WEBVTT - Glen Hansard 0:00:15.436 --> 0:00:32.076 Pushkin, Pushkin. Glen Hansard is best known as the lead 0:00:32.156 --> 0:00:35.276 in the two thousand and seven movie Once. It's about 0:00:35.276 --> 0:00:38.196 a hard scrabble busker in Dublin. It's a role he 0:00:38.236 --> 0:00:41.476 was probably destined to play himself, having dropped out of 0:00:41.516 --> 0:00:45.756 school at thirteen to busk around Ireland's capital. Prior to 0:00:45.796 --> 0:00:48.036 that movie role, Hansard had put out a string of 0:00:48.036 --> 0:00:51.396 great albums with a band called The Frames, but after 0:00:51.436 --> 0:00:54.116 the film he started working on other projects and also 0:00:54.276 --> 0:00:58.436 a solo career. His fourth solo album, The Wild Willing, 0:00:58.516 --> 0:01:01.996 came out on Anti Records last year. He and his band, 0:01:02.116 --> 0:01:05.596 including keyboardists Rami, met up with Bruce Headlim and Nashville 0:01:05.596 --> 0:01:07.636 to chat about the unique approach he and the band 0:01:07.676 --> 0:01:12.516 took to creating the record, improvising nearly every song, and 0:01:12.636 --> 0:01:15.436 unlike most folk records, it has a lot of electronics 0:01:15.436 --> 0:01:17.836 on it. Hanser talks and plays through some of the 0:01:17.876 --> 0:01:20.076 songs off the album and then opens things up with 0:01:20.116 --> 0:01:27.596 a song that contains a very unintuitive sample. This is 0:01:27.636 --> 0:01:31.196 broken record liner notes for the digital age. I'm justin Richmond. 0:01:36.156 --> 0:01:38.596 Here's the Blood Hansard plane. I'll be you be me 0:01:39.116 --> 0:01:43.836 See if you can guess the sample. It's very hard 0:01:43.916 --> 0:01:47.556 to sum up your career because you've done so many 0:01:47.596 --> 0:01:51.156 different things. And when I was reviewing them, I realized something. 0:01:51.156 --> 0:01:52.996 And I don't know if this has occurred to you, 0:01:53.076 --> 0:01:58.996 but you want an Oscar for the song from the 0:01:59.076 --> 0:02:02.436 movie Once, and I think you want to Grammy as 0:02:02.476 --> 0:02:05.756 well for that. I know the soundtrack. Wont to Gramm? 0:02:06.316 --> 0:02:08.796 Does that mean I did? I think it means you did. Oh, 0:02:08.916 --> 0:02:10.956 maybe it didn't, I think the No? I think yeah 0:02:10.956 --> 0:02:15.156 I did? Yeah, okay, uh. And then it once became 0:02:15.196 --> 0:02:22.676 a Broadway show that one slew of Grammy's, Tony's and um. 0:02:22.676 --> 0:02:25.956 But that means you have an Oscar, a Grammy, and 0:02:26.076 --> 0:02:31.236 a Tony. If you get an Emmy, you have the egot. 0:02:31.236 --> 0:02:34.636 Do you know the egot? No, the egot is for 0:02:34.716 --> 0:02:38.676 people who have won Emmy's, Grammy's Oscars, and Tony's Special Award. 0:02:38.796 --> 0:02:42.276 There's only been fifteen people in history. No way you 0:02:42.316 --> 0:02:47.756 would join Richard Rogers, Helen Hayes, Okay, John Legend, but 0:02:47.876 --> 0:02:50.676 you know Barbara streisand didn't do it. Okay, wew see 0:02:50.676 --> 0:02:53.476 what you can do? Okay, all right, that's our project. 0:02:53.596 --> 0:02:56.916 You've given me a new trajectory in life. Okay, all right, 0:02:56.996 --> 0:03:01.196 we're on it. That's our project. Then um TV people 0:03:01.356 --> 0:03:05.236 listen up. We're getting this man an egot um you 0:03:05.356 --> 0:03:10.196 got it. This album, this new album you're leasing is 0:03:10.556 --> 0:03:14.196 it's described as a departure from what you've been doing 0:03:14.196 --> 0:03:16.356 the last few albums. So tell me, tell me about 0:03:16.396 --> 0:03:20.116 the making of this album and how it is different. Well, 0:03:20.156 --> 0:03:22.236 sometimes we go true periods of our life where we're 0:03:22.236 --> 0:03:25.276 doing certain things and we're you know, we're writing certain ways. 0:03:25.276 --> 0:03:29.356 And for me, the last couple of record well, certainly 0:03:29.356 --> 0:03:34.076 since the beginning of me making Glen Hansard Records, it 0:03:34.116 --> 0:03:36.956 was it seems to me like the city of New 0:03:37.036 --> 0:03:40.076 York had a kind of a there was a through line, 0:03:40.076 --> 0:03:43.236 there was a kind of an American sense throughout the 0:03:43.236 --> 0:03:46.476 records that I was making over the last few years. 0:03:46.516 --> 0:03:49.396 And this one it just it's the longest period in 0:03:49.436 --> 0:03:52.156 the last kind of twenty years that I haven't been 0:03:52.196 --> 0:03:53.796 in America, which is about a year and a half. 0:03:54.956 --> 0:03:58.636 And you know, not to say that that really means 0:03:58.676 --> 0:04:00.676 anything for or against the record, It's just that I 0:04:00.716 --> 0:04:02.716 spent a lot of time in Paris in the last 0:04:02.916 --> 0:04:05.836 year and a half and also time with with with 0:04:06.396 --> 0:04:09.916 Rome and David Odlum over in France recording this record 0:04:09.916 --> 0:04:12.676 and Joe and making a kind of a decided to 0:04:12.716 --> 0:04:14.596 make an acoustic record. But I had some time in 0:04:14.636 --> 0:04:18.036 France and in Paris, and that I think is what 0:04:18.196 --> 0:04:21.156 made this album a little different, and that when I 0:04:21.196 --> 0:04:23.996 listened to these songs now, it's the streets of Paris 0:04:24.076 --> 0:04:25.756 that come back to me, because it was on the 0:04:25.756 --> 0:04:28.276 streets where I wrote the lyrics, you know, taking long 0:04:28.316 --> 0:04:32.316 walks and thinking of meditating. When a song comes into 0:04:32.356 --> 0:04:35.396 your head, you get about four days of absolute focus 0:04:36.076 --> 0:04:37.916 because you get excited about a lyric, or you get 0:04:37.916 --> 0:04:40.036 excited about a melody, and it just rolls around your 0:04:40.036 --> 0:04:41.756 head and around your head and around your head, and 0:04:41.836 --> 0:04:43.516 you can sit and you can write at your desk, 0:04:43.636 --> 0:04:45.156 or you can just go for walks because the song 0:04:45.196 --> 0:04:47.316 isn't going to leave your head. You've got to. Sometimes 0:04:47.356 --> 0:04:49.596 you've got four days. Sometimes you've got two weeks where 0:04:49.596 --> 0:04:51.556 the song won't leave your head. You become obsessed. It 0:04:51.596 --> 0:04:54.036 becomes the only thought you have, and everything else is 0:04:54.036 --> 0:04:58.196 just surrounding that one thought. And so in Paris, I 0:04:58.236 --> 0:05:00.196 was walking around with these songs in my head, and 0:05:00.236 --> 0:05:01.876 I was finding the lines and I was kind of 0:05:01.916 --> 0:05:04.996 jotting them down quickly, either in my phone or in 0:05:05.036 --> 0:05:07.756 a notebook. And I'm gonna get home that evening I'd 0:05:07.756 --> 0:05:10.276 sort of compile what I'd sort of come across during 0:05:10.316 --> 0:05:13.396 the day, and what's wonderful, I said a couple of 0:05:14.116 --> 0:05:18.076 parameters around the songs, and that I thought each lyric 0:05:18.196 --> 0:05:21.236 needs to be an actual experience. I wanted every line 0:05:21.236 --> 0:05:22.956 in the album and every line in every song to 0:05:22.996 --> 0:05:25.716 be a particular memory that I couldn't just be all 0:05:25.796 --> 0:05:27.676 that rhymes with that and that's actually a good line. 0:05:27.956 --> 0:05:29.996 That wasn't good enough. It had to be. I wanted 0:05:30.036 --> 0:05:32.676 to anchor every line into something that was actually going on. 0:05:33.876 --> 0:05:38.476 And the song you just performed, I'll be You. Yeah. 0:05:38.516 --> 0:05:42.956 I remember walking from the Irish Cultural Center, which was 0:05:42.996 --> 0:05:44.156 the place I was staying. It was like an old 0:05:44.196 --> 0:05:46.156 monastery and they gave us a small room and I 0:05:46.276 --> 0:05:48.236 was spending time in that place and really loving it. 0:05:48.276 --> 0:05:49.676 In the Latin Quarter, right in the middle of the 0:05:49.716 --> 0:05:51.836 Latin Quarter and the fifth hour in this morning Paris, 0:05:52.916 --> 0:05:55.516 and I was walking down the room of tire and 0:05:55.716 --> 0:05:58.476 turning left, and just as I got to the junction 0:05:59.596 --> 0:06:02.356 of Lagoblin, which is one of the sort of major streets. 0:06:03.636 --> 0:06:05.876 This whole thing just sort of hit me, you know. 0:06:06.516 --> 0:06:08.876 I had kind of hit upon with Joe and Ruth 0:06:08.876 --> 0:06:12.356 in this studio Your Love's a Bonnie Snare traps me 0:06:12.396 --> 0:06:14.476 in the Evening, which I thought, what an interesting thing 0:06:14.516 --> 0:06:16.516 to just sort of pop out of your mouth. And 0:06:17.116 --> 0:06:19.036 I liked the image of it. You know that that 0:06:19.036 --> 0:06:21.276 that that that there's a kind of a you know, 0:06:21.476 --> 0:06:23.636 you know how to you know how to pull me in, 0:06:23.716 --> 0:06:26.236 you know exactly what it is, you know my buttons, 0:06:26.436 --> 0:06:28.796 you know, And there's an intimacy in that and admitting 0:06:28.836 --> 0:06:30.996 to someone that you know exactly what it is. And 0:06:31.036 --> 0:06:33.956 so I started to think about the song as the 0:06:34.076 --> 0:06:37.396 lover as a as the spider who devours her lover, 0:06:37.956 --> 0:06:39.916 and so I started going off on that imagery in 0:06:39.956 --> 0:06:42.356 my head, and it was like, I'll be you, be me, 0:06:42.436 --> 0:06:43.996 and I'll be you, and we won't say no more 0:06:43.996 --> 0:06:46.876 about it, this idea that we'll swap will become each other. 0:06:47.076 --> 0:06:50.676 And I was really really pleased where the song was going. 0:06:50.716 --> 0:06:53.516 It kind of there was a kind of a permission 0:06:53.876 --> 0:06:56.476 to get dark, if you like. There's something about the 0:06:56.516 --> 0:07:00.596 chord structure that allowed you to to stay between dark 0:07:00.636 --> 0:07:05.796 and contemplative and even lightness. So for me, when I 0:07:05.796 --> 0:07:07.316 heard the song, I'm straight back on that street and 0:07:07.356 --> 0:07:10.156 it's a particular corner, you know. So so I'm very 0:07:10.196 --> 0:07:12.236 happy with how that that turned out because now when 0:07:12.276 --> 0:07:14.796 I sing these songs, I can there's a place in 0:07:14.836 --> 0:07:20.036 them I can place myself somewhere. It's also a song 0:07:20.116 --> 0:07:24.916 which is technically uses a sample. Which had you ever 0:07:25.036 --> 0:07:27.836 used a sample before? Oh? Yeah, oh we've used samples 0:07:27.836 --> 0:07:31.316 through the friends yea a long time. And my friend 0:07:31.396 --> 0:07:33.236 David was in the studio and I had myself and 0:07:33.356 --> 0:07:34.956 Ruth and Joe Will start playing around with just like 0:07:36.676 --> 0:07:44.436 it was just like you're just fooling around. And my 0:07:44.436 --> 0:07:46.596 friend David Cleary, who who had asked I had asked 0:07:46.596 --> 0:07:49.596 to come over. There's two really interesting musicians from Dublin, 0:07:50.236 --> 0:07:52.876 David Cleary and Duncan Murphy, who are kind of experimental 0:07:52.916 --> 0:07:56.436 electronic musicians, and they would very much inhabit the world 0:07:56.436 --> 0:08:01.076 that Romi inhabits, which is just all the texture and bending, 0:08:01.196 --> 0:08:05.276 and the only kind of instruction that they were given 0:08:05.356 --> 0:08:07.516 coming into the record was like we'd love you to 0:08:07.556 --> 0:08:09.116 come in because we have a bunch of Persian music 0:08:09.356 --> 0:08:10.996 is coming in, so we'd love you to come in 0:08:11.036 --> 0:08:15.236 as a balance. Because there was just Persian musicians playing 0:08:15.276 --> 0:08:18.556 along with an acoustic record, it's going to sound quite esoteric, 0:08:18.596 --> 0:08:22.636 maybe world music in a way. So the way to 0:08:22.956 --> 0:08:25.796 balance that was to bring in these electronic musicians and say, 0:08:26.876 --> 0:08:29.476 your job is to disrupt the music, just to disrupt 0:08:29.516 --> 0:08:32.556 anything you hear and come in and just put an 0:08:32.556 --> 0:08:35.396 elbow into it, a dirty elbow, which is exactly what 0:08:35.436 --> 0:08:37.116 they did. And David said, I have a beat for 0:08:37.156 --> 0:08:39.196 that that I think would really work. And the beat 0:08:39.316 --> 0:08:42.516 was really odd, and it's from a cassette, so it's 0:08:42.556 --> 0:08:45.036 really noisy, and we kind of fell in love with 0:08:45.116 --> 0:08:48.476 the texture of the sound because as a beat, it's 0:08:48.476 --> 0:08:50.596 just a very simple beat, but we fell in love 0:08:50.596 --> 0:08:51.876 with the texture. And he said, you know, no one 0:08:51.916 --> 0:08:53.476 will ever know what this is. This is from the 0:08:53.556 --> 0:08:56.236 David Bowie Queen session for under Pressure, but it's like 0:08:56.236 --> 0:08:58.956 a song that was never used. Don't worry about it. 0:08:58.516 --> 0:09:01.796 It's something I found somewhere that no one will ever 0:09:01.996 --> 0:09:04.436 figure out what it is, right, and you know, and 0:09:04.556 --> 0:09:06.596 so we got excited by it and the idea that 0:09:06.796 --> 0:09:10.156 the idea that that that what we're hearing is you know, 0:09:10.876 --> 0:09:13.636 John Deakin, you know, and there's a touch of Bowie 0:09:13.676 --> 0:09:15.596 in the in the in the vocal. You know, there's 0:09:15.596 --> 0:09:17.556 a kind of a very very so just the fact 0:09:17.596 --> 0:09:21.196 that the spirit of these these people is on the 0:09:21.236 --> 0:09:23.636 song kind of gave it an extra layer of kind 0:09:23.676 --> 0:09:26.956 of sensuality, if you like. So we got very excited 0:09:26.956 --> 0:09:29.996 about it. We we finished the song, we mixed it, 0:09:30.156 --> 0:09:32.196 we it mastered it, and we put it on a record. 0:09:32.196 --> 0:09:36.276 And then suddenly, you know, I downloaded Spotify on my 0:09:36.356 --> 0:09:39.636 computer because I'd been asked to do it so many 0:09:39.636 --> 0:09:41.436 times just to sort of listen to it and check 0:09:41.436 --> 0:09:43.396 it out, which I kind of resisted up until that point, 0:09:43.396 --> 0:09:48.476 And so I did, and within six songs of listening 0:09:48.476 --> 0:09:51.516 to Spotify, I heard a song called cool Cat by Queen, 0:09:52.196 --> 0:09:54.996 which it was exactly the same beat, and I realized 0:09:54.996 --> 0:09:58.956 that we were in real trouble. So so what are 0:09:58.956 --> 0:10:02.916 the chances Queen would sue us? So, yeah, nobody's heard 0:10:02.916 --> 0:10:05.636 of them exactly, and we were. We all cursed our 0:10:05.676 --> 0:10:07.236 friend David for a while, and then we had to 0:10:07.276 --> 0:10:09.996 and then Howard had the unenviewed job of going and 0:10:09.996 --> 0:10:12.316 trying to contact Brian May and asking him for permission, 0:10:12.516 --> 0:10:14.116 which took a couple of months because they had the 0:10:14.156 --> 0:10:16.436 movie coming out and stuff. So the album ended up 0:10:16.436 --> 0:10:19.276 getting put back to April. But you know, in the 0:10:19.396 --> 0:10:21.956 end of the day, we did recreate the beat, which 0:10:21.996 --> 0:10:23.996 was easy to do because it's a it's not like 0:10:23.996 --> 0:10:27.996 a super original beat or and it's like you know, 0:10:28.556 --> 0:10:31.036 it's on every record. But the fact that it was them, 0:10:31.356 --> 0:10:33.276 the fact that it was had all that hiss, the 0:10:33.316 --> 0:10:35.436 fact that it was that it came from that session 0:10:36.396 --> 0:10:38.836 was worth actually pursuing it. It was worth actually asking 0:10:38.876 --> 0:10:40.636 and going through the front door and asking for permission, 0:10:40.676 --> 0:10:43.876 and they gave us permission. Maybe you're listening to a 0:10:43.876 --> 0:10:49.236 premium Lawyers edition of Spotify that just at that's good 0:10:48.996 --> 0:10:53.076 to track it down. You said this album was built 0:10:53.076 --> 0:10:56.436 from the ground app Yeah, what does that mean? What 0:10:56.516 --> 0:10:59.076 it means is that not one song on this record 0:10:59.236 --> 0:11:02.316 was a song before we went into the studio, and 0:11:02.436 --> 0:11:05.636 that's untrue. Two songs, the one I'll Come Back to 0:11:05.636 --> 0:11:08.236 Find or Leave a Light and Brothers Keeper were two 0:11:08.276 --> 0:11:11.636 songs that existed before, but the rest of the songs 0:11:11.676 --> 0:11:13.516 came in the studio. They were they were brand new. 0:11:13.556 --> 0:11:15.836 They were brand new in the studio and like for instance, 0:11:15.996 --> 0:11:18.796 like albu b Me was played once, we never played 0:11:18.836 --> 0:11:21.276 it twice. We never it was a little jam that 0:11:21.356 --> 0:11:25.996 we elaborated on and a song like way to the 0:11:25.996 --> 0:11:28.276 World that happened once. We've never played it since. You know, 0:11:28.316 --> 0:11:30.276 we've actually tried to play it sound checks and stuff, 0:11:30.316 --> 0:11:32.036 but we never managed to figure out what we did 0:11:32.436 --> 0:11:35.476 in the moment, and that became the exciting part of 0:11:35.516 --> 0:11:37.876 the birth of this record. Was we were going into 0:11:37.916 --> 0:11:40.236 record a set of songs, you know, and some of 0:11:40.276 --> 0:11:41.916 them are covers, even we were going into record a 0:11:41.916 --> 0:11:44.796 couple of friends of our songs, and then when it 0:11:44.836 --> 0:11:47.676 came time to listen back to what we had, we 0:11:48.556 --> 0:11:50.676 realized that there was a whole bunch of jams that 0:11:50.716 --> 0:11:54.116 were really interesting. And then we just decided to scrap 0:11:54.156 --> 0:11:56.076 everything that we were working on and then just focus 0:11:56.156 --> 0:11:58.596 on the jams. And once we focused on them and 0:11:58.636 --> 0:12:01.996 we elaborated on them, they became their own songs entirely, 0:12:02.196 --> 0:12:04.116 and they became much more exciting because they were coming 0:12:04.116 --> 0:12:06.796 out of nowhere. So for instance, I'm singing songs and 0:12:06.876 --> 0:12:09.116 keys that are not good for my voice. My voice 0:12:09.196 --> 0:12:11.156 his way down low, but I'm just trying to I'm 0:12:11.156 --> 0:12:12.876 just trying to jam along with whatever chords we just 0:12:12.916 --> 0:12:14.996 came up with. So there was a kind of an 0:12:14.996 --> 0:12:17.756 element of freedom to those songs that was much more 0:12:17.796 --> 0:12:20.956 attractive to us in that moment than the songs that 0:12:20.956 --> 0:12:23.036 we went in to try nail. If you like, why 0:12:23.036 --> 0:12:30.436 don't we hear another one? Yeah? This is called fools game? Now? 0:12:30.556 --> 0:12:32.396 Was that a song that came out of the same method. 0:12:32.476 --> 0:12:35.036 Were you in a studio and he came out of 0:12:35.076 --> 0:12:39.316 a jam? Yeah, Dunk was showing me around his vocoder's 0:12:39.356 --> 0:12:41.196 something I'd never used before, and he had this delay 0:12:41.236 --> 0:12:43.076 on it, which is like now you know, you know, 0:12:43.356 --> 0:12:46.476 you know, wow, wow wow. I was like, it's a fools, 0:12:46.556 --> 0:12:49.476 fools game. And I was like, it's a fool's game 0:12:49.716 --> 0:12:53.076 and that's all I had. But the way the delay 0:12:53.156 --> 0:12:54.476 was picking it up, it kind of had this very 0:12:54.476 --> 0:12:56.396 interesting thing, and I thought, wow, this kind of sound. 0:12:56.596 --> 0:12:59.316 It sort of reminded me somehow of like a velvet 0:12:59.396 --> 0:13:02.156 underground song but with a kind of a vocoder, And 0:13:02.156 --> 0:13:04.356 I thought, this is a very simple chord. You know, 0:13:05.396 --> 0:13:07.716 sometimes if you're lucky, you'll hit upon a kind of 0:13:07.756 --> 0:13:10.156 a song where you go this sound was simple enough 0:13:10.196 --> 0:13:12.596 to be really good, you know, where you're not kind 0:13:12.636 --> 0:13:14.756 of overthinking it, and it just sort it's a fool's fools, 0:13:14.756 --> 0:13:17.276 fools game, lover that we have to have to have 0:13:17.396 --> 0:13:19.876 to play. And so I just took away the delay 0:13:19.916 --> 0:13:22.116 and then just saying it, it's a fool's fools game, 0:13:22.676 --> 0:13:25.396 lover that we have to play. So it's all the threes, 0:13:25.596 --> 0:13:30.716 which we were watching an interesting documentary about the base recently, 0:13:30.756 --> 0:13:32.596 and the tree is a it's a very important part. 0:13:32.636 --> 0:13:36.996 It's the tree over the four. Boom boom boom boom 0:13:37.076 --> 0:13:39.116 so woe. Oh it's actually it's it's a tree over 0:13:39.196 --> 0:13:47.396 three right right, yeah, But apparently this the three over 0:13:47.396 --> 0:13:48.956 the four is like a big thing. I know, Dylan's 0:13:48.956 --> 0:13:54.356 really wearing Queen again. I just think that example, it 0:13:54.516 --> 0:13:56.396 tell me with the three over the four. Tell me 0:13:56.436 --> 0:13:58.796 with that. Oh, I don't know. I think there was 0:13:58.796 --> 0:14:00.596 something that was like boots he or somebody was talking 0:14:00.596 --> 0:14:02.116 and it was like, if you're ever in doubt, just 0:14:02.156 --> 0:14:09.676 give them three. So you just go, you know, so 0:14:09.716 --> 0:14:12.596 that's the tree that dream. Then you just feel in 0:14:12.596 --> 0:14:17.076 something else. Okay. But in that case, like that song 0:14:17.116 --> 0:14:21.436 which is a beautiful song. If I asked, I'm sure 0:14:21.596 --> 0:14:24.156 a hundred musicians they would say, no, that song was 0:14:24.196 --> 0:14:27.276 the product of a songwriter sitting and coming up with 0:14:27.316 --> 0:14:31.156 a very with a kind of very concise, very perfect 0:14:31.316 --> 0:14:34.236 lyric that goes with this melody. It doesn't sound like 0:14:34.276 --> 0:14:37.956 the product of jamming. It doesn't sound like an Eric 0:14:37.956 --> 0:14:42.156 Clapton song. It doesn't. So I'm interested in how that 0:14:42.196 --> 0:14:46.236 came together, Like, were you playing a certain kind of 0:14:46.356 --> 0:14:51.516 riff or and then Romeo you jumped in or how 0:14:51.516 --> 0:14:53.916 did that emerge that? No, there was no guitar involved. 0:14:54.196 --> 0:14:56.276 It was just a vocode or keyboard and a delay 0:14:57.236 --> 0:15:00.076 and then and then that became I actually have the 0:15:00.116 --> 0:15:04.676 recording here on my phone. Maybe maybe look what i'd find. Yeah, yeah, 0:15:04.676 --> 0:15:06.876 I'll find it. It's going to be it's called vocode 0:15:06.916 --> 0:15:10.996 or song in my in my let's try this safe 0:15:11.116 --> 0:15:45.676 safe it works, slow slow right, slue that's me chee. 0:15:52.876 --> 0:15:54.716 I haven't hit on the fools Game line yet, but 0:15:54.756 --> 0:16:40.836 I will ye, that would have been nice chord. I 0:16:40.876 --> 0:16:43.156 moved on to something else there. But at some point, 0:16:43.356 --> 0:16:45.276 at some point I say fools game and maybe in 0:16:45.316 --> 0:16:47.636 the next one, but you hear the idea. So then 0:16:47.676 --> 0:16:51.276 in the studio did you just play that for you know? 0:16:51.356 --> 0:16:55.596 We we we we don't forgotten to bring his vocoder 0:16:55.876 --> 0:16:59.116 with him, which was that sound which was kind of 0:16:59.156 --> 0:17:01.236 a culmination of a bunch of stuff going into a 0:17:01.236 --> 0:17:04.356 bunch of stuff creating that big sort of phiz of 0:17:04.396 --> 0:17:07.516 sound and delay. So we went and we ordered some 0:17:07.636 --> 0:17:12.636 Russian vocoder on eBay, which he claimed would be like 0:17:12.836 --> 0:17:14.916 the perfect one to do it on, and we think 0:17:14.916 --> 0:17:17.396 we could got it for like six hundred quid. It 0:17:17.396 --> 0:17:21.596 was like it was expensive, and someone in Spain had it, 0:17:21.716 --> 0:17:24.276 and then Heavier had called theavier, our friend in Spain 0:17:24.316 --> 0:17:25.716 had called to the shop and the guy had given 0:17:25.796 --> 0:17:27.636 him the anyway we got the vocode or was a 0:17:27.676 --> 0:17:30.236 Russian vocoder. We couldn't understand anything that was written on it, 0:17:30.316 --> 0:17:33.196 and it was like because all the instructions are in Russian, 0:17:33.276 --> 0:17:35.116 all the buttons, and we tried to get it going 0:17:35.156 --> 0:17:37.236 and it didn't work. And then we ended up using 0:17:38.156 --> 0:17:42.476 one of those corg the microcorg that has a vocoder 0:17:42.596 --> 0:17:45.996 setting on it and something that Warren Ellis swears by, 0:17:46.036 --> 0:17:48.156 he uses it all the time, and so we got 0:17:48.196 --> 0:17:51.676 this one and it was perfect to him. So but 0:17:51.756 --> 0:17:54.196 that was that that that that was the one we 0:17:54.196 --> 0:17:57.396 were trying to recreate. And then how did you how 0:17:57.396 --> 0:17:59.836 did you make the song from there? Like romy, how 0:17:59.876 --> 0:18:02.996 did when you heard it you thought, did something occurring 0:18:03.076 --> 0:18:07.876 about playing it? Or well, I think if I remember correctly, 0:18:07.916 --> 0:18:11.076 we kind of just like we we set up that microcord, 0:18:11.716 --> 0:18:13.316 we got the boat, we got a boat carder going, 0:18:13.316 --> 0:18:16.196 and then like pretty much everything else, we just sort 0:18:16.196 --> 0:18:19.676 of Glenn started singing, singing those lines and thing, and 0:18:19.716 --> 0:18:22.236 we all just kind of felt our way around it 0:18:22.476 --> 0:18:25.476 and got some droning stuff going on. But yeah, it's 0:18:25.596 --> 0:18:28.996 very very loose. Okay, this is massively putting you on 0:18:29.036 --> 0:18:31.076 the spot. Could you do that now if Glenn started 0:18:31.116 --> 0:18:37.316 playing something? Oh, that's the whole session is based on 0:18:37.356 --> 0:18:39.916 the idea of here's a thought, you know, like let 0:18:39.956 --> 0:18:45.556 me let me see okay, you know there could be 0:18:45.556 --> 0:18:48.396 a song in that still no word, still still still 0:18:48.796 --> 0:18:52.036 still haven't you know, still listening, still waiting, you've not 0:18:52.436 --> 0:18:54.796 nothing's come back. So suddenly when you start playing that, 0:18:54.836 --> 0:18:57.076 you get all these thoughts like, okay, so it's still 0:18:57.116 --> 0:18:58.676 no word, it's the first thing that fell out of 0:18:58.716 --> 0:19:01.076 your mouth. Then trust that and then follow that and 0:19:01.116 --> 0:19:03.396 then just use that as a kind of a as 0:19:03.396 --> 0:19:06.036 a kind of a tent pole to a bunch of thoughts. 0:19:06.516 --> 0:19:08.076 You know, so, what is this? Why is there still 0:19:08.076 --> 0:19:11.276 and still no word for to who? Why are you waiting? 0:19:11.556 --> 0:19:14.476 Do you need to wait? Is? Does your life depend 0:19:14.516 --> 0:19:17.316 on hearing from whatever? Whoever this is? You know? And 0:19:17.316 --> 0:19:19.796 then you suddenly your brain just starts coming and then 0:19:19.996 --> 0:19:22.316 you find your and you you have to be you 0:19:22.316 --> 0:19:25.436 have to allow yourself to go. Yeah. Yeah, that's the 0:19:25.516 --> 0:19:30.396 key to writing is to allow mistakes, to allow dreadful 0:19:30.796 --> 0:19:32.796 like I mean, we were changing I'm changing chords there 0:19:32.796 --> 0:19:35.516 without informing anybody what's going on. There's definitely going to 0:19:35.556 --> 0:19:37.356 be mistakes. We're gonna hit, we're going to bang into 0:19:37.356 --> 0:19:39.916 each other, of course, But that's the that's the basis 0:19:39.956 --> 0:19:42.236 of that's the basis of music. How long did it 0:19:42.276 --> 0:19:45.316 take you to be comfortable enough to do that kind 0:19:45.316 --> 0:19:49.156 of playing when you were a kid? Were you worried 0:19:49.156 --> 0:19:52.156 about getting it right first and that that inhibited you 0:19:52.276 --> 0:19:54.396 or were you always able to kind of just open 0:19:54.476 --> 0:19:56.916 up that way? No, I don't think we're always able 0:19:56.916 --> 0:19:58.396 to open up that way. You learned to play guitar 0:19:58.436 --> 0:20:00.196 and of course, everything you know, when you learned to 0:20:00.196 --> 0:20:02.276 play the guitar and any instrument, you want to get 0:20:02.276 --> 0:20:03.676 it right. So every time you play a song, you 0:20:03.716 --> 0:20:05.116 want to get it. You want to play it correctly, 0:20:05.116 --> 0:20:07.516 you want to execute the song correctly. But it does 0:20:07.836 --> 0:20:10.076 you do get to a place with musicians where you 0:20:10.116 --> 0:20:13.356 find intimacy, and that intimacy is that you can completely 0:20:13.356 --> 0:20:15.276 blow it. I mean, for years Joe has been listening 0:20:15.276 --> 0:20:17.476 to me go wow, I will be a bad blah blah, 0:20:17.476 --> 0:20:19.276 but you know, and then and then but when we 0:20:19.316 --> 0:20:21.076 got when we go on stage, there's a shape to that, 0:20:21.156 --> 0:20:23.676 and there's there's lyrics to that. But the lyrics don't 0:20:23.716 --> 0:20:26.676 necessarily come as you as you're beginning. The lyrics can 0:20:26.756 --> 0:20:28.636 sometimes you sometimes have to find your way into a 0:20:28.716 --> 0:20:30.996 song and find your way into what it means. So 0:20:31.076 --> 0:20:33.516 for instance, when we recorded Fools Game, I probably had 0:20:33.636 --> 0:20:36.356 most of the most of the lyric kind of figured out, 0:20:36.436 --> 0:20:38.756 but I was probably writing that song the whole way 0:20:38.796 --> 0:20:41.636 through the session, you know. And again like walking around 0:20:41.676 --> 0:20:44.596 Paris in between sessions, thinking about the song, listening to 0:20:44.716 --> 0:20:47.276 the kind of the blah blah blah and the kind 0:20:47.316 --> 0:20:49.316 of you know me, you know me, trying to find 0:20:49.396 --> 0:20:51.556 something and kind of going, wow, I really see where 0:20:51.556 --> 0:20:52.996 I was kind of trying to get it there. But 0:20:53.396 --> 0:20:55.676 now that I'm outside of that moment where I have 0:20:55.756 --> 0:20:57.316 the instrument in my hand, I know what I was 0:20:57.316 --> 0:20:58.516 trying to say. I was trying to say this, and 0:20:58.596 --> 0:21:00.676 so I write it down. So then I go back 0:21:00.716 --> 0:21:02.116 and I know exactly what it was I was trying 0:21:02.156 --> 0:21:04.236 to get. Well, they're trying to hide the vote quorder. 0:21:04.356 --> 0:21:08.436 That's what I say. Keep going away from the voder. 0:21:08.636 --> 0:21:11.196 He looks the thing. See anything that anything that takes 0:21:11.236 --> 0:21:13.196 you out of your comfort, you know. So the vocoder 0:21:13.276 --> 0:21:15.356 was really was really great because it takes you away 0:21:15.436 --> 0:21:17.676 from a guy with a guitar in his hand, because that, 0:21:17.876 --> 0:21:20.516 you know, I'm limited when it comes to me and 0:21:20.556 --> 0:21:22.036 a guitar because I know the chords. I mean, I 0:21:22.116 --> 0:21:25.076 know the chords. My brain will automatically go to one 0:21:25.116 --> 0:21:27.036 of those chords because it knows the safety of what 0:21:27.156 --> 0:21:29.476 that chord will bring. Whereas when you play with something 0:21:29.516 --> 0:21:31.236 like a vocoder or even for me in my case, 0:21:31.276 --> 0:21:33.756 a piano, like I'll hit a chord or I go WHOA, 0:21:33.836 --> 0:21:36.556 what's that and it might actually be the you know, 0:21:36.876 --> 0:21:39.796 the fourth to what I was doing. But because it 0:21:39.836 --> 0:21:42.396