02,680 --> 00:29:06,040
Speaker 1: hundred voice members on my phone. It'll be like a

507
00:29:06,120 --> 00:29:12,000
Speaker 1: two bar or one bar um bit of music. So

508
00:29:12,320 --> 00:29:14,320
Speaker 1: the drums, all the drums. With the drums, I mean,

509
00:29:14,440 --> 00:29:18,160
Speaker 1: let's let's try and find one um. But but it's

510
00:29:18,240 --> 00:29:20,680
Speaker 1: it's rare that I'll listen back to it and decide

511
00:29:20,680 --> 00:29:22,760
Speaker 1: that it was good enough. Just I don't know why.

512
00:29:22,920 --> 00:29:24,600
Speaker 1: It's like someone singing on it hear is like, hey man,

513
00:29:24,640 --> 00:29:28,400
Speaker 1: what about this? It goes no, no, no, no no, just

514
00:29:29,200 --> 00:29:32,600
Speaker 1: and sometimes at the end of my note, I like

515
00:29:32,680 --> 00:29:35,840
Speaker 1: feel compelled to go record this, Just fucking record it.

516
00:29:36,720 --> 00:29:38,480
Speaker 1: This wouldn't sound like much you listen to it, but

517
00:29:38,600 --> 00:29:46,760
Speaker 1: record it. Um play play one. I'd love to hear it.

518
00:29:53,120 --> 00:30:14,680
Speaker 1: This is very candid, you know, two doul. So that's

519
00:30:14,680 --> 00:30:19,520
Speaker 1: obviously like the kind of the rhythm section that's a

520
00:30:19,640 --> 00:30:24,760
Speaker 1: vocal melody. Um. Yeah. So I guess like often I'll

521
00:30:24,800 --> 00:30:27,680
Speaker 1: go back and just like force myself to a call

522
00:30:27,760 --> 00:30:29,160
Speaker 1: one of us. I haven't recorded that one. That's the

523
00:30:29,160 --> 00:30:31,320
Speaker 1: first time I've listened to it. I'd say about ninety

524
00:30:31,680 --> 00:30:34,600
Speaker 1: nine things out nine out of ten ideas that I

525
00:30:34,680 --> 00:30:40,560
Speaker 1: have I'll forget because I'll be meaning to like record

526
00:30:40,640 --> 00:30:42,560
Speaker 1: up my voice memo, but someone will be next. I'll

527
00:30:42,600 --> 00:30:46,120
Speaker 1: be like talking to someone and then we'll get into

528
00:30:46,160 --> 00:30:49,080
Speaker 1: a car with the car radio playing, and it'll absolutely

529
00:30:49,240 --> 00:30:52,000
Speaker 1: just wipe. It'll wipe whatever I'm thinking. You know, I'm

530
00:30:52,240 --> 00:30:56,920
Speaker 1: to catch him fast, absolutely and and and and easily

531
00:30:56,960 --> 00:31:00,160
Speaker 1: forgotten too. And I always feel bad about going, just

532
00:31:00,160 --> 00:31:04,400
Speaker 1: feel a bit kind of ego about ego maniac about going, Like, hey, guys, coone,

533
00:31:04,440 --> 00:31:06,080
Speaker 1: just shut up, come one, shut up. Plays I've got

534
00:31:06,120 --> 00:31:08,880
Speaker 1: an idea, you know, like I could never do that

535
00:31:08,920 --> 00:31:11,440
Speaker 1: in a room full of pain or with anyone I'm with.

536
00:31:12,200 --> 00:31:17,200
Speaker 1: Here's the suggestion, go to the bathroom. Yeah that's true.

537
00:31:17,240 --> 00:31:21,440
Speaker 1: Hey there's music playing in bathroom sometimes, but yeah, but yeah, no,

538
00:31:22,120 --> 00:31:27,440
Speaker 1: you know, Neil Young has rule that regardless of what

539
00:31:28,200 --> 00:31:31,080
Speaker 1: is going on in the moment where he is or

540
00:31:31,160 --> 00:31:36,560
Speaker 1: what he's doing, if a song comes to him, everything stops. Yeah,

541
00:31:36,640 --> 00:31:39,720
Speaker 1: I love it, And he gets that idea down before

542
00:31:39,720 --> 00:31:43,520
Speaker 1: that goes away because he knows it's fleeting and we

543
00:31:43,560 --> 00:31:45,920
Speaker 1: don't have control of them coming. Like you said, sometimes

544
00:31:45,960 --> 00:31:48,440
Speaker 1: you'll get you might get a bunch in a couple

545
00:31:48,440 --> 00:31:50,520
Speaker 1: of days, but then you might go months without without

546
00:31:50,520 --> 00:31:54,160
Speaker 1: getting another one. So they really are valuable. And they're

547
00:31:54,200 --> 00:31:56,600
Speaker 1: also valuable because they're all different and you never know

548
00:31:56,680 --> 00:31:59,760
Speaker 1: which one is the great one, you know, Yeah, maybe

549
00:31:59,760 --> 00:32:04,040
Speaker 1: one of the best ones evaporated. Yeah that's true. I

550
00:32:04,240 --> 00:32:07,600
Speaker 1: I family believe I you know, I genuinely believe that

551
00:32:08,400 --> 00:32:11,320
Speaker 1: I could have songs that are my best songs or whatever.

552
00:32:11,320 --> 00:32:13,520
Speaker 1: You know, Like, there's definitely things that have disappeared that

553
00:32:13,680 --> 00:32:18,160
Speaker 1: that would have been great. But that's just life, you know. Okay, Well,

554
00:32:18,160 --> 00:32:21,720
Speaker 1: I'm going to give you permission to always either ask

555
00:32:21,720 --> 00:32:25,760
Speaker 1: people to be quiet or to wow, or to invite

556
00:32:25,800 --> 00:32:28,760
Speaker 1: you to leave the where you are to go capture

557
00:32:28,840 --> 00:32:32,760
Speaker 1: these ideas because there you're doing a service. You're doing

558
00:32:32,760 --> 00:32:36,200
Speaker 1: a service to the world. Wow, that's that's actually really

559
00:32:36,200 --> 00:32:38,120
Speaker 1: powerful to hear from you, Rick Rubin. Can I get

560
00:32:38,120 --> 00:32:42,280
Speaker 1: a little soundbot from you saying like, hey, everyone, can

561
00:32:42,320 --> 00:32:44,719
Speaker 1: you get the fuck out Kevin? He's to record something

562
00:32:46,600 --> 00:32:48,680
Speaker 1: just so I can play it to them, Like it's like, hey,

563
00:32:49,080 --> 00:32:51,880
Speaker 1: I will make one for you and send it amazing.

564
00:32:52,040 --> 00:32:54,360
Speaker 1: That would be amazing, Just like Hey, guys, Rick Rubin here,

565
00:32:59,560 --> 00:33:02,400
Speaker 1: I love When we come back, we'll have more with

566
00:33:02,520 --> 00:33:09,440
Speaker 1: Kevin Parker. We're back with Rick and Kevin Parker from

567
00:33:09,440 --> 00:33:12,360
Speaker 1: Team and Parlor. Do you listen to music for a

568
00:33:12,360 --> 00:33:16,000
Speaker 1: final While I don't and I want to more, I

569
00:33:16,080 --> 00:33:20,400
Speaker 1: have less and less since I started making music, since

570
00:33:20,520 --> 00:33:23,880
Speaker 1: music became the thing that I do, I've been more

571
00:33:23,880 --> 00:33:27,000
Speaker 1: and more preoccupied with making it, so I haven't given

572
00:33:27,040 --> 00:33:30,360
Speaker 1: myself time to listen to it. Like, it's extremely difficult

573
00:33:30,400 --> 00:33:35,840
Speaker 1: for me to justify putting on an album to listen

574
00:33:35,880 --> 00:33:40,040
Speaker 1: to over potentially thinking of a song, because for me,

575
00:33:40,120 --> 00:33:42,280
Speaker 1: like if I put on an album, that's an hour

576
00:33:42,400 --> 00:33:46,480
Speaker 1: that I won't have an idea, you know, I'm that

577
00:33:46,600 --> 00:33:51,200
Speaker 1: obsessed with coming up with a new with like finding

578
00:33:51,240 --> 00:33:56,080
Speaker 1: a new song, making a new song, because making a

579
00:33:56,120 --> 00:33:59,200
Speaker 1: new song makes me feel like nothing else in the world.

580
00:33:59,240 --> 00:34:01,400
Speaker 1: There's no other feeling in the world that I get

581
00:34:01,520 --> 00:34:05,560
Speaker 1: from um the feeling of starting a new song that

582
00:34:05,600 --> 00:34:09,759
Speaker 1: I think has great potential, sadly more so than than

583
00:34:09,840 --> 00:34:15,040
Speaker 1: listening to something that that is equally that is that

584
00:34:15,160 --> 00:34:17,160
Speaker 1: is great, you know. But but I do want to

585
00:34:17,200 --> 00:34:18,840
Speaker 1: I do want to force myself to listen to me

586
00:34:18,920 --> 00:34:22,640
Speaker 1: more music. I heard uh Um Todd of the Creator

587
00:34:22,719 --> 00:34:25,000
Speaker 1: and his Nordwire interview the other day. He said, like

588
00:34:25,040 --> 00:34:27,000
Speaker 1: he wakes up every morning listens to two hours of

589
00:34:27,080 --> 00:34:29,920
Speaker 1: music hasn't heard before. I was like, Fuck, that's amazing.

590
00:34:29,960 --> 00:34:33,040
Speaker 1: I want to do that, you know, just like, yeah,

591
00:34:33,200 --> 00:34:40,160
Speaker 1: have you ever started a song with another song in mine? Um,

592
00:34:40,320 --> 00:34:44,239
Speaker 1: like a song that already exists, like a just like

593
00:34:44,280 --> 00:34:47,600
Speaker 1: a song, like a song that you a song from

594
00:34:47,640 --> 00:34:52,319
Speaker 1: the sixties. Anything, Wow, this is my inspiration. What would

595
00:34:52,320 --> 00:34:54,359
Speaker 1: I do that that would be in this vein? Not

596
00:34:54,840 --> 00:34:58,319
Speaker 1: I'm not suggesting copying it, but I'm saying being inspired

597
00:34:58,360 --> 00:35:00,799
Speaker 1: by it to want to make something that makes you

598
00:35:00,840 --> 00:35:04,879
Speaker 1: feel like that feels uh, not that I know of,

599
00:35:05,120 --> 00:35:09,520
Speaker 1: but um, something that I do sometimes kind of subconsciously.

600
00:35:10,560 --> 00:35:16,279
Speaker 1: There might be a song um playing in the background,

601
00:35:16,360 --> 00:35:20,520
Speaker 1: like you know, and like on the radio or something,

602
00:35:21,200 --> 00:35:23,160
Speaker 1: and then I'll and then like they'll get switched off,

603
00:35:23,840 --> 00:35:26,879
Speaker 1: and then I'll think of something that goes on from there,

604
00:35:27,000 --> 00:35:30,600
Speaker 1: like like I'll have the rhythm and maybe the key

605
00:35:30,719 --> 00:35:33,279
Speaker 1: in my mind is subconsciously I'll just start singing a

606
00:35:33,320 --> 00:35:35,120
Speaker 1: song that goes on from that as though as though

607
00:35:35,120 --> 00:35:38,640
Speaker 1: the song kept going but it changed. There's an example

608
00:35:38,640 --> 00:35:40,840
Speaker 1: of that which I don't know if I feel like

609
00:35:40,880 --> 00:35:45,640
Speaker 1: I'm gonna get busted. M Well, you know what fuck

610
00:35:45,680 --> 00:35:49,399
Speaker 1: it it was? It was twenty and twelve. No, there's

611
00:35:49,440 --> 00:35:54,279
Speaker 1: a song. Well, my song feels like we only go backwards. Um.

612
00:35:54,320 --> 00:35:57,040
Speaker 1: I must have been listening to this, why I've traced

613
00:35:57,040 --> 00:35:58,560
Speaker 1: it back. I think I was listening to this song

614
00:35:58,600 --> 00:36:03,080
Speaker 1: by Beach House earlier that morning. It's called Walk in

615
00:36:03,120 --> 00:36:07,120
Speaker 1: the Park, I think, And it's funny because it's the

616
00:36:07,200 --> 00:36:13,839
Speaker 1: same tempo and the same key and possibly even similar chords.

617
00:36:13,920 --> 00:36:17,279
Speaker 1: But it was for me at the time, it was

618
00:36:17,360 --> 00:36:19,200
Speaker 1: kind of it was too much of a coincidence. And

619
00:36:19,239 --> 00:36:21,080
Speaker 1: I'm pretty sure it was around that time that song

620
00:36:21,120 --> 00:36:24,600
Speaker 1: came out, So I'm pretty sure that I'd done that

621
00:36:25,000 --> 00:36:27,480
Speaker 1: with that song, kind of like that song had stopped

622
00:36:27,760 --> 00:36:29,960
Speaker 1: and then i'd kind of just like my brain had

623
00:36:29,960 --> 00:36:33,160
Speaker 1: continued it on, same tempo and same key, you know,

624
00:36:33,280 --> 00:36:36,080
Speaker 1: maybe even like there's probably even like a little motif

625
00:36:36,160 --> 00:36:39,560
Speaker 1: in there that's the same kind of combo of two

626
00:36:39,640 --> 00:36:41,880
Speaker 1: or three notes, do you know what I mean. So

627
00:36:41,920 --> 00:36:44,560
Speaker 1: that's something that happens. Yeah, I don't think there's anything.

628
00:36:46,080 --> 00:36:50,400
Speaker 1: I think all great artists are heavily inspired by other artists,

629
00:36:50,440 --> 00:36:53,160
Speaker 1: and it's only good. Yeah. What's funny is that when

630
00:36:53,160 --> 00:36:57,160
Speaker 1: I say that now it doesn't seem that bad, But

631
00:36:57,160 --> 00:36:58,759
Speaker 1: but I think back then, I used to be so

632
00:36:58,920 --> 00:37:03,279
Speaker 1: precious about like the sacredity of melodies and the sacredness

633
00:37:03,320 --> 00:37:10,960
Speaker 1: of artistry being being wholly wholly as like whe Dadada

634
00:37:11,560 --> 00:37:14,920
Speaker 1: inspired and not influenced by anything. So like back then

635
00:37:14,920 --> 00:37:16,759
Speaker 1: I would have thought that was terrible but now now

636
00:37:16,800 --> 00:37:18,719
Speaker 1: that I said out loud, it's kind of that's just

637
00:37:18,800 --> 00:37:21,200
Speaker 1: one of the ways that like great song can come about.

638
00:37:21,200 --> 00:37:23,880
Speaker 1: And then especially like I discovered or not discovered, but

639
00:37:23,960 --> 00:37:26,319
Speaker 1: like I appreciated hip hop more and like sampling and

640
00:37:26,320 --> 00:37:29,160
Speaker 1: stuff like that. So you know, that's that's another whole

641
00:37:29,200 --> 00:37:32,600
Speaker 1: realm of taking music that already exists. Yeah, I think

642
00:37:33,000 --> 00:37:36,400
Speaker 1: creative use of a sample to create something new is

643
00:37:37,040 --> 00:37:39,840
Speaker 1: it's just a new form. It's like it's a great

644
00:37:39,920 --> 00:37:43,280
Speaker 1: new form of creativity, a beautiful way to express yourself,

645
00:37:44,040 --> 00:37:47,600
Speaker 1: to flip something for a new use like recycling. It's

646
00:37:47,680 --> 00:37:53,560
Speaker 1: really cool. Yeah, it's also a completely other other category

647
00:37:53,719 --> 00:37:56,319
Speaker 1: of skill that can be mastered. You know. I guess

648
00:37:56,320 --> 00:37:58,640
Speaker 1: that's something I didn't realize early on when I started,

649
00:37:58,680 --> 00:38:01,239
Speaker 1: you know, when I was like making to socker rocking style.

650
00:38:01,320 --> 00:38:03,960
Speaker 1: Not that I have do you that I've sampled myself,

651
00:38:04,000 --> 00:38:06,960
Speaker 1: but like I used to think, like someone's done that already,

652
00:38:07,000 --> 00:38:09,560
Speaker 1: like how can you take credit for that? But finding

653
00:38:09,600 --> 00:38:13,560
Speaker 1: that in itself and realizing how it can be reimagined

654
00:38:13,600 --> 00:38:18,120
Speaker 1: and like represented is extremely difficult, especially when there's an

655
00:38:18,520 --> 00:38:21,160
Speaker 1: there's a universe of music out there, Like finding the

656
00:38:21,239 --> 00:38:22,920
Speaker 1: right thing to use and how to use it is

657
00:38:23,680 --> 00:38:28,600
Speaker 1: something that I that I admire extremely Now, yeah, that's

658
00:38:28,920 --> 00:38:31,920
Speaker 1: it can happen even I mean even with cover songs.

659
00:38:32,440 --> 00:38:35,080
Speaker 1: A different artist could take the same song with someone

660
00:38:35,120 --> 00:38:40,400
Speaker 1: else did and just through their interpretation of it completely

661
00:38:40,480 --> 00:38:43,759
Speaker 1: changed the meaning of the song. You know. It's there's

662
00:38:43,840 --> 00:38:48,360
Speaker 1: so much that can happen in the personalization process of

663
00:38:48,480 --> 00:38:54,719
Speaker 1: music fully fully, like that that Mad World song. You know,

664
00:38:54,800 --> 00:38:58,480
Speaker 1: it's it's a cover. It's really that really a somber song, yes,

665
00:38:58,760 --> 00:39:01,560
Speaker 1: and it's like, how could this song I've ever been

666
00:39:01,600 --> 00:39:04,319
Speaker 1: anything else other than this? You know. Yes, the cover

667
00:39:04,480 --> 00:39:07,920
Speaker 1: version is spectacular, and if you listen back to the original,

668
00:39:07,960 --> 00:39:12,800
Speaker 1: it's cool, but the cover is is it? Yeah? Exactly?

669
00:39:13,120 --> 00:39:17,239
Speaker 1: Great example, the first BG's hit was a song that

670
00:39:17,280 --> 00:39:23,000
Speaker 1: they wrote for um Otis Redding. Do you know the story? No, No,

671
00:39:23,200 --> 00:39:27,239
Speaker 1: I want to know. I love somebody? Oh okay, I

672
00:39:27,360 --> 00:39:33,879
Speaker 1: love somebody. Yeah. They wrote that for Otis Redding and

673
00:39:33,920 --> 00:39:37,040
Speaker 1: then Otis Redding died and never got to record it,

674
00:39:37,680 --> 00:39:40,279
Speaker 1: and then they recorded it themselves and put it out.

675
00:39:40,680 --> 00:39:42,440
Speaker 1: But when you hear that song, you don't think of

676
00:39:42,440 --> 00:39:44,239
Speaker 1: Otis Redding and you think of the BGS. It's like

677
00:39:44,320 --> 00:39:48,359
Speaker 1: it's a it's a classic BGS song. Yeah, a great

678
00:39:48,400 --> 00:39:51,400
Speaker 1: example of a song with in their mind that was

679
00:39:51,440 --> 00:39:55,480
Speaker 1: for someone else. Yeah. Yeah, I like hearing stars like that.

680
00:39:55,480 --> 00:40:00,480
Speaker 1: It's kind of comforting for me to know that there's

681
00:40:00,520 --> 00:40:03,839
Speaker 1: that kind of uncertainty that honest have as well with

682
00:40:03,840 --> 00:40:07,200
Speaker 1: with where a song should end up. Anything else you

683
00:40:07,280 --> 00:40:11,879
Speaker 1: want to talk about, Uh, well, you know, I'm tending

684
00:40:11,920 --> 00:40:14,960
Speaker 1: to ask you about everything you've done, but I don't

685
00:40:14,960 --> 00:40:18,279
Speaker 1: know that that's probably something done a million times. What

686
00:40:18,360 --> 00:40:22,719
Speaker 1: was what was recording Californication? Like, just because that was

687
00:40:22,719 --> 00:40:25,000
Speaker 1: one of the albums that like was big for me,

688
00:40:25,880 --> 00:40:28,719
Speaker 1: that was kind of like my first year of high

689
00:40:28,719 --> 00:40:31,640
Speaker 1: school album that I was kind of obsessed with. Well

690
00:40:31,880 --> 00:40:34,200
Speaker 1: did typically the way it worked with the Chili Peppers

691
00:40:34,239 --> 00:40:36,479
Speaker 1: as we would they would write songs on their own

692
00:40:36,680 --> 00:40:38,959
Speaker 1: for a long period of time, and then we would

693
00:40:38,960 --> 00:40:42,080
Speaker 1: get together in pre production and they would play me

694
00:40:42,960 --> 00:40:48,759
Speaker 1: songs in various stages of completion, and we would talk

695
00:40:48,800 --> 00:40:54,080
Speaker 1: about them and discuss strengths and weaknesses and how they

696
00:40:54,120 --> 00:40:56,000
Speaker 1: could maybe be better and where they had too many

697
00:40:56,040 --> 00:40:59,959
Speaker 1: parts or whether they had maybe mad enough parts. Yeah,

698
00:40:59,000 --> 00:41:03,920
Speaker 1: and then we would usually by the time of that

699
00:41:04,000 --> 00:41:08,280
Speaker 1: album really work up the songs as a live band

700
00:41:08,719 --> 00:41:12,360
Speaker 1: in the in the rehearsal room, so that when we

701
00:41:12,360 --> 00:41:16,160
Speaker 1: went into the studio it was purely just getting the performance,

702
00:41:16,160 --> 00:41:21,600
Speaker 1: like everything was worked out completely just with the players.

703
00:41:23,080 --> 00:41:27,520
Speaker 1: Maybe not all of the words, but I think back

704
00:41:27,560 --> 00:41:31,640
Speaker 1: then maybe many of the words were already written where

705
00:41:31,760 --> 00:41:36,880
Speaker 1: they could perform it live and and the goal of

706
00:41:36,920 --> 00:41:43,840
Speaker 1: that really was to to not confuse the writing process

707
00:41:44,480 --> 00:41:46,960
Speaker 1: with the performance process, so that when we were in

708
00:41:47,000 --> 00:41:49,960
Speaker 1: the studio we really knew what we were doing. And

709
00:41:50,719 --> 00:41:53,520
Speaker 1: still we might play the same song a hundred times

710
00:41:54,480 --> 00:41:58,839
Speaker 1: to get it to just come together in that in

711
00:41:58,880 --> 00:42:02,200
Speaker 1: that way where it feels like it's the perfect version,

712
00:42:02,320 --> 00:42:05,520
Speaker 1: but it's also got mistakes in it, and it's you know,

713
00:42:05,520 --> 00:42:09,920
Speaker 1: it's natural. It's just it sounds like a band on

714
00:42:09,960 --> 00:42:14,799
Speaker 1: a really good night. It doesn't sound like machines playing it.

715
00:42:14,800 --> 00:42:18,480
Speaker 1: It sounds like the best night that they played that

716
00:42:18,640 --> 00:42:21,439
Speaker 1: on tour. This was we happened to catch the best one,

717
00:42:22,040 --> 00:42:24,920
Speaker 1: so to play things over and over with that idea,

718
00:42:25,120 --> 00:42:27,600
Speaker 1: and someone happened very quickly, someone take a long time,

719
00:42:27,960 --> 00:42:31,520
Speaker 1: and then and then all of the overdubs would happen

720
00:42:31,520 --> 00:42:34,719
Speaker 1: after that, and we would make decisions of things to try,

721
00:42:34,360 --> 00:42:38,080
Speaker 1: and we would usually record many, many, many more songs

722
00:42:38,080 --> 00:42:42,280
Speaker 1: than whatever was on the album. Pretty much always the case. Wow,

723
00:42:42,719 --> 00:42:44,880
Speaker 1: Like I would say for every album we made, there

724
00:42:44,920 --> 00:42:48,400
Speaker 1: were at least twice as many songs as the songs

725
00:42:48,440 --> 00:42:51,239
Speaker 1: that were on the album, and what happened to them

726
00:42:53,880 --> 00:42:56,879
Speaker 1: eventually come out and based on kind of some have

727
00:42:56,920 --> 00:43:02,399
Speaker 1: some happen. Wow, that's that's crazy because like for me,

728
00:43:02,480 --> 00:43:06,520
Speaker 1: that's that's such a wild things to think because for me,

729
00:43:06,640 --> 00:43:08,160
Speaker 1: like I just make the songs that I need for

730
00:43:08,160 --> 00:43:12,560
Speaker 1: an album, Like a song will will not get pasted well,

731
00:43:12,600 --> 00:43:16,560
Speaker 1: it won't get passed anywhere close to halfway finished unless

732
00:43:16,560 --> 00:43:18,600
Speaker 1: I know it's going to be on the album. So

733
00:43:18,680 --> 00:43:22,120
Speaker 1: I rarely ever have B sides of any kind. So

734
00:43:22,160 --> 00:43:27,000
Speaker 1: the idea of to think of like a completely a

735
00:43:27,040 --> 00:43:32,160
Speaker 1: complete other, like a parallel universe album that never existed.

736
00:43:32,200 --> 00:43:35,799
Speaker 1: That's funny because it's sung on Californication. But um, but

737
00:43:35,880 --> 00:43:38,280
Speaker 1: I guess I guess that's I guess that's how most artists.

738
00:43:38,440 --> 00:43:42,520
Speaker 1: Have you noticed? Have you noticed how a song when

739
00:43:42,560 --> 00:43:46,280
Speaker 1: you first get excited about it and you think, oh,

740
00:43:46,320 --> 00:43:48,200
Speaker 1: you know, I've worked on these songs, but this this

741
00:43:48,239 --> 00:43:50,319
Speaker 1: new one is my favorite of the batch so far,

742
00:43:51,480 --> 00:43:55,920
Speaker 1: and then as you work further it maybe doesn't become

743
00:43:55,960 --> 00:43:58,560
Speaker 1: your favorite of the batch. And then another song that

744
00:43:58,640 --> 00:44:00,680
Speaker 1: you think, well, this is pretty good, but maybe not

745
00:44:00,800 --> 00:44:03,640
Speaker 1: my favorite song, that as you continue working on it,

746
00:44:03,640 --> 00:44:05,400
Speaker 1: it becomes your favorite song. Have you ever had that

747
00:44:05,440 --> 00:44:09,400
Speaker 1: experience or now? Well, my thing is like for a

748
00:44:09,480 --> 00:44:13,000
Speaker 1: song to make an album, it has to at some

749
00:44:13,080 --> 00:44:17,319
Speaker 1: point have been my favorite song ever, Like I have

750
00:44:17,400 --> 00:44:19,839
Speaker 1: to have had a moment with that song, Like it

751
00:44:19,880 --> 00:44:22,640
Speaker 1: has to like for at least a day, has to

752
00:44:22,680 --> 00:44:25,760
Speaker 1: have been just like my favorite thing I've ever done.

753
00:44:26,360 --> 00:44:29,120
Speaker 1: You know, it can never be like just for some reason,

754
00:44:29,239 --> 00:44:34,400
Speaker 1: like I won't bother going through with a song unless

755
00:44:34,680 --> 00:44:39,560
Speaker 1: at some point I've thought that it's like potential is limitless,

756
00:44:39,760 --> 00:44:42,160
Speaker 1: or it could be the greatest thing I've done, and

757
00:44:42,160 --> 00:44:44,719
Speaker 1: like greatest, not just greatest, like oh it could you know,

758
00:44:45,800 --> 00:44:49,040
Speaker 1: be the most critically claimed or whatever, but just just

759
00:44:49,320 --> 00:44:51,920
Speaker 1: just the greatest, you know, Like I guess for me,

760
00:44:52,000 --> 00:44:56,759
Speaker 1: the thing is like from starting a song and having

761
00:44:56,800 --> 00:44:59,640
Speaker 1: all these and just thinking it's and having a moment

762
00:44:59,640 --> 00:45:04,719
Speaker 1: with a um feeling great about it. It's kind of

763
00:45:04,760 --> 00:45:06,640
Speaker 1: just like a race to the finish line to get

764
00:45:06,640 --> 00:45:09,440
Speaker 1: the song finished and have me still feel the same

765
00:45:09,480 --> 00:45:11,480
Speaker 1: way about it, or just for me to still love it.

766
00:45:11,520 --> 00:45:14,960
Speaker 1: You know, you always finish one song before moving on

767
00:45:15,040 --> 00:45:19,960
Speaker 1: to the next song. No, No, I mean like hours

768
00:45:20,040 --> 00:45:25,400
Speaker 1: for the hours up until mastering. I'm still writing lyrics

769
00:45:25,600 --> 00:45:29,360
Speaker 1: for a song for it, like up until you know,

770
00:45:29,640 --> 00:45:32,040
Speaker 1: a few hours before it's done, of like a year

771
00:45:32,040 --> 00:45:36,360
Speaker 1: of working on it. I'm sort of like writing lyrics,

772
00:45:37,040 --> 00:45:42,239
Speaker 1: writing and recording lyrics and editing drums and you know,

773
00:45:42,640 --> 00:45:45,240
Speaker 1: so I do everything at once because I'm my attention

774
00:45:45,280 --> 00:45:47,640
Speaker 1: spand is too short to well my kind of like

775
00:45:47,760 --> 00:45:51,040
Speaker 1: my work, I have horrible work ethics. So for me

776
00:45:51,080 --> 00:45:55,680
Speaker 1: to sit down and do like one task until it's done,

777
00:45:55,680 --> 00:45:58,560
Speaker 1: it's extremely rare. You know. I'll just I'll sort of

778
00:45:58,600 --> 00:46:03,960
Speaker 1: like be recording a baseline for it and get sort

779
00:46:03,960 --> 00:46:06,160
Speaker 1: of like halfway down there, Oh I canna do something

780
00:46:06,200 --> 00:46:09,280
Speaker 1: else now, you know, I'm gonna Because that's the luxury

781
00:46:09,280 --> 00:46:11,360
Speaker 1: of doing it by myself. I can do it without

782
00:46:11,360 --> 00:46:14,279
Speaker 1: it derailing the session, you know, so I can kind

783
00:46:14,320 --> 00:46:16,440
Speaker 1: of just like, oh, you know, now now I want

784
00:46:16,480 --> 00:46:18,000
Speaker 1: to think of some lyrics, or now I want to

785
00:46:18,000 --> 00:46:19,600
Speaker 1: do a bit of mixing. You know, I want to

786
00:46:19,719 --> 00:46:22,239
Speaker 1: edit some drums, you know, I'll do everything at once

787
00:46:22,280 --> 00:46:25,200
Speaker 1: and then which which can which can sort of like

788
00:46:25,280 --> 00:46:28,120
Speaker 1: create this sort of like complete mess of and and

789
00:46:28,960 --> 00:46:33,000
Speaker 1: can make me feel can can make you lost in

790
00:46:33,040 --> 00:46:36,839
Speaker 1: the progress of a song. So sometimes I'm like, oh,

791
00:46:36,880 --> 00:46:38,320
Speaker 1: I don't know where I am with this, So I

792
00:46:38,360 --> 00:46:40,759
Speaker 1: don't know, I don't know if it's almost finished or

793
00:46:40,760 --> 00:46:44,040
Speaker 1: if it's nowhere near there, you know. So I'm kind

794
00:46:44,040 --> 00:46:47,200
Speaker 1: of just like in lost in this, in this, uh

795
00:46:47,960 --> 00:46:51,799
Speaker 1: in the in the woods? Do you ever go too

796
00:46:51,800 --> 00:46:55,359
Speaker 1: far and have to backtrack? Yes, I mean I hate

797
00:46:55,360 --> 00:47:00,520
Speaker 1: back I hate backtracking, but but yes, um, it's interesting.

798
00:47:00,520 --> 00:47:03,759
Speaker 1: I was something I wanted to I've always wanted to know,

799
00:47:04,320 --> 00:47:06,680
Speaker 1: and like maybe maybe you're not able to say because

800
00:47:06,680 --> 00:47:11,000
Speaker 1: if you know, it's like uh secret or whatever. But um,

801
00:47:11,960 --> 00:47:15,520
Speaker 1: with Jesus, you know, because there's the myth that he

802
00:47:16,120 --> 00:47:17,880
Speaker 1: there's a story that he came to you sort of

803
00:47:17,880 --> 00:47:19,120
Speaker 1: a couple of weeks before it was done, and you

804
00:47:19,200 --> 00:47:21,319
Speaker 1: kind of went like, let's get rid of that, Let's

805
00:47:21,320 --> 00:47:23,120
Speaker 1: get rid of that and like strip it down, which

806
00:47:23,120 --> 00:47:26,840
Speaker 1: to me, like that story is like is this holy

807
00:47:26,880 --> 00:47:32,160
Speaker 1: grail of discipline? Like executive discipline to say like we

808
00:47:32,239 --> 00:47:34,080
Speaker 1: don't need any of this, you know, because for me,

809
00:47:34,160 --> 00:47:37,200
Speaker 1: that's it's it's it's it's extremely hard if I recorded

810
00:47:37,200 --> 00:47:40,000
Speaker 1: apart for a song, it's extremely difficult for me to

811
00:47:40,040 --> 00:47:42,160
Speaker 1: say he doesn't need to be in the song, because

812
00:47:42,200 --> 00:47:44,160
Speaker 1: like my brain's like, oh no, there's a there's there'll

813
00:47:44,200 --> 00:47:46,080
Speaker 1: be a place for it, you know. So my songs

814
00:47:46,080 --> 00:47:49,840
Speaker 1: can end up being so extremely dense and I'm just

815
00:47:49,880 --> 00:47:51,359
Speaker 1: sort of finding a way to sort of like fit

816
00:47:51,400 --> 00:47:53,800
Speaker 1: in there, in there. But to me, like the greatest

817
00:47:53,800 --> 00:47:58,840
Speaker 1: strength and the greatest ability in production is to say

818
00:47:59,680 --> 00:48:03,160
Speaker 1: all of this stuff here doesn't doesn't need to be

819
00:48:03,320 --> 00:48:05,600
Speaker 1: you know. So I I real wonder to know how

820
00:48:05,640 --> 00:48:10,320
Speaker 1: that like happened. Well, um, you have to be ruthless

821
00:48:10,320 --> 00:48:14,760
Speaker 1: in the edit, and uh rot I like that word ruthless.

822
00:48:15,239 --> 00:48:18,239
Speaker 1: It's the right word because you have to be comfortable

823
00:48:19,040 --> 00:48:22,600
Speaker 1: taking your favorite part out of a song if it

824
00:48:22,680 --> 00:48:26,719
Speaker 1: doesn't if it doesn't serve the song. The most important

825
00:48:26,840 --> 00:48:32,120
Speaker 1: thing is that what what's presented is the best that

826
00:48:32,160 --> 00:48:35,480
Speaker 1: it could possibly be, and it's not a collection of

827
00:48:35,520 --> 00:48:39,439
Speaker 1: things in that one song. It's what makes this song

828
00:48:39,520 --> 00:48:43,600
Speaker 1: the best it could possibly be, And anything that doesn't

829
00:48:43,640 --> 00:48:47,680
Speaker 1: need to be there, needs to go. And I would

830
00:48:47,680 --> 00:48:52,080
Speaker 1: say just the opposite in terms of I never feel

831
00:48:52,080 --> 00:48:55,080
Speaker 1: bad about taking stuff out. But then again, you know,

832
00:48:55,160 --> 00:48:59,880
Speaker 1: from the beginning, there's always been my uh, my instinct

833
00:49:01,120 --> 00:49:03,839
Speaker 1: is to have the least amount of stuff to get

834
00:49:03,880 --> 00:49:06,600
Speaker 1: the idea across with the least amount of stuff. Doesn't

835
00:49:06,640 --> 00:49:10,440
Speaker 1: mean that that's um. I'll say that that's an organizing

836
00:49:10,480 --> 00:49:13,680
Speaker 1: principle for the way I work. But then sometimes we'll decide, oh,

837
00:49:13,760 --> 00:49:15,919
Speaker 1: let's put a bunch of stuff on this, and that's

838
00:49:15,920 --> 00:49:17,560
Speaker 1: the way we like it. It's fine. So it's not

839
00:49:17,600 --> 00:49:21,200
Speaker 1: a uh, it's not a rule to live by, but

840
00:49:21,280 --> 00:49:24,759
Speaker 1: it's a it's a way of thinking. And and there's

841
00:49:24,760 --> 00:49:28,000
Speaker 1: a reason for it, which is when you clear as

842
00:49:28,120 --> 00:49:33,439
Speaker 1: much space as possible, the things that are left, you

843
00:49:33,560 --> 00:49:39,320
Speaker 1: really hear them, you really feel their personality. There's less um,

844
00:49:39,400 --> 00:49:45,399
Speaker 1: there's less jocking for for your attention. So each thing

845
00:49:45,520 --> 00:49:48,480
Speaker 1: gets to live in its own space. And that's space

846
00:49:48,640 --> 00:49:50,839
Speaker 1: is what makes things sound so beautiful. It's the it's

847
00:49:50,880 --> 00:49:53,880
Speaker 1: really you know, the old the old adage, the quiet

848
00:49:53,920 --> 00:49:58,279
Speaker 1: between the notes. Yeah, exactly, Matt, And that's that's that's

849
00:49:58,719 --> 00:50:03,200
Speaker 1: that's ruly remarkable. Because as for me, it's like it

850
00:50:03,239 --> 00:50:05,680
Speaker 1: would be torture to do something like that, you know,

851
00:50:06,960 --> 00:50:09,080
Speaker 1: like the idea for me, because I'm listening to you go,

852
00:50:09,160 --> 00:50:12,399
Speaker 1: I'm like, oh fuck, you know, because my brain it's

853
00:50:12,400 --> 00:50:14,359
Speaker 1: to the place my brain goes to is like, how

854
00:50:14,440 --> 00:50:17,719
Speaker 1: can a song be the best that it can be

855
00:50:18,120 --> 00:50:20,440
Speaker 1: without your favorite bit in the song? Well, that the

856
00:50:20,520 --> 00:50:24,600
Speaker 1: favorite bit might end up being a different song. Yeah, true, true,

857
00:50:25,640 --> 00:50:29,920
Speaker 1: it's like what serves the same. It's like it's It's

858
00:50:29,960 --> 00:50:31,640
Speaker 1: one of the things that I learned early on we're

859
00:50:31,640 --> 00:50:35,080
Speaker 1: working with bands who are really great players, is that

860
00:50:35,320 --> 00:50:38,000
Speaker 1: most great players want to show that they're great players,

861
00:50:38,680 --> 00:50:42,759
Speaker 1: and there is there isn't much room for that in recording.

862
00:50:42,880 --> 00:50:46,439
Speaker 1: In recording, it really is what needs to be there

863
00:50:46,480 --> 00:50:50,080
Speaker 1: to best serve the song. It's not in certain unless,

864
00:50:50,120 --> 00:50:52,640
Speaker 1: of course, it's you know, a guitar hero album and

865
00:50:52,880 --> 00:50:55,960
Speaker 1: it's really about showing the dexterity of the player. But

866
00:50:56,000 --> 00:50:59,360
Speaker 1: if it's about if it's about the songs, it's never

867
00:50:59,480 --> 00:51:03,640
Speaker 1: about the coolest part. It's about how the parts interact

868
00:51:03,760 --> 00:51:07,759
Speaker 1: to make the greatest fall. And sometimes the thing that's

869
00:51:07,760 --> 00:51:14,720
Speaker 1: really cool ends up being a distraction. Yeah, Yeah, it's true. Yeah,

870
00:51:14,800 --> 00:51:17,960
Speaker 1: I mean, I guess that's that's kind of like the

871
00:51:18,080 --> 00:51:22,520
Speaker 1: kind of philosophy that I'm like developing in myself at

872
00:51:22,520 --> 00:51:24,840
Speaker 1: the moment, you know, because like so much of my

873
00:51:24,920 --> 00:51:28,200
Speaker 1: music has been this kind of like this like layered

874
00:51:29,560 --> 00:51:31,759
Speaker 1: psych rock kind of symphonies. You know, Like with Loan

875
00:51:31,840 --> 00:51:33,480
Speaker 1: Reasm was kind of like the pinnacle of that, right

876
00:51:33,680 --> 00:51:36,520
Speaker 1: because it was so indulgent. It was like, Oh, I'm

877
00:51:36,520 --> 00:51:39,399
Speaker 1: gonna this sent melody, I'm gonna do this fucking guitar line, Oh,

878
00:51:39,440 --> 00:51:41,680
Speaker 1: this Basseline's going to come in here, you know, and

879
00:51:41,760 --> 00:51:44,560
Speaker 1: it was like packed in the packed in. So it's

880
00:51:44,560 --> 00:51:47,840
Speaker 1: like really sonically, it's really interesting album listen to because

881
00:51:47,880 --> 00:51:50,600
Speaker 1: nothing really jumps out at you except all these bits,

882
00:51:50,600 --> 00:51:55,479
Speaker 1: which is it's simultaneously what's wrong with it but also

883
00:51:55,560 --> 00:51:58,279
Speaker 1: what's kind of like charming and beautiful about it. But

884
00:51:58,800 --> 00:52:01,480
Speaker 1: you know, like that kind of discipline that you're talking

885
00:52:01,520 --> 00:52:04,520
Speaker 1: about is something that I'm that that I that I

886
00:52:04,560 --> 00:52:08,160
Speaker 1: see is as u kind of one of the greatest

887
00:52:08,280 --> 00:52:13,120
Speaker 1: wisdoms to have, you know, being able to sense what

888
00:52:13,120 --> 00:52:15,080
Speaker 1: what what what a piece of music needs and what

889
00:52:15,120 --> 00:52:18,600
Speaker 1: it doesn't needs doesn't need, and and the idea that

890
00:52:19,239 --> 00:52:22,319
Speaker 1: maybe for a particular project, you want it to be

891
00:52:22,440 --> 00:52:26,080
Speaker 1: super dense and yeah, you know, stepping on itself and

892
00:52:26,120 --> 00:52:29,560
Speaker 1: that's the that's that's what makes that project that project.

893
00:52:29,600 --> 00:52:33,640
Speaker 1: That's fine. So it's not it's not like everything has

894
00:52:33,680 --> 00:52:36,279
Speaker 1: to be that way. It's more of a no, you're on,

895
00:52:37,000 --> 00:52:39,120
Speaker 1: it's in the bag of tricks. It's in the bag

896
00:52:39,160 --> 00:52:43,880
Speaker 1: of tricks, right, gotcha? Yeah, Yeah, no, for sure. I

897
00:52:43,880 --> 00:52:46,359
Speaker 1: guess I just feel like, yeah, that that that's kind

898
00:52:46,400 --> 00:52:49,000
Speaker 1: of like a because it's a new and wonderful thing

899
00:52:49,000 --> 00:52:50,839
Speaker 1: for me. It's kind of it's one of those things

900
00:52:50,880 --> 00:52:53,400
Speaker 1: I'm curious about. You know. Well, the next time that

901
00:52:53,480 --> 00:52:58,080
Speaker 1: we're both in the same place and our uh and

902
00:52:58,200 --> 00:53:00,279
Speaker 1: the world is the world where we're allowed to be

903
00:53:00,280 --> 00:53:03,960
Speaker 1: in the same room, then let's let's get together and

904
00:53:04,040 --> 00:53:05,879
Speaker 1: listen to music together and I bet all be fun.

905
00:53:06,320 --> 00:53:12,000
Speaker 1: Fuck yeah, man, that sounds good. I love that. Thanks

906
00:53:12,000 --> 00:53:14,080
Speaker 1: to Kevin Parker for jumping on zoom to talk with

907
00:53:14,160 --> 00:53:16,879
Speaker 1: Rick about his new album. Be sure to check out

908
00:53:16,880 --> 00:53:19,720
Speaker 1: The Slow Rush, along with our other favorite Tamo Paula songs,

909
00:53:19,800 --> 00:53:23,520
Speaker 1: on a playlist we created at Broken record podcast dot com.

910
00:53:23,600 --> 00:53:25,399
Speaker 1: You should also know we'll be taking a little break

911
00:53:25,400 --> 00:53:27,879
Speaker 1: over the next two weeks, but we'll be back May

912
00:53:27,960 --> 00:53:31,480
Speaker 1: nineteenth with new episodes for you. In the meantime, stay

913
00:53:31,520 --> 00:53:34,200
Speaker 1: in touch with us on Instagram at the Broken Record Pod,

914
00:53:34,680 --> 00:53:36,600
Speaker 1: Shoot us a message if there's an interview you really

915
00:53:36,640 --> 00:53:39,320
Speaker 1: want to hear us do and dive into old episodes

916
00:53:39,360 --> 00:53:41,840
Speaker 1: of the podcast you might have missed on whatever podcast

917
00:53:41,880 --> 00:53:44,720
Speaker 1: app you use, or on our YouTube channel at YouTube

918
00:53:44,760 --> 00:53:49,400
Speaker 1: dot com slash Broken Record Podcast. Broken Record is produced

919
00:53:49,440 --> 00:53:52,720
Speaker 1: to help from Jason Gambrel, me La Belle, Leah Rose,

920
00:53:52,920 --> 00:53:56,680
Speaker 1: and Martin Gonzalez for Pushkin Industries. A theme musics by

921
00:53:56,719 --> 00:54:03,200
Speaker 1: Kenny Beats. I'm justin Richmond. Thanks for listening. Four