WEBVTT - Ep 48: Gaz Coombes

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<v Speaker 1>Loud and Quiet presents Midnight Chats.

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<v Speaker 2>Evening listeners, Greg here with another episode of Midnight Chats.

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<v Speaker 2>Because we like to keep you on your toes, we've

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<v Speaker 2>mixed things up for tonight's episode of the podcast. I

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<v Speaker 2>say mix things up. What I mean by that is

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<v Speaker 2>that instead of recording this episode in our office in

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<v Speaker 2>East London, we did it in a windy field strewn

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<v Speaker 2>with cowpats in rural Oxfordshire. More on that in a sec.

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<v Speaker 2>Have I got anything to tell you before that? Yes,

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<v Speaker 2>I have. Thank you to those who tuned into episode

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<v Speaker 2>forty seven of the podcast, you'll have no doubt heard

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<v Speaker 2>that I thoroughly enjoyed spending an hour with Courtney Barnett

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<v Speaker 2>and her slightly strange sounding recipes for a Sunday roast.

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<v Speaker 2>Wherever you're listening to this now, you'll find that chat

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<v Speaker 2>there if you haven't had a moment to listen to

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<v Speaker 2>it already. And when I was looking back the other day.

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<v Speaker 2>Already this year we've recorded conversations with Old Jay Craig,

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<v Speaker 2>David Shirley Manson, Graham Coxon, who else? Shame that was

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<v Speaker 2>a good one back in January. If you like us,

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<v Speaker 2>do leave some star ratings and feedback comments, that kind

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<v Speaker 2>of stuff. And even better still, if you like what

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<v Speaker 2>we do, do subscribe. You'll automatically get a new episode

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<v Speaker 2>when we stick one of these out every fortnight. On

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<v Speaker 2>a Thursday at midnight, speaking of the start of the year,

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<v Speaker 2>in January, and email dropped into my inbox announcing a

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<v Speaker 2>new album from one time Supergrass front man and now

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<v Speaker 2>very established solo artist, Gaz Coombs. I'll save you the waffle,

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<v Speaker 2>but basically it said, Gaz Coombs has a new album

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<v Speaker 2>coming out in May, called World's Strongest Man, and it's

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<v Speaker 2>informed by a number of things including toxic masculinity, Californian weed,

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<v Speaker 2>Grayson Perry's book The Descent of Man, Frank Ocean's Blonde,

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<v Speaker 2>and the British Woodland. And I thought I'd quite like

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<v Speaker 2>to talk to Gazcombs about all of that, So a

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<v Speaker 2>few weeks back, I packed up this podcast gear, got

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<v Speaker 2>into my car, drove to Gaz Coombs's family home in

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<v Speaker 2>a village in Oxfordshire. He made me a cup of

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<v Speaker 2>tea in his kitchen and very generously showed me around

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<v Speaker 2>the place and we recorded this conversation you're about to hear.

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<v Speaker 2>For context, We started in his garden and to put

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<v Speaker 2>the picture in your mind, there's a slope from there

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<v Speaker 2>down to a garden gate out into a huge field.

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<v Speaker 2>We walked a big loop along a tree lined avenue,

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<v Speaker 2>past some derelict farmhouses and then back through the field

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<v Speaker 2>just as it started to rain quite heavily. So, yeah,

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<v Speaker 2>Midnight Chats something slightly different for our forty eighth episode,

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<v Speaker 2>A visit to Gazcumbs's house. Thank you for listening, enjoy.

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<v Speaker 2>This isn't normal for us. We don't normally do podcasts

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<v Speaker 2>like this is normal. Well, you know, welcome to this

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<v Speaker 2>is this is Midnight Chats. But we're starting it in

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<v Speaker 2>Gas Coombs's garden. Yeah, your house in Oxfordshire. Your house

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<v Speaker 2>is stunning, by the way. Just we should probably start

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<v Speaker 2>by describing the view for people from where we stood. Well,

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<v Speaker 2>back garden here you can hear the faint laughter of

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<v Speaker 2>school children at the primary school down there. My kids

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<v Speaker 2>went to that school. Yeah you know, so I guess

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<v Speaker 2>we'll be a back garden looking out across the fields

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<v Speaker 2>over towards Shotover. So yeah, and I grew up in

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<v Speaker 2>this place as well, so I remember all those cows.

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<v Speaker 2>Probably not the same cows that were there when I

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<v Speaker 2>was like seven. Probably the relatives of various cows descendants

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<v Speaker 2>were eaten. Not I didn't kill any cows. Don't get

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<v Speaker 2>me wrong. I didn't do anything illegal. But yeah, so

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<v Speaker 2>the field's over there, and you know this is the

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<v Speaker 2>overgrown lawn handy in the garden. You get out in

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<v Speaker 2>the garden as a family. No, I'm terrible in the garden,

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<v Speaker 2>in fact, so much so. I saw an advert. I

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<v Speaker 2>was in Europe last week and I saw an advert

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<v Speaker 2>for this kind of robot lawn mower. I thought, man,

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<v Speaker 2>I might get one of those, although at the same

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<v Speaker 2>time I think they're awful. But no, I struggle with

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<v Speaker 2>the garden. But get my dad over sometimes to to

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<v Speaker 2>do some weeding. As soon as you get that sort

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<v Speaker 2>of barbecue season. Yes, exactly, it's a really beautiful scene.

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<v Speaker 2>We've got rolling fields kind of stretching out into the distance.

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<v Speaker 2>We've got some stunning trees just like that kind of

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<v Speaker 2>go in a semicircle around the back of your garden.

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<v Speaker 2>Here you've got a little garden shed their green and

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<v Speaker 2>white gardens, revolving Yeah, a little revolving house. Yeah. Nice. Yeah,

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<v Speaker 2>do you find yourself going down there occasionally. Yeah, I

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<v Speaker 2>sort of. I have taken cables from the house before

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<v Speaker 2>because I've recorded here at the house as well. I've

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<v Speaker 2>done Yeah, I've done pretty much three albums here. I've

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<v Speaker 2>tried feeding cables down to the summer house to record

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<v Speaker 2>some guitar. It kind of works. It's good for the

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<v Speaker 2>you know, bird noises and stuff if I want to

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<v Speaker 2>get all yeah, all kind of nature and it's a

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<v Speaker 2>good vibe though. It is a nice garden that you know,

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<v Speaker 2>it feels good. I try and get the kids out

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<v Speaker 2>here more. But man, you know, I used to build

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<v Speaker 2>like camps and ugh, and you know, go because there's

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<v Speaker 2>a bit of woodland down the bottom there. And I

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<v Speaker 2>used to go and build camps all the time when

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<v Speaker 2>I was a kid, and just try and get the

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<v Speaker 2>kids out of this. Are you're talking about that? What

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<v Speaker 2>do you mean a camp? What sort of camp? And

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<v Speaker 2>I was like, well, just I don't know, go and

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<v Speaker 2>get some twigs and some leaves and build yourself a

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<v Speaker 2>little area. They look at me like I'm utterly mad.

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<v Speaker 2>It's like, look, it's all here for you guys. Put

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<v Speaker 2>the eyepad down. They can learn how to do treehouses

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<v Speaker 2>on YouTube. Now well, yeah, yeah, that could be cool.

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<v Speaker 2>There's a couple of nice trees for that here. Actually, yeah, yeah,

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<v Speaker 2>we would have walked down these steps here, let's do it.

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<v Speaker 2>So this, as I was saying, this is not the

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<v Speaker 2>normal situation that we're we record a podcast, this is

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<v Speaker 2>actually what normally we're in our office in East London,

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<v Speaker 2>which is which is lovely but quite cramped. And here

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<v Speaker 2>this is actually what fresh air smells like, you know it. Yeah,

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<v Speaker 2>this is unpolluted, whether nature's goodness is Yeah. I particularly

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<v Speaker 2>enjoyed the drive up here because I came cross country

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<v Speaker 2>out of London to Oxfordshire, and besides seeing lots of

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<v Speaker 2>really nice looking country pubs and potentially a steam train museum.

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<v Speaker 2>I think I went past that sounds familiar. There are

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<v Speaker 2>some great names of villages in this part of the

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<v Speaker 2>world that's coming through Skittles green nice. I think there

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<v Speaker 2>was one called pickle Wick Lovely maybe Kingston Blout Have

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<v Speaker 2>you been there? No, not being to Kingston Blount. No,

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<v Speaker 2>where's the other one? Is there was? I can't remember? Yeah,

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<v Speaker 2>now there's some quite Who's this my wife? We're meeting her? Hi,

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<v Speaker 2>gass wife, She just come back from the gym, and

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<v Speaker 2>she's thinking, look at these two ridiculous looking fellows. Have

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<v Speaker 2>you got a key? All right? Oh, we're just gonna

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<v Speaker 2>go for a little wonder all right, it's tea in

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<v Speaker 2>the pot. Well done, gas, good planning. Yeah, we're getting

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<v Speaker 2>towards actual We're getting getting towards the end of the garden.

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<v Speaker 2>This garden gate, Oh yeah, so this is the this

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<v Speaker 2>is the Yeah, there's a little veg plot down there,

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<v Speaker 2>and we can go and raid it for some corsettes

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<v Speaker 2>and the occasional garret and then yeah, that's that little

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<v Speaker 2>bonfire bit there. The kids think a witch lives in

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<v Speaker 2>there for some reason. I've never seen her myself, so

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<v Speaker 2>I'm doubtful that that's actually true, but it is. It's

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<v Speaker 2>good looks. End of the garden myth material when we're

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<v Speaker 2>walking back from the pub a sort of five six,

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<v Speaker 2>and it gets it's getting dark. I like it down here.

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<v Speaker 2>It's almost like an orchard or something, isn't it. Well

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<v Speaker 2>it is, Yeah, there apples a few apple trees here,

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<v Speaker 2>I think. So, yeah, we've let it, you know, we've

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<v Speaker 2>let it kind of be a bit more wild down here.

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<v Speaker 2>I kind of like it wild, yeah, less kind of

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<v Speaker 2>preamed and sculpted. It's nice and yeah, wildflowers and stuff. Yeah,

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<v Speaker 2>as you were saying, it is perfect for den making.

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<v Speaker 2>So yeah, through the little let me just log it

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<v Speaker 2>our gate just as your listeners, we're hear onto some gravel.

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<v Speaker 2>Exciting there we go. So yeah, this is like the

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<v Speaker 2>little shortcut that where we can get down to the

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<v Speaker 2>village basically without seeing any other any other human beings. Yeah,

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<v Speaker 2>become this little secret way. As I was saying, there

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<v Speaker 2>are some brilliantly named villages in Oxfordshire that I drove

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<v Speaker 2>through my way to visit. Even here today, there's a

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<v Speaker 2>there's a place to park. I don't know where it is.

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<v Speaker 2>There's place of past called Toka's Greenways thoughts that sounds cool.

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<v Speaker 2>That sounds cool. Yeah, apparently it's terrible around there. No, Yeah,

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<v Speaker 2>so anyway we were, we were approaching the field. We've

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<v Speaker 2>come out of the back of gas his house, through

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<v Speaker 2>his garden into onto the sort of short village path

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<v Speaker 2>and into the into the field. We should probably before

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<v Speaker 2>we go any further, just explain where we're going. We're

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<v Speaker 2>kind of on our way to do a little walk

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<v Speaker 2>around to sort of see some of the local local sites,

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<v Speaker 2>a place where you kind of grew up and hang

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<v Speaker 2>around with and like basically the area that made you

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<v Speaker 2>you and therefore helped go into your writing pro Yeah,

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<v Speaker 2>I guess it's there's just a lot of memories here.

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<v Speaker 2>I think it's there's a lot kind of etched in

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<v Speaker 2>my mind from from over the years, you know, way

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<v Speaker 2>back from when I was a kid, and you know,

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<v Speaker 2>I used to come and hang out down by this

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<v Speaker 2>little stream here and and you know, have a joint

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<v Speaker 2>away from my folks and you know, just escape the

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<v Speaker 2>house for a little bit. And you know, I've come

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<v Speaker 2>up here for you know, different reasons. I mean there

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<v Speaker 2>were times I've I've written a song called the Oaks

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<v Speaker 2>on my latest album, and it's kind of inspired by

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<v Speaker 2>where we're going to head towards just a group of

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<v Speaker 2>oak trees where I don't know, I maybe go. I've

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<v Speaker 2>remember going there a few times when after my mum

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<v Speaker 2>died and when she was very ill. Just yeah, i'd

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<v Speaker 2>almost like, you know, just getting a bit of headspace

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<v Speaker 2>and then kind of find myself talking to them and

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<v Speaker 2>and you know, questioning, questioning things, and you know, I

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<v Speaker 2>don't know, just just that sort of freeing up, you know,

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<v Speaker 2>any kind of negative sort of thoughts, and it's good

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<v Speaker 2>for that, you know, just to just to wander along

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<v Speaker 2>and feel that air around you. You know. I guess

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<v Speaker 2>you're a big advocate for if you're working on something

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<v Speaker 2>and the idea is just not coming, or if you've

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<v Speaker 2>had a stressful day week of just taking yourself out

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<v Speaker 2>for a bit of fresh air, long walk kind of.

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<v Speaker 2>I'm not, I'm not. I'm not as intuitive with that

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<v Speaker 2>as I as I should be. I kind of tend

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<v Speaker 2>to battle through and think, no, this idea will come,

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<v Speaker 2>and then I just kind of end up doing my

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<v Speaker 2>head in a bit about it. So I'm not. I'm

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<v Speaker 2>not great at kind of seeing when that moment it

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<v Speaker 2>is right to sort of step away. But but you know, yeah,

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<v Speaker 2>I do. I do kind of come out here all

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<v Speaker 2>the time and take the kids for little wonders and stuff.

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<v Speaker 2>And even when I was in my teens, there's a

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<v Speaker 2>lot of we used to have parties at my parents'

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<v Speaker 2>house when they went away. I remember a few kind

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<v Speaker 2>of mad parties we'd have and then we'd all pile out.

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<v Speaker 2>I think I think there was one where we took

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<v Speaker 2>some acid. It's just like kind of very sort of

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<v Speaker 2>seventeen eighteen. We took some acid and then walked across

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<v Speaker 2>the fields and like we all sort of, I don't know,

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<v Speaker 2>we kind of raided loads of cupboards of my younger

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<v Speaker 2>brother and my older brothers and put on loads of

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<v Speaker 2>weird clothes sort of school uniforms and stuff, and like

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<v Speaker 2>it ran out across the field, like with no shoes

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<v Speaker 2>on and stuff, and we made it over to this

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<v Speaker 2>amazing little it's like a little building. Yeah, I can

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<v Speaker 2>see it in the distance, and yeah, it's kind of

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<v Speaker 2>this mad little sort of chapel sort of type building,

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<v Speaker 2>and yeah, just hanging out in there and going bonkers.

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<v Speaker 2>And and then there's that cowshed over there, which has

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<v Speaker 2>been there sort of for as long as I can remember,

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<v Speaker 2>which I can see from my house. So it's like

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<v Speaker 2>it's just a sort of view that I'm really used

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<v Speaker 2>to and I love to look out on it really so.

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<v Speaker 2>But yeah, this field and over in the shot over

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<v Speaker 2>is just all sorts of memories, you know, some kind

0:12:51.840 --> 0:12:57.000
<v Speaker 2>of from tough times, some just from you. Yeah, exactly,

0:12:57.040 --> 0:13:00.200
<v Speaker 2>It's just a little bit of everything. But yeah, we

0:13:00.240 --> 0:13:01.680
<v Speaker 2>go through here, Yeah, let's go for a walk across

0:13:01.679 --> 0:13:07.200
<v Speaker 2>the fil for me to get that, it's like a

0:13:07.200 --> 0:13:11.079
<v Speaker 2>one at a time. All right, there we go. Yeah,

0:13:11.160 --> 0:13:13.240
<v Speaker 2>you always want your field gate with a good squeak

0:13:13.280 --> 0:13:15.920
<v Speaker 2>on it, don't you. It wouldn't be the same to

0:13:15.920 --> 0:13:18.920
<v Speaker 2>be authentic. You grew up in Oxfordshire, you grew up

0:13:18.960 --> 0:13:20.480
<v Speaker 2>in the house that you live in now, but you

0:13:20.480 --> 0:13:23.800
<v Speaker 2>haven't always been there, so you moved away. You've in

0:13:23.800 --> 0:13:28.480
<v Speaker 2>different places, including Brighton. What was part of the well,

0:13:28.760 --> 0:13:31.160
<v Speaker 2>what was this? You know, the greenery, the fresh air,

0:13:31.360 --> 0:13:33.400
<v Speaker 2>the kind of open space. Was that part of the

0:13:33.440 --> 0:13:36.240
<v Speaker 2>attraction that coming back to this part of the world

0:13:37.520 --> 0:13:39.120
<v Speaker 2>kind of? I mean, I'm really not. I really enjoy

0:13:39.200 --> 0:13:41.240
<v Speaker 2>city life. I think I moved to Brighton when I

0:13:41.280 --> 0:13:46.959
<v Speaker 2>was seventeen, I think kind of ninety yeah, ninety six,

0:13:47.040 --> 0:13:49.680
<v Speaker 2>ninety seven. I moved to Brighton, stayed there for ten years,

0:13:49.679 --> 0:13:51.360
<v Speaker 2>and yeah, I loved it. It was really In fact,

0:13:51.360 --> 0:13:54.640
<v Speaker 2>it was quinde quite tough decision to decide to come

0:13:54.679 --> 0:13:56.600
<v Speaker 2>back to Oxford but it was around a time where

0:13:56.640 --> 0:14:00.640
<v Speaker 2>my mum was ill, and so after she died, I

0:14:00.720 --> 0:14:03.160
<v Speaker 2>just wanted to come back and hang out with my

0:14:03.240 --> 0:14:05.600
<v Speaker 2>dad and just you know, be around and be there

0:14:05.640 --> 0:14:08.640
<v Speaker 2>and for my kids. To be near their near their cousins,

0:14:09.240 --> 0:14:11.439
<v Speaker 2>because my brother lives here too, So it's just I

0:14:11.480 --> 0:14:12.679
<v Speaker 2>don't know. I guess it was more of a sort

0:14:12.720 --> 0:14:15.240
<v Speaker 2>of instinctive kind of family move. You know. You just

0:14:15.280 --> 0:14:18.320
<v Speaker 2>get those points in life where you know, I'd started

0:14:18.320 --> 0:14:21.560
<v Speaker 2>my own family and and you get you get a

0:14:21.600 --> 0:14:24.680
<v Speaker 2>feeling for what's important at that at that time in

0:14:25.120 --> 0:14:27.720
<v Speaker 2>your life. And I think at that moment it was

0:14:27.840 --> 0:14:30.880
<v Speaker 2>it was here to come and be an email man.

0:14:30.920 --> 0:14:33.520
<v Speaker 2>And yeah, I know here I am sort of eight

0:14:33.640 --> 0:14:36.400
<v Speaker 2>years later, but you know, I've done three albums here

0:14:36.440 --> 0:14:38.240
<v Speaker 2>at the house, and and I just had this space

0:14:38.640 --> 0:14:41.520
<v Speaker 2>to explore and to experiment and to set up the

0:14:41.520 --> 0:14:46.800
<v Speaker 2>studio and and to really play with all these new ideas,

0:14:46.840 --> 0:14:48.640
<v Speaker 2>you know, And so I think it's it's worked out

0:14:48.720 --> 0:14:51.760
<v Speaker 2>really well. Just coming back, but I am getting pangings

0:14:52.000 --> 0:14:54.920
<v Speaker 2>for the city life. What thing? Is there any specific

0:14:54.920 --> 0:14:59.960
<v Speaker 2>things you miss? Is it the proximity to things to do?

0:15:00.280 --> 0:15:02.200
<v Speaker 2>Is it just the general buzz? What are the kind

0:15:02.200 --> 0:15:04.200
<v Speaker 2>of specifics of the city that you miss? Yeah, I

0:15:04.200 --> 0:15:05.400
<v Speaker 2>think it's that sort of you know, where you can

0:15:05.440 --> 0:15:08.720
<v Speaker 2>wake up Saturday morning and I always remember, you know,

0:15:08.760 --> 0:15:11.080
<v Speaker 2>I used to live two two doors away from a pub.

0:15:11.280 --> 0:15:14.400
<v Speaker 2>So wake up Saturday morning, pop pop into the pub

0:15:14.400 --> 0:15:17.280
<v Speaker 2>about Levenish. They used to do a great Saturday, a

0:15:17.320 --> 0:15:20.800
<v Speaker 2>great Saturday breakfast, have a breakfast, have a little pint

0:15:20.840 --> 0:15:23.040
<v Speaker 2>and then you know, maybe some foot you would be on.

0:15:23.080 --> 0:15:25.440
<v Speaker 2>And I don't know. Those Saturday mornings I remember really

0:15:25.440 --> 0:15:29.000
<v Speaker 2>really well, just being kind of quite free and exciting

0:15:29.040 --> 0:15:33.760
<v Speaker 2>and yeah, everything's on your doorstep, But I don't know.

0:15:33.800 --> 0:15:37.800
<v Speaker 2>At the same time, that's kind of you know, life

0:15:37.840 --> 0:15:42.760
<v Speaker 2>moves pretty fast anyway, with touring and traveling around and

0:15:42.800 --> 0:15:46.080
<v Speaker 2>visiting different cities and countries. You know, it's it's it's

0:15:47.400 --> 0:15:49.680
<v Speaker 2>it has a certain pace to it that I'm very

0:15:49.800 --> 0:15:51.160
<v Speaker 2>used to and I think, but then to come back

0:15:51.160 --> 0:15:54.280
<v Speaker 2>here to the country side, I don't know. I just

0:15:54.560 --> 0:15:58.880
<v Speaker 2>I appreciate that a change and that different way of living.

0:15:58.960 --> 0:16:02.920
<v Speaker 2>So do you feel like you get as many ideas

0:16:03.040 --> 0:16:04.920
<v Speaker 2>being out here? Would you have to work harder to

0:16:04.960 --> 0:16:09.240
<v Speaker 2>find inspiration? Because I guess one thing you could say

0:16:09.240 --> 0:16:12.080
<v Speaker 2>about living in the city is that you're surrounded by

0:16:13.000 --> 0:16:16.280
<v Speaker 2>noise and buzz and opportunities to go and see things

0:16:16.320 --> 0:16:18.320
<v Speaker 2>and learn things. And yeah, I guess when you're a

0:16:18.320 --> 0:16:20.400
<v Speaker 2>little bit further out those things you have to work

0:16:20.440 --> 0:16:23.360
<v Speaker 2>a little bit harder to go and experience those things.

0:16:23.760 --> 0:16:25.840
<v Speaker 2>You've got as much inspiration coming to you on a

0:16:25.920 --> 0:16:28.160
<v Speaker 2>sort of day to day basis. Yeah, because I mean,

0:16:28.200 --> 0:16:30.600
<v Speaker 2>like I said, I guess because I see a lot

0:16:30.640 --> 0:16:34.480
<v Speaker 2>of you know, the kind of the faster sides of life.

0:16:34.520 --> 0:16:37.280
<v Speaker 2>I guess when I'm working, and I guess I look

0:16:37.320 --> 0:16:40.320
<v Speaker 2>at this as a as a opportunity to sort of

0:16:40.360 --> 0:16:45.360
<v Speaker 2>process all of the experiences, and I think that that

0:16:45.440 --> 0:16:48.880
<v Speaker 2>space in my head is Yeah, I find that it works, Yeah,

0:16:49.040 --> 0:16:53.080
<v Speaker 2>just to kind of work through those ideas and any

0:16:53.160 --> 0:16:56.000
<v Speaker 2>any new inspiration that I've seen, or kind of a

0:16:57.200 --> 0:17:00.280
<v Speaker 2>mad train journey through Europe or or you know, a

0:17:00.320 --> 0:17:02.800
<v Speaker 2>period of time in one city and I come back

0:17:02.800 --> 0:17:04.560
<v Speaker 2>here and I can just sort of you know, make

0:17:04.600 --> 0:17:08.639
<v Speaker 2>notes and yeah, process all that and turn it into something. So,

0:17:08.720 --> 0:17:09.959
<v Speaker 2>you know, I do feel like I've got you know,

0:17:10.240 --> 0:17:12.800
<v Speaker 2>it's kind of best of both in many ways. You're

0:17:12.840 --> 0:17:15.000
<v Speaker 2>putting out a new record soon in May at the

0:17:15.000 --> 0:17:17.440
<v Speaker 2>World's Strongest Man, which will talk about a bit more

0:17:17.480 --> 0:17:20.199
<v Speaker 2>about in a bit, But there are a number of

0:17:20.200 --> 0:17:25.600
<v Speaker 2>big influences that or influences experiences I guess that informed

0:17:26.240 --> 0:17:28.800
<v Speaker 2>the ideas that fed into the album, one of which

0:17:28.840 --> 0:17:32.199
<v Speaker 2>is The Great British Woodland, I guess. But there are

0:17:32.320 --> 0:17:34.280
<v Speaker 2>lots of other things as well, and I wanted to

0:17:34.280 --> 0:17:36.560
<v Speaker 2>talk about a couple of those before we get to

0:17:36.600 --> 0:17:40.239
<v Speaker 2>the woods, because we're on our way there now. We are,

0:17:40.320 --> 0:17:42.760
<v Speaker 2>we are, We're close. The Descent of Man is a

0:17:42.760 --> 0:17:47.040
<v Speaker 2>book by Grayson Perry, which you've mentioned was something that

0:17:47.080 --> 0:17:49.560
<v Speaker 2>you read in the run up to writing some of

0:17:49.560 --> 0:17:53.040
<v Speaker 2>the songs that appear on this new album. How did

0:17:53.080 --> 0:17:56.359
<v Speaker 2>you come across that book? I can't remember. My wife's

0:17:56.520 --> 0:18:00.760
<v Speaker 2>a writer and she also works in the bookshop. She's

0:18:00.760 --> 0:18:07.080
<v Speaker 2>always throwing me new books and just kind of placing

0:18:07.080 --> 0:18:08.520
<v Speaker 2>them by the side of the bed and going, you know,

0:18:08.800 --> 0:18:12.000
<v Speaker 2>just kind of pushing me to read other stuff because

0:18:12.000 --> 0:18:15.200
<v Speaker 2>I can be a bit lazy with all that. Yeah,

0:18:15.240 --> 0:18:18.120
<v Speaker 2>And it was just I think it was summer last summer, Yeah,

0:18:18.200 --> 0:18:21.159
<v Speaker 2>and just kind of went off for a bit, you know,

0:18:21.320 --> 0:18:24.439
<v Speaker 2>just to get away from the village and take the

0:18:24.480 --> 0:18:26.119
<v Speaker 2>family away for a little bit. And yeah, that was

0:18:26.160 --> 0:18:28.240
<v Speaker 2>just what I was reading at the time, and I

0:18:28.640 --> 0:18:31.000
<v Speaker 2>just sort of thought it was really it was really enlightening,

0:18:31.040 --> 0:18:35.800
<v Speaker 2>really beautifully written, really non judgmental, kind of very very

0:18:35.840 --> 0:18:38.639
<v Speaker 2>on the nose and just very relevant, and it kind

0:18:38.680 --> 0:18:42.080
<v Speaker 2>of resonated a lot with me, you know, and I

0:18:42.080 --> 0:18:46.120
<v Speaker 2>think also having two daughters, you know, they're growing up quick,

0:18:46.320 --> 0:18:47.800
<v Speaker 2>and you just think, you know, I want to make

0:18:47.840 --> 0:18:52.960
<v Speaker 2>sure that that they've got a good outlook on you know,

0:18:53.480 --> 0:18:55.960
<v Speaker 2>I guess on the social side of things and how

0:18:57.000 --> 0:18:59.960
<v Speaker 2>relationships play out, how you deal and interact with other people,

0:19:00.119 --> 0:19:02.920
<v Speaker 2>and I just think, Yeah, it's hard to sort of ignore,

0:19:03.640 --> 0:19:06.720
<v Speaker 2>you know, a lot of the sort of negative, kind

0:19:06.760 --> 0:19:11.800
<v Speaker 2>of toxic, sort of alpha male driven shit that we're

0:19:11.880 --> 0:19:14.159
<v Speaker 2>sort of all seeing a lot of the moment and

0:19:15.480 --> 0:19:18.040
<v Speaker 2>just feels a bit old fashioned, you know, for people

0:19:18.080 --> 0:19:20.560
<v Speaker 2>that haven't read it. Grays and Perry as well as

0:19:20.560 --> 0:19:25.280
<v Speaker 2>being hugely talented artist, green writer as well, so articulate.

0:19:25.560 --> 0:19:27.359
<v Speaker 2>I mean, I think I read I read it recently

0:19:27.400 --> 0:19:32.919
<v Speaker 2>as well, and it's his take on I suppose the

0:19:32.960 --> 0:19:36.240
<v Speaker 2>shape of modern masculinity, how it's come to that point,

0:19:36.280 --> 0:19:39.520
<v Speaker 2>and also a bit of a handbook about how how

0:19:39.560 --> 0:19:41.280
<v Speaker 2>we might all be able to do things a bit better,

0:19:41.359 --> 0:19:44.240
<v Speaker 2>you know, to shape shape the next few years of

0:19:44.280 --> 0:19:49.000
<v Speaker 2>how masculinity might look. Yeah, and I think one of

0:19:49.040 --> 0:19:50.600
<v Speaker 2>the things that really stuck with me was you know,

0:19:50.640 --> 0:19:54.520
<v Speaker 2>imagine for young kids, you know, young boys, imagine sort

0:19:54.520 --> 0:19:58.760
<v Speaker 2>of being able to free free them up from any

0:19:58.840 --> 0:20:01.879
<v Speaker 2>kind of cliche perception kind of of how a young

0:20:01.920 --> 0:20:05.240
<v Speaker 2>man should act or how tough he should be, or

0:20:05.280 --> 0:20:07.159
<v Speaker 2>whether you need to guard the end of your street,

0:20:07.280 --> 0:20:11.280
<v Speaker 2>you know, at night, you know, from from other dudes,

0:20:11.280 --> 0:20:12.919
<v Speaker 2>and whether I don't know, and if you sort of

0:20:14.119 --> 0:20:17.919
<v Speaker 2>kind of freed them of a lot of those perhaps

0:20:18.000 --> 0:20:21.600
<v Speaker 2>kind of inherent Yeah, those sort of inherent ideas, those

0:20:21.640 --> 0:20:25.040
<v Speaker 2>sort of emotional kind of you know, ways of dealing

0:20:25.080 --> 0:20:26.680
<v Speaker 2>with things I don't know, I think then then you

0:20:26.680 --> 0:20:29.320
<v Speaker 2>you know, they could be amazing, amazing people. It's just like,

0:20:29.359 --> 0:20:32.120
<v Speaker 2>you know, if you're freed up of that ship, imagine

0:20:32.119 --> 0:20:35.760
<v Speaker 2>how amazing and free you could be. Yeah. In the book,

0:20:35.760 --> 0:20:39.280
<v Speaker 2>he talks about how some of that traditional sense and

0:20:39.359 --> 0:20:43.160
<v Speaker 2>some of that traditional way of thinking or shaping masculinity

0:20:43.680 --> 0:20:46.359
<v Speaker 2>has quite destructive effects as well. That kind of emerged

0:20:46.480 --> 0:20:51.560
<v Speaker 2>almost like silent destruction effects because of almost not expressing yourself, yes,

0:20:51.640 --> 0:20:54.199
<v Speaker 2>and not feelings, not feeling comfortable, not not you know,

0:20:54.240 --> 0:20:58.560
<v Speaker 2>and maybe the just it's more what's on the outside,

0:20:58.600 --> 0:21:01.920
<v Speaker 2>it's kind of surface and you know, that's I guess

0:21:01.920 --> 0:21:05.000
<v Speaker 2>that's another thing with you know, we've seen to a

0:21:05.040 --> 0:21:09.080
<v Speaker 2>really positive degree of the loss of four or five years,

0:21:09.119 --> 0:21:12.280
<v Speaker 2>is you know, men being able to speak about mental

0:21:12.320 --> 0:21:14.520
<v Speaker 2>health and men being able to talk openly about stuff,

0:21:14.520 --> 0:21:18.439
<v Speaker 2>and it's yeah, it's all right, you know, it's all

0:21:18.520 --> 0:21:22.560
<v Speaker 2>right to kind of talk to your best mate and

0:21:22.320 --> 0:21:25.159
<v Speaker 2>and and not feel like you're you're being really girly,

0:21:25.560 --> 0:21:29.679
<v Speaker 2>you know. Yeah, it's just it's just very sort of

0:21:30.680 --> 0:21:36.600
<v Speaker 2>a very coherent book and very articulate, and I just

0:21:36.600 --> 0:21:39.080
<v Speaker 2>really enjoyed enjoyed reading it. Yeah, I must have been.

0:21:39.160 --> 0:21:41.280
<v Speaker 2>When I finished reading it, I kind of wanted to

0:21:41.320 --> 0:21:43.840
<v Speaker 2>go out and buy a bunch of copies and give

0:21:43.880 --> 0:21:46.480
<v Speaker 2>it to lots of my male friends. Yeah. Well, yeah,

0:21:46.520 --> 0:21:49.000
<v Speaker 2>I just say any young lads, you know, every young

0:21:49.040 --> 0:21:51.960
<v Speaker 2>lad should read it, just, you know, just give it

0:21:51.960 --> 0:21:53.359
<v Speaker 2>a shot. You know, you might not agree with all

0:21:53.359 --> 0:21:56.320
<v Speaker 2>of it, but it's just it's the word. I don't know,

0:21:56.400 --> 0:21:58.920
<v Speaker 2>it's just it's sort of I felt quite You mentioned

0:21:58.920 --> 0:22:01.280
<v Speaker 2>the word enlightening early. I think, yeah, I think what

0:22:01.320 --> 0:22:04.040
<v Speaker 2>it does so well is for many people, I know,

0:22:04.200 --> 0:22:07.639
<v Speaker 2>it articulates the way that they feel the feelings that

0:22:07.640 --> 0:22:11.480
<v Speaker 2>they have that they perhaps haven't been able to articulate themselves.

0:22:12.080 --> 0:22:15.680
<v Speaker 2>And also, I think any man, I know, from whatever age,

0:22:16.000 --> 0:22:19.480
<v Speaker 2>any generation, will recognize parts of themselves in that book.

0:22:19.680 --> 0:22:22.040
<v Speaker 2>And I think it's just a bit of a some

0:22:22.080 --> 0:22:24.840
<v Speaker 2>of it's quite a wake up call, I think. Yeah,

0:22:24.960 --> 0:22:28.040
<v Speaker 2>I actually read it briefly after I'd finished reading Harry

0:22:28.119 --> 0:22:32.240
<v Speaker 2>Clinton's but okay, Yeah, Combine those two things. Hearing about

0:22:32.960 --> 0:22:39.639
<v Speaker 2>the the barriers that were caused purely by Hillary Clinton

0:22:39.680 --> 0:22:42.000
<v Speaker 2>being a woman, which she came up against when it

0:22:42.040 --> 0:22:44.960
<v Speaker 2>came to the last election in America, and then couple

0:22:45.040 --> 0:22:48.320
<v Speaker 2>that by reading Grayce and Perry's book, The Descended the

0:22:48.320 --> 0:22:52.600
<v Speaker 2>Man I wrote, I really it felt very It resonated

0:22:52.680 --> 0:22:54.840
<v Speaker 2>heavily with me. Yeah, you know, and I think that's

0:22:54.840 --> 0:22:56.959
<v Speaker 2>the same for me. It sort of felt modern, and

0:22:57.000 --> 0:22:59.960
<v Speaker 2>it felt it just felt on the pulse on the nose.

0:23:00.160 --> 0:23:03.840
<v Speaker 2>It was, you know, times are changing, it's kind of

0:23:03.880 --> 0:23:06.320
<v Speaker 2>you know, and there's almost a bit of a sense

0:23:07.000 --> 0:23:09.000
<v Speaker 2>as well from men that they're kind of you know,

0:23:09.040 --> 0:23:11.320
<v Speaker 2>that they may be concerned or they're worried about this

0:23:11.400 --> 0:23:13.959
<v Speaker 2>sort of shift or well, I know, well, how am

0:23:13.960 --> 0:23:15.600
<v Speaker 2>I supposed to be? You know, what we're supposed to do.

0:23:15.640 --> 0:23:17.960
<v Speaker 2>And it's like and I sort of think, well, you know,

0:23:18.080 --> 0:23:20.520
<v Speaker 2>fuck it. It's kind of maybe it's sort of men's

0:23:20.560 --> 0:23:24.440
<v Speaker 2>turn to feel a bit awkward and uncomfortable, and like

0:23:24.480 --> 0:23:27.000
<v Speaker 2>we've been running the show for you know, it's the

0:23:27.000 --> 0:23:29.600
<v Speaker 2>beginning of time. It's like, you know, you're right, so

0:23:29.640 --> 0:23:31.200
<v Speaker 2>you're going to feel a bit awkward. You don't, you

0:23:31.240 --> 0:23:35.000
<v Speaker 2>don't quite know, you know, how to you know, deal

0:23:35.080 --> 0:23:38.520
<v Speaker 2>with with you know, strong women and strong opinions from

0:23:38.560 --> 0:23:41.399
<v Speaker 2>women and stuff. It's like, just you know, that's the

0:23:41.440 --> 0:23:44.840
<v Speaker 2>way it's been for you know, for women for so

0:23:44.840 --> 0:23:46.560
<v Speaker 2>many years, and it's I don't know, it's just it's

0:23:46.600 --> 0:23:48.680
<v Speaker 2>just kind of ridiculous. It's I just sort of see

0:23:49.920 --> 0:23:52.159
<v Speaker 2>see you know, the human being, you know, and you

0:23:52.160 --> 0:23:53.480
<v Speaker 2>know you've got to really I don't know, at the

0:23:53.520 --> 0:23:55.239
<v Speaker 2>same time, knowing that we are different, you know, men

0:23:55.280 --> 0:23:57.840
<v Speaker 2>and women are different. We kind of you know, we

0:23:57.880 --> 0:24:00.199
<v Speaker 2>do get attracted to each other. They result there that

0:24:00.280 --> 0:24:02.800
<v Speaker 2>sort of sexual chemistry. It will always be there. It's

0:24:02.880 --> 0:24:07.320
<v Speaker 2>kind of but ultimately it's just yeah, just just don't

0:24:07.359 --> 0:24:09.840
<v Speaker 2>be a dick. It's quite it's quite simple. Just you know,

0:24:10.359 --> 0:24:14.080
<v Speaker 2>be a decent person. And you know, yeah, I just

0:24:14.080 --> 0:24:17.400
<v Speaker 2>want my two girls to to grow up and meet

0:24:17.920 --> 0:24:19.920
<v Speaker 2>do you know, Actually I've got friends who've got teenage

0:24:19.960 --> 0:24:24.479
<v Speaker 2>boys and stuff. They're they're all amazing. They're really its

0:24:24.960 --> 0:24:28.240
<v Speaker 2>gentle guys you know who are just don't know. I'm

0:24:28.280 --> 0:24:31.159
<v Speaker 2>sure they have they're just going to maybe have a

0:24:31.160 --> 0:24:34.240
<v Speaker 2>bit more of a perhaps the sort of balanced overview

0:24:34.240 --> 0:24:36.919
<v Speaker 2>of things as they I hope they are, you know,

0:24:37.560 --> 0:24:41.480
<v Speaker 2>but at the moment they seem very sort of on

0:24:41.600 --> 0:24:45.800
<v Speaker 2>it and have a gentle kind of aura about them.

0:24:45.840 --> 0:24:50.040
<v Speaker 2>You know. We had Shirley Manson from Garbage on this podcast.

0:24:51.560 --> 0:24:53.240
<v Speaker 2>She was on here a few months ago. It's still

0:24:53.440 --> 0:24:55.240
<v Speaker 2>still there if people want to go back and listen

0:24:55.240 --> 0:24:57.760
<v Speaker 2>to that, if they haven't already. But we had a

0:24:57.760 --> 0:25:01.280
<v Speaker 2>similar conversation to this, but with regards to the Me

0:25:01.359 --> 0:25:03.480
<v Speaker 2>Too movement, for example at the end of last year,

0:25:04.000 --> 0:25:07.119
<v Speaker 2>and how at that time when I was catching up

0:25:07.119 --> 0:25:13.199
<v Speaker 2>with her, there were lots of symbolic things happening at

0:25:13.240 --> 0:25:17.120
<v Speaker 2>awards ceremonies, for example, at the Oscars and the Bafters

0:25:17.119 --> 0:25:19.760
<v Speaker 2>and stuff, people stressing the imagine the pressure for a

0:25:19.760 --> 0:25:22.440
<v Speaker 2>lot of those, but she actors and stuff as well,

0:25:22.480 --> 0:25:24.679
<v Speaker 2>just not wondering if they've done the right thing or

0:25:24.680 --> 0:25:27.200
<v Speaker 2>warn the maybe is that okay, what of wa tonight?

0:25:27.240 --> 0:25:29.680
<v Speaker 2>You know, I know, but she was also making the

0:25:29.720 --> 0:25:33.400
<v Speaker 2>point that all these experiences that have happened to these

0:25:33.400 --> 0:25:37.240
<v Speaker 2>women and who are now speaking out, she just felt

0:25:37.280 --> 0:25:40.879
<v Speaker 2>like this was women speaking out on a male problem,

0:25:40.920 --> 0:25:43.080
<v Speaker 2>as in, the problem is not with women, The problem

0:25:43.119 --> 0:25:45.800
<v Speaker 2>is with men, and as you just mentioned there, that

0:25:46.000 --> 0:25:50.000
<v Speaker 2>we might be entering a period of discomfort and some

0:25:50.080 --> 0:25:54.000
<v Speaker 2>you know, really kind of looking herself in the mirror,

0:25:54.320 --> 0:26:00.040
<v Speaker 2>period where it actually is men's turn to recognize the

0:26:00.040 --> 0:26:02.159
<v Speaker 2>privilege that they've sat in for so much time that

0:26:02.359 --> 0:26:06.760
<v Speaker 2>maybe it is time that completely completely. Yeah, it was disappointing,

0:26:07.160 --> 0:26:10.720
<v Speaker 2>possibly much more than that, not to hear more men

0:26:10.840 --> 0:26:16.720
<v Speaker 2>speaking out about particularly you know, those movements and just

0:26:17.520 --> 0:26:19.680
<v Speaker 2>but I think that's also social media in the way

0:26:19.680 --> 0:26:21.600
<v Speaker 2>that things are interpreted. I think it's I think that

0:26:21.760 --> 0:26:23.520
<v Speaker 2>like I guess, like I was getting out when I said,

0:26:23.520 --> 0:26:25.520
<v Speaker 2>it's like there's a bit of panic and pressure, and

0:26:25.680 --> 0:26:29.120
<v Speaker 2>I think I think, I think genuinely a lot of yeah,

0:26:29.119 --> 0:26:32.280
<v Speaker 2>probably a lot of decent, you know, very well meaning men,

0:26:32.440 --> 0:26:35.560
<v Speaker 2>which maybe we're unsure about how to say something. But

0:26:35.600 --> 0:26:37.560
<v Speaker 2>I mean, again, that's kind of not it's not a

0:26:37.600 --> 0:26:40.560
<v Speaker 2>bad thing to kind of have to stumble over words

0:26:40.560 --> 0:26:42.600
<v Speaker 2>to find it right. You know, we'll get there, you know.

0:26:42.840 --> 0:26:46.399
<v Speaker 2>I mean, I'm confident that there will be a more

0:26:46.440 --> 0:26:48.920
<v Speaker 2>balanced outlook, and I think with the generations to come.

0:26:48.960 --> 0:26:52.000
<v Speaker 2>I know, with my nine year old daughter, she's she's

0:26:52.160 --> 0:26:56.600
<v Speaker 2>very clued up on things, and you know, I mean,

0:26:56.640 --> 0:26:59.800
<v Speaker 2>I know, it's kind of it's classic for sort of

0:26:59.800 --> 0:27:01.880
<v Speaker 2>you know, kids to sort of get into the environment

0:27:01.920 --> 0:27:03.719
<v Speaker 2>and say, oh, I never smoke a cigarette and I'm

0:27:03.720 --> 0:27:05.159
<v Speaker 2>never going to drink. You know, although it's kind of

0:27:05.400 --> 0:27:07.440
<v Speaker 2>it happens. But at the same time, she's very kind

0:27:07.440 --> 0:27:11.439
<v Speaker 2>of she seems quite certain about certain things, you know,

0:27:11.680 --> 0:27:14.840
<v Speaker 2>in terms of the environment and and what we're doing.

0:27:14.880 --> 0:27:17.520
<v Speaker 2>And you know, even down to the kind of the

0:27:17.560 --> 0:27:20.680
<v Speaker 2>trash TV that that they watch. You know, you'll get

0:27:20.760 --> 0:27:22.919
<v Speaker 2>kind of some sort of dating program, but you know,

0:27:22.960 --> 0:27:25.560
<v Speaker 2>you have two guys, it might have two girls being

0:27:26.240 --> 0:27:28.240
<v Speaker 2>on the date. And man, you know, that wasn't like

0:27:28.280 --> 0:27:30.440
<v Speaker 2>in the eighties watching Blind Date it was it was

0:27:30.480 --> 0:27:34.640
<v Speaker 2>all it was all very sort of you know, well

0:27:34.680 --> 0:27:37.960
<v Speaker 2>hemo sexual kind of completely. So the fact that even

0:27:38.000 --> 0:27:40.399
<v Speaker 2>the trash TV that that's just happening in our homes

0:27:40.480 --> 0:27:44.920
<v Speaker 2>is it is rightly so it's it's normalizing any any

0:27:44.960 --> 0:27:47.720
<v Speaker 2>sexual preference that you know where you know, where people

0:27:47.760 --> 0:27:49.919
<v Speaker 2>want to sit in their lives. And I think that's

0:27:50.440 --> 0:27:52.760
<v Speaker 2>that's a great thing for the new generation to sort

0:27:52.760 --> 0:27:55.000
<v Speaker 2>of see that as a just a normal thing that

0:27:55.040 --> 0:27:58.160
<v Speaker 2>passes by. You know, it's nothing unusual. If we head

0:27:58.200 --> 0:28:02.400
<v Speaker 2>down here, We've just down a really really nice kind

0:28:02.400 --> 0:28:04.479
<v Speaker 2>of tree lined track. It's like the avenue. It's called

0:28:04.480 --> 0:28:06.840
<v Speaker 2>the Avenue of Trees, and but here that's the sort

0:28:06.840 --> 0:28:09.240
<v Speaker 2>of that's the main big boy over there, that big

0:28:09.280 --> 0:28:14.439
<v Speaker 2>oak tree. It's glorious, isn't twelve fifteen high? Maybe? Yeah,

0:28:14.480 --> 0:28:17.600
<v Speaker 2>so yeah, no, this is kind of it's just like

0:28:17.640 --> 0:28:21.679
<v Speaker 2>I said, I just come and rant and you know,

0:28:22.880 --> 0:28:26.359
<v Speaker 2>not get any answers, never get any answers, but never speak.

0:28:26.400 --> 0:28:29.880
<v Speaker 2>They don't silent wisdom. They do and they kind of wave,

0:28:30.160 --> 0:28:34.159
<v Speaker 2>they wave me away, wave me on my way. We

0:28:34.280 --> 0:28:35.760
<v Speaker 2>just go up there and then we can then we

0:28:35.800 --> 0:28:37.399
<v Speaker 2>can sort of head back the other way. But this

0:28:37.440 --> 0:28:39.480
<v Speaker 2>is a cool little spot here. But you know, yeah,

0:28:39.480 --> 0:28:42.480
<v Speaker 2>it's also just just kind of with the album title

0:28:42.560 --> 0:28:46.520
<v Speaker 2>and the and the artwork, you know, the artwork, it's

0:28:46.560 --> 0:28:49.200
<v Speaker 2>got this kind of flawed character, kind of lying down

0:28:49.280 --> 0:28:51.920
<v Speaker 2>and you know, in this very sort of glamorous setting,

0:28:52.640 --> 0:28:54.600
<v Speaker 2>although it has a slight sort of faded glamour to

0:28:54.600 --> 0:28:55.840
<v Speaker 2>it as well, which I quite like. And then you've

0:28:55.840 --> 0:28:58.280
<v Speaker 2>got the big bold to a title World's Strongest Man

0:28:58.440 --> 0:29:00.720
<v Speaker 2>in you know, in pink font and I just sort

0:29:00.720 --> 0:29:03.200
<v Speaker 2>of think I felt like that sort of said quite

0:29:03.200 --> 0:29:05.560
<v Speaker 2>a lot for me in terms of, you know, not

0:29:05.600 --> 0:29:08.320
<v Speaker 2>even the sort of not even the kind of the

0:29:08.360 --> 0:29:13.000
<v Speaker 2>masculinity sort of issues as such, but just more being

0:29:13.040 --> 0:29:19.560
<v Speaker 2>a vulnerable, flawed human being and and sort of what

0:29:19.680 --> 0:29:21.760
<v Speaker 2>strength is, I guess, and just and just, you know,

0:29:21.920 --> 0:29:26.440
<v Speaker 2>is his strength kind of Yeah, it's not about money

0:29:26.520 --> 0:29:30.560
<v Speaker 2>or muscles and power and rising to the top and

0:29:30.600 --> 0:29:32.240
<v Speaker 2>making your way to the White House or whatever. It's

0:29:32.280 --> 0:29:38.320
<v Speaker 2>it's kind of about, you know, It's it's about resilience,

0:29:38.360 --> 0:29:43.600
<v Speaker 2>I guess, and just and being open to be really

0:29:44.640 --> 0:29:49.200
<v Speaker 2>lost and kind of messed up. And I think the

0:29:49.200 --> 0:29:51.040
<v Speaker 2>opening line of the album is I'm a little mashed

0:29:51.120 --> 0:29:54.600
<v Speaker 2>up because you know whatever, my head's in a weird

0:29:54.680 --> 0:29:58.320
<v Speaker 2>kind of toxy turvy state. And I guess I just

0:29:58.320 --> 0:29:59.800
<v Speaker 2>sort of thought, I don't mind a missing that I

0:29:59.800 --> 0:30:02.480
<v Speaker 2>don't mind just sort of, you know, I never want

0:30:02.600 --> 0:30:05.720
<v Speaker 2>my lyrics to be kind of morose and depressing and

0:30:06.120 --> 0:30:09.360
<v Speaker 2>too self analytical. I don't think. I think. I always

0:30:09.400 --> 0:30:11.800
<v Speaker 2>look outward, I think, and the lyrics have to still

0:30:11.840 --> 0:30:15.880
<v Speaker 2>have a hook. You can't just ramble about my inner thoughts.

0:30:16.000 --> 0:30:17.560
<v Speaker 2>But I can take some of those inner thoughts and

0:30:18.000 --> 0:30:22.640
<v Speaker 2>put them into a framework that's got a cool structure

0:30:22.680 --> 0:30:27.440
<v Speaker 2>to it, that's still you know, a palatable, cool structure,

0:30:27.480 --> 0:30:31.800
<v Speaker 2>and it's not it's not just some guy moaning. And

0:30:31.840 --> 0:30:33.360
<v Speaker 2>I thought that was kind of interesting as well, just

0:30:33.360 --> 0:30:34.680
<v Speaker 2>to sort of, I don't know, just to sort of

0:30:34.760 --> 0:30:37.240
<v Speaker 2>entertain those things and not not sort of hide away

0:30:37.240 --> 0:30:40.960
<v Speaker 2>from them and place myself as this I don't know,

0:30:41.040 --> 0:30:44.920
<v Speaker 2>this rock and roll style that's got everything or whatever,

0:30:45.080 --> 0:30:48.240
<v Speaker 2>you know, whatever it is, all this kind of untouchable

0:30:48.280 --> 0:30:50.200
<v Speaker 2>sort of thing that that I don't know, I just

0:30:50.400 --> 0:30:52.440
<v Speaker 2>sort of feel the life's not like that. Man. It's like,

0:30:52.920 --> 0:30:55.320
<v Speaker 2>if I can put you know, put it into my art,

0:30:55.640 --> 0:30:58.200
<v Speaker 2>I think that's I don't know, that's what I like

0:30:58.240 --> 0:31:00.360
<v Speaker 2>to see in a painting if I go to if

0:31:00.400 --> 0:31:01.760
<v Speaker 2>I go to a gallery or so, I like to

0:31:01.760 --> 0:31:06.200
<v Speaker 2>see true expression, emotion in a painting. You know, I

0:31:06.240 --> 0:31:08.880
<v Speaker 2>don't want to see them trying to be something or

0:31:10.360 --> 0:31:13.400
<v Speaker 2>or painting for the painting, for the person looking at it.

0:31:13.400 --> 0:31:17.120
<v Speaker 2>It's kind of it's got to be something raw. There's

0:31:17.160 --> 0:31:19.880
<v Speaker 2>a little barn. Yeah, it's like a kind of old

0:31:19.880 --> 0:31:22.040
<v Speaker 2>deserted barn. It is often. There used to be chickens here,

0:31:22.080 --> 0:31:25.800
<v Speaker 2>actually loads and loads of chickens. Okay, did this used

0:31:25.840 --> 0:31:29.400
<v Speaker 2>to be used lived in? Yeah? I think it's part

0:31:29.440 --> 0:31:32.360
<v Speaker 2>of a there's a a there's various sort of houses

0:31:32.560 --> 0:31:35.280
<v Speaker 2>through shot over it's part of a big estate. I guess.

0:31:35.960 --> 0:31:37.680
<v Speaker 2>I think this used to be part of that place.

0:31:37.720 --> 0:31:42.240
<v Speaker 2>But it's seen better days. Yeah, it's sort of begging

0:31:42.320 --> 0:31:45.520
<v Speaker 2>for a renovation. Yet it's kind of cots cootts old

0:31:45.560 --> 0:31:49.000
<v Speaker 2>stone will Yeah. Yeah, that's not too good with my

0:31:49.040 --> 0:31:55.920
<v Speaker 2>stone getting stone. So look, we can spin around if

0:31:55.960 --> 0:31:59.040
<v Speaker 2>you want. It's wander back. But there's another big beast

0:31:59.080 --> 0:32:01.280
<v Speaker 2>over there. Look another big oak. Some cows in the

0:32:01.280 --> 0:32:04.680
<v Speaker 2>field over there, cows lying down. Doesn't that mean it's

0:32:04.720 --> 0:32:07.400
<v Speaker 2>gonna rain? I thought it meant that their legs are tied.

0:32:08.040 --> 0:32:11.320
<v Speaker 2>I think probably more likely that isn't it. But yeah,

0:32:11.320 --> 0:32:13.520
<v Speaker 2>you could be you could be. Are you like a

0:32:13.560 --> 0:32:16.480
<v Speaker 2>country person because I'm from the country originally, although I

0:32:16.520 --> 0:32:18.719
<v Speaker 2>live in the city now. But there's a certain way

0:32:18.760 --> 0:32:20.959
<v Speaker 2>about country folks, isn't that Because I mean, I suppose

0:32:20.960 --> 0:32:23.760
<v Speaker 2>we're we're wildly out in the country here. I guess

0:32:23.760 --> 0:32:26.480
<v Speaker 2>we're still close to Oxford, which is which is a

0:32:26.520 --> 0:32:32.160
<v Speaker 2>big city. But yeah, have many farmers. Yeah, yeah, there's

0:32:32.200 --> 0:32:34.480
<v Speaker 2>one over there. There's one in the rain over there.

0:32:35.440 --> 0:32:37.080
<v Speaker 2>Do you know. Actually we've had a few dodgy runnings

0:32:37.080 --> 0:32:38.720
<v Speaker 2>with the farmers. Actually, yeah, we've had dogs before of

0:32:38.800 --> 0:32:42.000
<v Speaker 2>what friends who've brought dogs out stuff. Yeah, man, we've

0:32:42.000 --> 0:32:44.120
<v Speaker 2>been sort of shot at. But but I mean I

0:32:44.160 --> 0:32:46.600
<v Speaker 2>doubt if we were sort of directly shot out. I

0:32:46.600 --> 0:32:49.280
<v Speaker 2>think it was a warning shot, a sort of warning

0:32:49.320 --> 0:32:54.000
<v Speaker 2>get off my land shot, right, they don't want to Yeah,

0:32:54.000 --> 0:32:58.120
<v Speaker 2>they can be quite brutal, man, But but no, it's

0:32:58.680 --> 0:33:00.760
<v Speaker 2>I don't know if I could do deep country mat.

0:33:00.800 --> 0:33:02.560
<v Speaker 2>I don't know if that might drive me a bit mad.

0:33:03.160 --> 0:33:06.400
<v Speaker 2>So I do like being close to the close to Oxford,

0:33:06.800 --> 0:33:09.200
<v Speaker 2>but a nice bit of both. Yeah, yeah, no, definitely,

0:33:09.200 --> 0:33:11.440
<v Speaker 2>But I also like sort of country pubs are like

0:33:11.440 --> 0:33:13.320
<v Speaker 2>the village pubs that I kind of like, you know,

0:33:13.360 --> 0:33:16.280
<v Speaker 2>if I wander in for a pint or something after

0:33:16.360 --> 0:33:19.480
<v Speaker 2>rehearsal of the fact that there's the same three four

0:33:19.680 --> 0:33:23.480
<v Speaker 2>old geezers at the bar and right, guys totally unimpressed.

0:33:23.800 --> 0:33:25.600
<v Speaker 2>And I just sort of think that's I think that's brilliant.

0:33:25.600 --> 0:33:30.440
<v Speaker 2>I think that's something quite raw about that that. Yeah,

0:33:30.480 --> 0:33:32.360
<v Speaker 2>you know, you're not going to make a fuss out

0:33:32.360 --> 0:33:34.880
<v Speaker 2>of me. I'm not gonna I'm not strolling any of

0:33:34.920 --> 0:33:38.040
<v Speaker 2>like a big rockst I just want to pint and

0:33:38.040 --> 0:33:40.600
<v Speaker 2>and you know, write some lyrics or catch up on emails.

0:33:40.600 --> 0:33:44.479
<v Speaker 2>But yeah, that's kind of a good fight. Yeah. Some

0:33:44.520 --> 0:33:47.720
<v Speaker 2>of the other subjects things that have informed the record.

0:33:48.040 --> 0:33:50.320
<v Speaker 2>Picked out a few to talk about today. You also

0:33:50.400 --> 0:33:54.880
<v Speaker 2>mentioned one album in particular, which is Frank Ocean's Blonde.

0:33:55.880 --> 0:33:57.680
<v Speaker 2>A huge fan of that album. I think it was

0:33:57.720 --> 0:34:02.320
<v Speaker 2>more that I think I waited for the the hype

0:34:02.320 --> 0:34:04.680
<v Speaker 2>to die down. I think it was an extremely sort

0:34:04.680 --> 0:34:08.480
<v Speaker 2>of hyped record and Channel Orange as well. I think

0:34:09.480 --> 0:34:10.799
<v Speaker 2>I think as soon as as soon as I sort

0:34:10.800 --> 0:34:13.319
<v Speaker 2>of let it, yeah, that it does settle. I guess

0:34:13.360 --> 0:34:15.560
<v Speaker 2>I just I just thought I'd put it on for

0:34:15.600 --> 0:34:19.799
<v Speaker 2>a long, long car journey home this one time. Yeah,

0:34:19.800 --> 0:34:22.799
<v Speaker 2>and it just really. I just thought it was really cool.

0:34:22.840 --> 0:34:25.200
<v Speaker 2>I thought it was really experimental and a bit different.

0:34:25.200 --> 0:34:27.719
<v Speaker 2>I didn't think it was full of you know, hip

0:34:27.760 --> 0:34:31.239
<v Speaker 2>hop hits. You know, it had it had some great

0:34:31.320 --> 0:34:35.240
<v Speaker 2>roots still in all the incredible stuff that Stevie Wonder

0:34:35.280 --> 0:34:39.040
<v Speaker 2>gave us and that sort of things he'd do Frank

0:34:39.040 --> 0:34:41.000
<v Speaker 2>would do with his voice and with the melodies and stuff.

0:34:41.040 --> 0:34:43.080
<v Speaker 2>I thought was really cool. But yeah, just the experimental

0:34:43.080 --> 0:34:47.799
<v Speaker 2>approach I thought was really refreshing. A tractor come in there,

0:34:47.840 --> 0:34:51.120
<v Speaker 2>have we It's not going very fast. I'm sure we

0:34:51.120 --> 0:34:56.040
<v Speaker 2>could be. We're going to get stuck behind it. Actually

0:34:56.440 --> 0:34:59.040
<v Speaker 2>coming down on this bit. I was with the kids.

0:34:59.480 --> 0:35:00.880
<v Speaker 2>It is a few years back. I was with the

0:35:00.960 --> 0:35:06.839
<v Speaker 2>kids and my dad's dog as well my niece who

0:35:06.880 --> 0:35:10.360
<v Speaker 2>was in a like a pushchair, and we were just

0:35:10.360 --> 0:35:12.399
<v Speaker 2>sort of strolling as we are now, just down here,

0:35:12.800 --> 0:35:16.319
<v Speaker 2>and then just heard this land rover just steaming up

0:35:16.360 --> 0:35:20.080
<v Speaker 2>behind us, and he started beeping the horn mentally and

0:35:20.080 --> 0:35:21.680
<v Speaker 2>he just said, look, guys, you've got to get off

0:35:21.680 --> 0:35:23.880
<v Speaker 2>the road. There's a herd of cows and they're legging

0:35:23.920 --> 0:35:26.959
<v Speaker 2>it this way. And we were kind of like, you what, no, man?

0:35:27.800 --> 0:35:30.840
<v Speaker 2>And it looked around and Yeah, there was about thirty

0:35:30.920 --> 0:35:35.040
<v Speaker 2>cows stampeding towards us, and so then it was like

0:35:35.040 --> 0:35:37.280
<v Speaker 2>an operation to try and get the dog, his massive

0:35:37.280 --> 0:35:41.960
<v Speaker 2>black labrador, into the boot of this land rover and

0:35:42.080 --> 0:35:44.439
<v Speaker 2>chuck the you know, the push chair on top as well.

0:35:45.400 --> 0:35:48.040
<v Speaker 2>It was just this insane sort of two minute period

0:35:48.040 --> 0:35:50.319
<v Speaker 2>where we were all freaking out and got in just

0:35:50.400 --> 0:35:52.600
<v Speaker 2>in time. Yeah, and kind of literally drove away as

0:35:52.640 --> 0:35:55.680
<v Speaker 2>the cows were sort of panting, like, you know, a

0:35:55.719 --> 0:35:59.000
<v Speaker 2>foot away from us, just kind of legging it. So yeah,

0:35:59.120 --> 0:36:01.920
<v Speaker 2>that could have been could have been the end avoided

0:36:01.920 --> 0:36:06.799
<v Speaker 2>a major cow incident. Yes, you discover Blonde a little bit. Yeah,

0:36:07.000 --> 0:36:09.880
<v Speaker 2>after after the hypod had died down, and you you

0:36:10.480 --> 0:36:12.920
<v Speaker 2>were just the fact that you found the production like

0:36:12.960 --> 0:36:15.440
<v Speaker 2>Frank Ocean songwriting, do you think I like the sort

0:36:15.480 --> 0:36:19.520
<v Speaker 2>of resistance to hammer home an idea. I think the

0:36:19.560 --> 0:36:23.399
<v Speaker 2>resistance as far as the production and stuff to something

0:36:23.440 --> 0:36:25.600
<v Speaker 2>that I found quite inspiring. And I think on my

0:36:25.680 --> 0:36:28.319
<v Speaker 2>last two records, I think in the writing stages, I've

0:36:28.320 --> 0:36:31.000
<v Speaker 2>got to a point where, you know, you maybe like

0:36:31.000 --> 0:36:34.239
<v Speaker 2>a crescendo or there they be a bit of music

0:36:34.239 --> 0:36:35.839
<v Speaker 2>at the end of a verse kind of building up

0:36:35.840 --> 0:36:40.640
<v Speaker 2>and building up, and yeah, I just kind of got

0:36:40.640 --> 0:36:43.239
<v Speaker 2>into sort of at that point just taking it down

0:36:43.280 --> 0:36:47.040
<v Speaker 2>to nothing or just to a single instrument or you know,

0:36:47.120 --> 0:36:48.400
<v Speaker 2>rather than the build up, the build up and then

0:36:48.400 --> 0:36:51.160
<v Speaker 2>delivering with a big, big chorus where you go, yeah, hey,

0:36:51.160 --> 0:36:54.600
<v Speaker 2>I'm the chorus. It's just sort of there's a subtlety

0:36:55.600 --> 0:36:58.680
<v Speaker 2>so much. I think the underplayed, sort of understated thing.

0:36:58.719 --> 0:37:00.640
<v Speaker 2>I think it's I think it was really cool, and

0:37:00.680 --> 0:37:05.279
<v Speaker 2>I just I sort of always feel that it's you know,

0:37:06.760 --> 0:37:10.120
<v Speaker 2>it's a real sort of show of confidence in a way,

0:37:10.160 --> 0:37:14.600
<v Speaker 2>and that sort of strengthened songwriting that you can resist.

0:37:15.800 --> 0:37:18.920
<v Speaker 2>You know. Well, one thing that really excites me is

0:37:18.960 --> 0:37:22.319
<v Speaker 2>having an amazing bit of music that like that's just

0:37:22.360 --> 0:37:25.480
<v Speaker 2>you know, I know that it's a yeah, this bit's amazing,

0:37:26.040 --> 0:37:29.200
<v Speaker 2>and I'll keep it for like five five second bit

0:37:29.280 --> 0:37:31.480
<v Speaker 2>at the end of the song or something or halfway through,

0:37:31.520 --> 0:37:35.839
<v Speaker 2>you know whatever, just almost kind of don't sort of

0:37:36.080 --> 0:37:38.279
<v Speaker 2>make a massive song and dance about it, just kind

0:37:38.320 --> 0:37:41.640
<v Speaker 2>of create things that have a subtlety that you can

0:37:42.239 --> 0:37:43.880
<v Speaker 2>you can enjoy in different ways. But anyway, yeah, I

0:37:43.880 --> 0:37:46.239
<v Speaker 2>thought that was quite inspiring. I mean, I thought Beyonce's

0:37:46.239 --> 0:37:49.040
<v Speaker 2>albums where Lemonade was a great record of kind of experimental,

0:37:50.080 --> 0:37:55.200
<v Speaker 2>interesting at times, a really weird record, and I think again,

0:37:55.280 --> 0:37:57.480
<v Speaker 2>just to hear a sort of you know, a global

0:37:57.480 --> 0:38:02.880
<v Speaker 2>superstar makes something that as unconvention in that moment. Since that,

0:38:02.960 --> 0:38:06.920
<v Speaker 2>I think it's quite impressive because you know, well, yeah exactly.

0:38:06.920 --> 0:38:10.040
<v Speaker 2>I mean, there must be somebody whispering in your ears

0:38:10.040 --> 0:38:13.960
<v Speaker 2>saying we just want ten radio songs please. Yeah, yeah, yeah,

0:38:14.320 --> 0:38:17.040
<v Speaker 2>I think you know, I definitely admire that defiant yeah,

0:38:17.280 --> 0:38:19.839
<v Speaker 2>yeah exactly. And you know, I get that with Frank

0:38:19.840 --> 0:38:21.520
<v Speaker 2>Oschean as well. I just sort of think it's it's

0:38:22.640 --> 0:38:26.000
<v Speaker 2>I've always sort of enjoyed the the elements of the

0:38:26.000 --> 0:38:28.120
<v Speaker 2>production of hip hop as well, I think, and now

0:38:28.120 --> 0:38:31.520
<v Speaker 2>I'm sort of coming at things from the solo thing.

0:38:31.880 --> 0:38:33.799
<v Speaker 2>You know, I don't I don't write with a band

0:38:33.840 --> 0:38:36.760
<v Speaker 2>and a room around me. You know, I really enjoying

0:38:36.760 --> 0:38:40.719
<v Speaker 2>that space, space and freedom of experimenting on my own

0:38:40.760 --> 0:38:44.360
<v Speaker 2>and finding new sounds and new ways of writing. That

0:38:44.480 --> 0:38:45.800
<v Speaker 2>it kind of makes sense that, yeah, maybe some of

0:38:45.840 --> 0:38:47.799
<v Speaker 2>the hip hop stuff, some of the more those hip

0:38:47.800 --> 0:38:51.200
<v Speaker 2>hop solo artists would I could I could find things

0:38:51.200 --> 0:38:54.400
<v Speaker 2>in that that would be that would give me a

0:38:54.400 --> 0:38:58.000
<v Speaker 2>little light bulb moment, or just push me towards something that,

0:38:58.040 --> 0:39:01.480
<v Speaker 2>you know, maybe more than listening to, yeah, listening to

0:39:03.239 --> 0:39:05.799
<v Speaker 2>the Clash again or or Neil Young again or whatever,

0:39:05.800 --> 0:39:08.719
<v Speaker 2>you know, as much as I still listen to sort

0:39:08.760 --> 0:39:11.520
<v Speaker 2>of classic stuff as well, but it's I think it's

0:39:11.560 --> 0:39:14.440
<v Speaker 2>just you know, moving forward, and you know, I'm evolving

0:39:14.480 --> 0:39:18.400
<v Speaker 2>and trying different things, and so I want to I

0:39:18.440 --> 0:39:20.440
<v Speaker 2>want to listen to different stuff. I want to, you know,

0:39:20.560 --> 0:39:24.040
<v Speaker 2>just not base it on how I approached music for

0:39:24.120 --> 0:39:26.000
<v Speaker 2>the last twenty five years. You know, it's kind of

0:39:26.719 --> 0:39:30.520
<v Speaker 2>new thing Gas two point zero. How are you finding

0:39:30.560 --> 0:39:33.120
<v Speaker 2>it these days? I mean it's three albums into your

0:39:33.160 --> 0:39:36.040
<v Speaker 2>solo career. I mean it's an unfair question to say,

0:39:36.080 --> 0:39:38.319
<v Speaker 2>do you prefer being a solo artist and being in

0:39:38.320 --> 0:39:40.880
<v Speaker 2>a band, But what are the kind of pros and

0:39:40.920 --> 0:39:42.480
<v Speaker 2>the cons as far as you see it? Because you've

0:39:42.520 --> 0:39:44.560
<v Speaker 2>done done this now for a little while, do you

0:39:44.600 --> 0:39:47.360
<v Speaker 2>still feel like you're finding your feet in those in

0:39:47.440 --> 0:39:49.799
<v Speaker 2>this in this respect or would you feel quite established now?

0:39:50.120 --> 0:39:52.919
<v Speaker 2>Definitely hit a rhythm now. Whether I'm whether I found

0:39:52.960 --> 0:39:56.239
<v Speaker 2>my feet, I don't know. I kind of hope I'll

0:39:56.239 --> 0:40:00.520
<v Speaker 2>never know that part of the challenge is to sort

0:40:00.520 --> 0:40:04.960
<v Speaker 2>of just keep writing and keep trying to find something

0:40:05.000 --> 0:40:08.440
<v Speaker 2>new that I find exciting. And I don't know if

0:40:08.480 --> 0:40:11.240
<v Speaker 2>i'd feel a bit lost if I if I felt

0:40:11.239 --> 0:40:13.480
<v Speaker 2>like I'd nailed it, you know, if I knew exactly

0:40:13.920 --> 0:40:17.680
<v Speaker 2>who I was and what my sounding in the pursuit. Yeah,

0:40:17.719 --> 0:40:19.080
<v Speaker 2>because a lot of it's a lot of what it

0:40:19.280 --> 0:40:22.560
<v Speaker 2>is kind of instinctive and spontaneous. And that's why I

0:40:22.600 --> 0:40:25.600
<v Speaker 2>record right from the beginning. I record everything from the

0:40:25.640 --> 0:40:28.000
<v Speaker 2>early writing stages, and it's because I want to capture

0:40:28.000 --> 0:40:30.800
<v Speaker 2>the I really want to capture the performances where I

0:40:30.840 --> 0:40:33.000
<v Speaker 2>actually don't know what the fuck I'm doing, and there's

0:40:33.040 --> 0:40:35.359
<v Speaker 2>something in that. There's there's a sort of I mean

0:40:35.560 --> 0:40:37.560
<v Speaker 2>maybe I kind of overromanticize it, but I just find

0:40:37.560 --> 0:40:39.799
<v Speaker 2>there's a bit of magic in that way where you

0:40:39.840 --> 0:40:44.200
<v Speaker 2>don't really I haven't really nailed the idea. It's not

0:40:44.200 --> 0:40:48.000
<v Speaker 2>fully calculated, it's not planned out. It's kind of like

0:40:48.080 --> 0:40:50.560
<v Speaker 2>stream of conscience in a way, you know, and I

0:40:50.640 --> 0:40:53.279
<v Speaker 2>like to capture those bits. And yeah, is it a

0:40:53.320 --> 0:40:57.879
<v Speaker 2>lonelier experience anyway? Oh yeah, Well, delegating to other band members' interviews, Yeah,

0:40:58.000 --> 0:41:01.840
<v Speaker 2>that's something that that could be quite and now, you know, no,

0:41:01.880 --> 0:41:03.640
<v Speaker 2>it's cool. I've got I've got good people around me.

0:41:03.680 --> 0:41:07.799
<v Speaker 2>You know, there's some since I started on my first

0:41:07.840 --> 0:41:10.560
<v Speaker 2>record back in twenty twelve. Yeah, I just made sure

0:41:10.560 --> 0:41:13.960
<v Speaker 2>that I've got like minded people around me. There's you know,

0:41:14.360 --> 0:41:16.719
<v Speaker 2>you know one of my managers is it's more of

0:41:16.760 --> 0:41:20.080
<v Speaker 2>a sort of creative manager as you know, it's opposed

0:41:20.080 --> 0:41:22.640
<v Speaker 2>to sort of business side of things. Okay, it started

0:41:22.680 --> 0:41:25.760
<v Speaker 2>to rain a little bit, that's a little bit. Although

0:41:26.520 --> 0:41:28.920
<v Speaker 2>what do you reckon five minutes away? Yeah, no, not far.

0:41:30.200 --> 0:41:31.320
<v Speaker 2>Is that your house? We can see it on the

0:41:31.320 --> 0:41:34.319
<v Speaker 2>eposite side of the field, Yeah, through there, Yeah, I

0:41:34.400 --> 0:41:36.840
<v Speaker 2>kind of can see it there. So yeah, you've got

0:41:36.880 --> 0:41:40.200
<v Speaker 2>you've got somebody helps on the creative side. Yeah, you know, definitely,

0:41:40.239 --> 0:41:45.279
<v Speaker 2>there's there's definitely a cool little network of of buddies.

0:41:45.560 --> 0:41:48.560
<v Speaker 2>You know that well, you know, yeah, it means I

0:41:48.640 --> 0:41:53.080
<v Speaker 2>just don't always feel completely isolated. Do you still get

0:41:53.120 --> 0:41:56.439
<v Speaker 2>excited when you sit down to write a new record? Yeah,

0:41:56.480 --> 0:41:59.319
<v Speaker 2>but there's not really a particular starting point. It's kind

0:41:59.360 --> 0:42:01.360
<v Speaker 2>of I think I've got like an internal clock that

0:42:01.520 --> 0:42:04.759
<v Speaker 2>just tells me when I'm done with touring, you know,

0:42:04.800 --> 0:42:08.279
<v Speaker 2>and I think it's just just a voice in me

0:42:08.360 --> 0:42:11.160
<v Speaker 2>that so it says, right, yeah, just tomorrow, just go

0:42:11.239 --> 0:42:14.279
<v Speaker 2>into the studio and sit on the drum kit for

0:42:14.360 --> 0:42:17.799
<v Speaker 2>a few hours and see what happens. And and so yeah,

0:42:17.800 --> 0:42:20.760
<v Speaker 2>I always find it exciting that that beginning, that beginning

0:42:20.760 --> 0:42:23.200
<v Speaker 2>point where I guess I've got I've got a bit

0:42:23.200 --> 0:42:26.120
<v Speaker 2>of a feeling of where I might want to go.

0:42:26.480 --> 0:42:28.200
<v Speaker 2>You know, after Mattador. There was some things I sort

0:42:28.200 --> 0:42:30.759
<v Speaker 2>of touched on in Matador that I wanted to make

0:42:30.840 --> 0:42:33.960
<v Speaker 2>more of and and and push push forward even more.

0:42:34.000 --> 0:42:38.000
<v Speaker 2>And then other brand new kind of approaches and ideas

0:42:38.000 --> 0:42:40.840
<v Speaker 2>that that I wanted to explore as well. So I

0:42:40.840 --> 0:42:44.080
<v Speaker 2>always find that a really really exciting time. But you know,

0:42:44.120 --> 0:42:46.799
<v Speaker 2>there there is always the kind of, you know, kind

0:42:46.800 --> 0:42:50.839
<v Speaker 2>of niggling thought, I I written my last best song.

0:42:51.840 --> 0:42:53.399
<v Speaker 2>Not have I written my last I'm sure I could,

0:42:53.400 --> 0:42:55.080
<v Speaker 2>you know, But I've written the last song that's really

0:42:55.120 --> 0:42:58.080
<v Speaker 2>fucking good. You know, it's this, This is next eleven

0:42:58.160 --> 0:43:00.080
<v Speaker 2>just gonna be all right, you know, it's gonna be okay.

0:43:00.160 --> 0:43:03.960
<v Speaker 2>What about the reception that mattered or received your second

0:43:04.000 --> 0:43:07.040
<v Speaker 2>solo record, I mean that including a nomination for the

0:43:07.080 --> 0:43:11.680
<v Speaker 2>Mercury prize? Did that matter? The things like that give

0:43:11.719 --> 0:43:15.719
<v Speaker 2>you confidence? Do they? You know, does that a little

0:43:15.760 --> 0:43:17.880
<v Speaker 2>bit of like well, I mean I've been doing it

0:43:17.920 --> 0:43:19.440
<v Speaker 2>a long time, and I don't know how much it

0:43:19.480 --> 0:43:21.879
<v Speaker 2>sort of matters in terms of if it's a sort

0:43:21.880 --> 0:43:25.440
<v Speaker 2>of seeing of approval or anything like that. I don't know,

0:43:25.600 --> 0:43:27.839
<v Speaker 2>Like it doesn't. It's not something that particularly drives me,

0:43:27.920 --> 0:43:32.320
<v Speaker 2>but or you know, aids that drive particularly. But I

0:43:32.360 --> 0:43:34.319
<v Speaker 2>guess it did? You know it did? It did give

0:43:34.360 --> 0:43:38.520
<v Speaker 2>me confidence? So I think when anything you do is

0:43:38.560 --> 0:43:41.439
<v Speaker 2>sort of somehow validated, I don't know in a way

0:43:41.440 --> 0:43:44.000
<v Speaker 2>that I just I guess in a way that just

0:43:44.040 --> 0:43:46.719
<v Speaker 2>people really like it. I think that that completely gave

0:43:46.719 --> 0:43:50.080
<v Speaker 2>me confidence that more really that I try to do

0:43:50.160 --> 0:43:54.680
<v Speaker 2>something really honest. That was I think the most sort

0:43:54.680 --> 0:43:57.320
<v Speaker 2>of me that I'd ever done, sort of just letting

0:43:59.160 --> 0:44:01.759
<v Speaker 2>letting myself kind of be as natural as possible in

0:44:01.760 --> 0:44:05.560
<v Speaker 2>the studio and not try to make things sound like

0:44:06.920 --> 0:44:11.279
<v Speaker 2>something else or just resist something so great it sounds

0:44:11.280 --> 0:44:13.319
<v Speaker 2>really Bowie or great if it sounds you know, just

0:44:13.360 --> 0:44:16.399
<v Speaker 2>resist all of that and just try and do something

0:44:16.480 --> 0:44:18.600
<v Speaker 2>natural that's instinctive. And I guess so, yeah, it's sort

0:44:18.600 --> 0:44:21.000
<v Speaker 2>of validating my instinct more than anything, and just the

0:44:21.040 --> 0:44:25.720
<v Speaker 2>fact that I guess when I'm myself it kind of works,

0:44:25.840 --> 0:44:28.719
<v Speaker 2>you know, And that was kind of quite a beautiful thing,

0:44:28.760 --> 0:44:31.400
<v Speaker 2>I guess really just to feel that, yeah, you can

0:44:31.440 --> 0:44:33.200
<v Speaker 2>be yourself and it's all right. Were there any other

0:44:33.280 --> 0:44:35.040
<v Speaker 2>kind of major things that were on your mind that

0:44:35.760 --> 0:44:39.320
<v Speaker 2>resurfacing this record. We talked about you haven't read Grays

0:44:39.360 --> 0:44:41.840
<v Speaker 2>and Perry's, but the Descent of Man. We've talked a

0:44:41.880 --> 0:44:44.520
<v Speaker 2>bit about Frank Ocean that you've listened to, and kind

0:44:44.560 --> 0:44:48.279
<v Speaker 2>of absorbing those things and those things finding their way

0:44:48.360 --> 0:44:50.640
<v Speaker 2>into the creation of the record that were there any

0:44:50.880 --> 0:44:53.719
<v Speaker 2>Was there anything else that felt major this time? I

0:44:53.760 --> 0:44:55.240
<v Speaker 2>don't know. I mean I was sort of moving around

0:44:55.239 --> 0:44:57.160
<v Speaker 2>a lot during the recording, and I was moving from

0:44:57.480 --> 0:44:58.799
<v Speaker 2>I did most of it in mind, but I also

0:44:58.840 --> 0:45:02.239
<v Speaker 2>went over to another studio worked with Ian Davenport who

0:45:02.520 --> 0:45:04.560
<v Speaker 2>who sort of helped me co produce this record, and

0:45:05.320 --> 0:45:07.919
<v Speaker 2>that's sort of freshening the sessions. That was really cool.

0:45:08.080 --> 0:45:11.040
<v Speaker 2>And also traveling a little bit still. I had about

0:45:11.040 --> 0:45:14.759
<v Speaker 2>three or four visits over to California just to do

0:45:14.840 --> 0:45:18.520
<v Speaker 2>some shows and you know, to maybe you know, to

0:45:17.960 --> 0:45:22.480
<v Speaker 2>meet a few people meet a new label to get

0:45:22.480 --> 0:45:24.239
<v Speaker 2>stuff going out there, and so I spent a bit

0:45:24.239 --> 0:45:27.200
<v Speaker 2>of time in California during the writing period still, and

0:45:27.600 --> 0:45:29.760
<v Speaker 2>so I was listening to the album in different settings,

0:45:29.760 --> 0:45:34.520
<v Speaker 2>and however, Californian and Weed came in very possibly. Yeah, yeah,

0:45:34.560 --> 0:45:37.239
<v Speaker 2>there's a few references to a little bit of that

0:45:37.239 --> 0:45:40.080
<v Speaker 2>at times, but yeah, you know, it's just that sort

0:45:40.120 --> 0:45:42.000
<v Speaker 2>of warmth, you know, And I think I think that

0:45:42.120 --> 0:45:45.719
<v Speaker 2>sort of warmth crept onto the record actually, like the

0:45:45.800 --> 0:45:49.080
<v Speaker 2>quite physical warmth the sunshine and California and the colors,

0:45:49.480 --> 0:45:52.719
<v Speaker 2>you know, and I think that's you know, it's what

0:45:52.760 --> 0:45:56.560
<v Speaker 2>you see from the cover artwork. Just close up this

0:45:56.680 --> 0:46:01.000
<v Speaker 2>gate there you go there, and yeah, and you know,

0:46:01.239 --> 0:46:04.960
<v Speaker 2>I guess that warmth visually and the kind and the

0:46:04.960 --> 0:46:07.960
<v Speaker 2>fact that I felt these songs, I guess these songs

0:46:08.000 --> 0:46:10.360
<v Speaker 2>were had a bit more warmth to them the Matador

0:46:10.400 --> 0:46:15.480
<v Speaker 2>in terms of yeah, just that sort of that color

0:46:15.520 --> 0:46:19.600
<v Speaker 2>and kind of like a warm hug times, you know. Yeah,

0:46:19.719 --> 0:46:21.640
<v Speaker 2>So I think that that sort of crept into the

0:46:21.680 --> 0:46:23.400
<v Speaker 2>record as well. They're sort of traveling and being in

0:46:23.440 --> 0:46:27.360
<v Speaker 2>another in another country, just listening to the demos and

0:46:27.400 --> 0:46:30.560
<v Speaker 2>they and looking at it in a different way, because

0:46:30.560 --> 0:46:32.120
<v Speaker 2>you lived in California for a little while, is that

0:46:32.200 --> 0:46:34.239
<v Speaker 2>right when you were Yeah? Quite, I was really young. Yeah,

0:46:34.280 --> 0:46:37.440
<v Speaker 2>I was about five six years old. So memories of

0:46:37.480 --> 0:46:40.840
<v Speaker 2>that time, yeah, yeah, yeah, definitely, definitely. They're all pretty basic,

0:46:40.920 --> 0:46:44.960
<v Speaker 2>you know, like sort of walking on hot pavement and

0:46:45.000 --> 0:46:48.520
<v Speaker 2>bare feet and yeah, I guess I just went to

0:46:48.560 --> 0:46:53.399
<v Speaker 2>like nursery school and you know, all kinds of things,

0:46:53.440 --> 0:46:57.920
<v Speaker 2>you know, Muppet Show, peanut butter and jelly sandwiches. Are

0:46:57.960 --> 0:47:02.560
<v Speaker 2>they actually nice? I've never tried one? Yeah, man, Yeah, yeah, yeah, Cono,

0:47:02.680 --> 0:47:05.000
<v Speaker 2>I could still still get away with the odd little

0:47:05.040 --> 0:47:08.919
<v Speaker 2>the cheeky PB and Jay. But yeah, it was. Yeah,

0:47:09.040 --> 0:47:11.960
<v Speaker 2>it's kind of a great time, man. You know, it's

0:47:12.000 --> 0:47:17.239
<v Speaker 2>like late seventies, early eighties in California, and yeah, it

0:47:17.280 --> 0:47:23.040
<v Speaker 2>was sun filled and warm and friendly. And there we go.

0:47:23.840 --> 0:47:26.759
<v Speaker 2>He's got it. We are. So we're back back to

0:47:26.800 --> 0:47:29.360
<v Speaker 2>the Witch's house back in Yeah, back in the bottom

0:47:29.400 --> 0:47:31.759
<v Speaker 2>of the garden. Here here we are got a kind

0:47:31.760 --> 0:47:33.800
<v Speaker 2>of slope that's leading up to the back of the house.

0:47:34.920 --> 0:47:40.520
<v Speaker 2>The summer is the rotating summer house. Is that what

0:47:40.560 --> 0:47:43.640
<v Speaker 2>it is? That is it's on his little track. Yeah, Okay,

0:47:44.000 --> 0:47:46.000
<v Speaker 2>it looks quite quite appealing up there. I mean, you

0:47:46.040 --> 0:47:47.719
<v Speaker 2>know the correct way to use it, you know, you

0:47:48.040 --> 0:47:50.400
<v Speaker 2>you rotate it to the sun. That's right. Yeah, but

0:47:50.480 --> 0:47:53.880
<v Speaker 2>that's far too organized for me. I just these are corseets,

0:47:54.200 --> 0:47:59.400
<v Speaker 2>nice corsejets. I don't know if there's any corsets maybe yeah, yeah,

0:47:59.520 --> 0:48:02.600
<v Speaker 2>but we've got some onions over there, all sorts of

0:48:02.640 --> 0:48:05.680
<v Speaker 2>good bits down there. Yeah, we should raid it later. Yeah,

0:48:06.680 --> 0:48:08.920
<v Speaker 2>let's get the reins getting like a head. We've probably

0:48:08.960 --> 0:48:13.759
<v Speaker 2>timed it just about right. Yeah. Absolutely, it's a bit

0:48:13.760 --> 0:48:19.440
<v Speaker 2>sort of dilapidated. The somewhere else up the final steps

0:48:20.800 --> 0:48:23.040
<v Speaker 2>back at base. Here we are and through the window,

0:48:23.160 --> 0:48:26.640
<v Speaker 2>which is quite a nice way to finish. Is your

0:48:27.239 --> 0:48:32.520
<v Speaker 2>back room stroke home studio. Correct, there's the recording desk, speakers,

0:48:32.600 --> 0:48:35.719
<v Speaker 2>piano through there, and the new kitten. There's a new

0:48:35.760 --> 0:48:37.839
<v Speaker 2>cats in there somewhere. You've got a cat that likes

0:48:38.040 --> 0:48:41.959
<v Speaker 2>hiding in your harmonium. Yes, I see these little green

0:48:42.000 --> 0:48:45.759
<v Speaker 2>eyes sort of peering at me through the pedals. Luckily, well,

0:48:45.800 --> 0:48:48.320
<v Speaker 2>I have to check before I play it exactly. Start

0:48:48.320 --> 0:48:51.640
<v Speaker 2>pumping the pumping the harmonium, and it's like this is

0:48:51.680 --> 0:48:54.640
<v Speaker 2>making a weird noise. What tone is that? It sounds

0:48:54.680 --> 0:48:57.560
<v Speaker 2>a lot like a cat's feeling. And there we are

0:48:57.640 --> 0:48:59.920
<v Speaker 2>back at the front door, so gaz, well, there we go.

0:49:00.400 --> 0:49:03.040
<v Speaker 2>Thank you, Thank you so much for taking a stroll

0:49:03.040 --> 0:49:05.120
<v Speaker 2>with us for this episode of Midnight Chat Man. I

0:49:05.160 --> 0:49:07.600
<v Speaker 2>really enjoyed it, and you will have to come back

0:49:07.600 --> 0:49:09.920
<v Speaker 2>to talk to the show because it's it's really nice

0:49:09.960 --> 0:49:12.359
<v Speaker 2>thing it out here great. We're always welcome, always welcome

0:49:12.400 --> 0:49:14.719
<v Speaker 2>to pop by. You know where I live now, He

0:49:14.760 --> 0:49:18.040
<v Speaker 2>knows where I live now. Honestly, always welcome.

0:49:33.200 --> 0:49:36.440
<v Speaker 1>Midnight Chats is a Loud and Quiet podcast production by

0:49:36.480 --> 0:49:40.840
<v Speaker 1>Emma Snook Music courtesy of gold Panda. Search Midnight Chats

0:49:40.880 --> 0:49:44.760
<v Speaker 1>on iTunes for more episodes and to subscribe. For more information,

0:49:45.000 --> 0:49:51.760
<v Speaker 1>visit Loud and Quiet dot com.