Speaker 1: Loud and Quiet presents Midnight Chats.
Speaker 2: Hey everybody, welcome to Midnight Chat. It's the twentieth of
Speaker 2: September today, twenty eighteen. I hope you've had a good day.
Speaker 2: We've had a busy one here at Loud and Quiet.
Speaker 2: We finished issue one hundred and twenty eight sent it
Speaker 2: off to the printers that will be out on next Saturday,
Speaker 2: so that what's that that's September twenty seventh is when
Speaker 2: that's out. We'll be announcing all the details of everything
Speaker 2: that's in it, but we're very pleased with it. We've
Speaker 2: got an incredible cover feature with an incredible artist this month,
Speaker 2: so that's what we've been doing. I managed to also
Speaker 2: get the worst haircut of my life today, which is
Speaker 2: mainly down to the fact that the hairdresser cut my
Speaker 2: sideburns almost above the year. So now I just look
Speaker 2: like I just look absolutely. I don't trust myself. I
Speaker 2: look at a reflection myself. I don't trust that man
Speaker 2: I see in the mirror, and so I can't expect
Speaker 2: anyone else to. But you know, I mean, it'll grow out.
Speaker 2: So a day of ups and downs for me. I
Speaker 2: hope yours has been good. It's I guess it's Friday
Speaker 2: by the time you're listening to this and the weekends
Speaker 2: ahead blah blah blah. But let me introduce who this
Speaker 2: week's guest is here on Midnight Chat. Brett Anderson, I'm
Speaker 2: sure you know is the frontman of Swede, and I'm
Speaker 2: sure you know who's Swede are And you don't need
Speaker 2: me to go through all of this. But for those
Speaker 2: who might not, and I suppose a lot of our
Speaker 2: younger listeners probably might not necessarily know who's Swedar. Someone
Speaker 2: of my age. We all know Swede, but had formed
Speaker 2: in nineteen nineteen eighty nine and split up in two
Speaker 2: thousand and three originally, and they reformed in twenty ten.
Speaker 2: They're about to release their third record since reforming, which
Speaker 2: isn't bad going considering it's there. What is it two
Speaker 2: four six, it's that eighth in total, but that are
Speaker 2: three since twenty ten. It's called The Blue Hour, and
Speaker 2: it is as you're here Brett and I talking about it.
Speaker 2: It is essentially the third part of a trio. Is
Speaker 2: the way that they see it. It sounds very much
Speaker 2: like Swede, and Brett is very clear about that. But
Speaker 2: it is a little bit different. It's quite as I
Speaker 2: say to him, it's quite operatic, and there's some good
Speaker 2: visuals that have come with the early singles of it
Speaker 2: that is out today as well, So it's a busy
Speaker 2: day Friday. The Blue Hour by Suede is out today.
Speaker 2: So yeah, I preciated the time that Brett afforded me.
Speaker 2: I actually went to his house in or to his
Speaker 2: flat should I say, in notting Hill, and we speak
Speaker 2: a little bit about that at the beginning. So it's
Speaker 2: always nice to kind of have a snoop around, you know,
Speaker 2: a pop star's house. It was very nice and I
Speaker 2: appreciated the fact that you let me do that because
Speaker 2: you know, if I'd had these sideburns then I don't
Speaker 2: think you would have let me in. But fortunately I didn't.
Speaker 2: I had a sensible haircut. We got this recorded and
Speaker 2: that's all I've got to say on it, So please
Speaker 2: sit back and enjoy this episode of Midnight Chats with
Speaker 2: Brett Anderson from Swede. How long have you lived in
Speaker 2: this area of town? Have you always been over West Side?
Speaker 3: I mean, I sort of slightly complicated, I kind of
Speaker 3: I don't really live in London anymore. I kind of
Speaker 3: like live in the countryside technically, but I'm sort of
Speaker 3: between London and London and the country. I do never
Speaker 3: really leave London. So I've got a flat here in
Speaker 3: notting Hill, which and I've been in notting Hill for
Speaker 3: gods since about nineteen ninety something like that. Nineteen ninety
Speaker 3: one something like that. I first moved to a little
Speaker 3: bit of notting Hill a rocal Moorhouse Road. God, so
Speaker 3: many nearly thirty years ago now, and I'm just sort
Speaker 3: of yeah, I lived in the same in the same
Speaker 3: area for about twenty five years actually, but now my
Speaker 3: family we all kind of like my family, we sort
Speaker 3: of moved to the country, but we have a flat
Speaker 3: here as well, which is kind of quite useful.
Speaker 2: Did you go to Carnival? Do you do you tend
Speaker 2: to go to kind of or do you get out
Speaker 2: get out of here when that's on?
Speaker 3: I normally avoid it. Yeah, it so depends. I mean,
Speaker 3: you know, I I wouldn't sort of go out on
Speaker 3: my way to go. Yeah, I was a bit used
Speaker 3: to be a bit of a curmudgeon about the carnival,
Speaker 3: and then it's one of these things that kind of
Speaker 3: there are really exciting bits about it, but just suddenly
Speaker 3: having kind of like a million people kind of like
Speaker 3: judging around pissing on your on your doorstep can be
Speaker 3: a bit annoying. There were a couple of times I
Speaker 3: remember we went away and then came back and then
Speaker 3: literally there's the whole street smelled of piss and it
Speaker 3: was pretty disgusting. But yeah, I don't know. It's one
Speaker 3: of those things, isn't it. You know, it's kind of
Speaker 3: like the good things about the bad things about pro Oranti.
Speaker 3: It's kind of like there something quite exciting about it.
Speaker 2: Then you grew up in Sussex.
Speaker 3: Yeah, I was born in a place called Hayward Seas,
Speaker 3: which is sort of sort of between London and Brighton.
Speaker 2: My wife grew up very close to there, where about
Speaker 2: a very small place called Sherman Bree, which is the
Speaker 2: Cowfold Penfield between the two. It's like kind of four houses,
Speaker 2: you know, it's one of those wow little hamlets. Yeah,
Speaker 2: so I do actually know Hayward Tea for a little bit.
Speaker 2: I don't know many places, but I do know there.
Speaker 2: What was it like as a place to grow up?
Speaker 3: Pretty unspectacular, i'd say, I mean, it's just a it's
Speaker 3: just a kind of gray little dormitory town, to be honest,
Speaker 3: and I always feel as though I always spend my
Speaker 3: life kind of slagging. It feels like I'm kind of
Speaker 3: spent my life kind of like bringing Hayward teeth down.
Speaker 3: It's not really, I don't really mean to, but it's
Speaker 3: just it's kind of nothing. It doesn't any meaning thing
Speaker 3: to me. It's one of those sorts of places I
Speaker 3: don't it's not like it doesn't have any kind of
Speaker 3: identity like a city has or you know, it doesn't
Speaker 3: really have that sort of thing. It's a it's a
Speaker 3: it's a kind of commuter town. You know.
Speaker 2: When did you leave that?
Speaker 3: I suppose when I went to University of Manchester in
Speaker 3: about nineteen eighty God when was it eighty seven or
Speaker 3: something like that? I can't remember, massive is my memory
Speaker 3: is not so good. And that's when I first left.
Speaker 3: And then I spent a year in Manchester and then
Speaker 3: I went to ucl and studied their sort of thing.
Speaker 3: So yeah, I mean it was. It's one of those
Speaker 3: places you don't ever really want to stay there, you know.
Speaker 3: It's one of those sorts of places you kind of
Speaker 3: want to escape from it.
Speaker 2: Yeah, it kind of.
Speaker 3: Like it's quite gives you quite an ambition to get
Speaker 3: away from, to be honest, you.
Speaker 2: Know, so how would you pass your time there?
Speaker 3: In a funny sort of way, it's kind of like,
Speaker 3: you know that the lack of options is quite interesting.
Speaker 3: It sort of forced me and my friends to sort
Speaker 3: of kind of, I don't know, want to achieve something
Speaker 3: out of the lack of options. I sometimes wonder about
Speaker 3: if kids have got too many options, they've got too
Speaker 3: many they can kind of become a bit numb to it,
Speaker 3: you know. And you know, it made me fall in
Speaker 3: love with music in a lot of in a lot
Speaker 3: of ways, because music was the only escape that you
Speaker 3: had from the kind of like the grayness and the
Speaker 3: mundaneity of everyday life. You know, the kind of the
Speaker 3: glamour of music, I suppose was the escape, and you
Speaker 3: kind of like, you know, the music very very early
Speaker 3: on to me became became an incredibly sort of like
Speaker 3: important force. My father was a huge classical music fan,
Speaker 3: and he kind of like force fed me all of
Speaker 3: these kind of like people like List and Mala and
Speaker 3: Vargin and stuff. And obviously, as was my duty as
Speaker 3: a son, I hated it and gravitated towards what was
Speaker 3: was what was the exact polar opposite, which was punk
Speaker 3: rock and you know the power of punk rock music,
Speaker 3: which which has been very overdocumented over the years. But
Speaker 3: it was kind of like, you know, discovering the sex
Speaker 3: Pistols when I was you know whatever, twelve or whatever
Speaker 3: was a really key moment for me, as I think,
Speaker 3: you know, defining yourself, finding something that you love and
Speaker 3: finding it yourself is a really exciting thing. There's that
Speaker 3: sense that music kind of like is a sort of
Speaker 3: like badge of identity.
Speaker 2: How did your dad take the sex Pistols?
Speaker 3: Well, he thought that rubbish, didn't you know, he's from that,
Speaker 3: you know, kind of that that sort of He was
Speaker 3: the sort of person that unless it was sort of
Speaker 3: like high culture classical music, it was absolutely rubbish. And
Speaker 3: he didn't but he didn't have much kind of like
Speaker 3: fondness for pop music. You know, it was kind of
Speaker 3: very he'd a belittle the music I liked. But that
Speaker 3: was kind of quite good fun that I quite liked
Speaker 3: that that sense of sort of challenge, which I sometimes wonder,
Speaker 3: you know, when when I hear about kind of kids
Speaker 3: that like exactly the same music as their parents, so
Speaker 3: they always feel a little bit sorry for for them.
Speaker 3: I always thought they pop music was one of the
Speaker 3: point of it was that it was supposed to kind
Speaker 3: of instigate the generational conflict. Yeah, yeah, of course, Yeah,
Speaker 3: that's very much what it did in my household. You know,
Speaker 3: I'd be upstairs playing the sex Pistols and my little
Speaker 3: crappy sort of boots stereo and must would be blasting
Speaker 3: out kind of marlor downstairs, and you know, be the
Speaker 3: almost this battle of the volume of the volume pedals,
Speaker 3: you know.
Speaker 2: And now you're you're the dad in your house and
Speaker 2: what you're.
Speaker 3: A terrifying prospect that.
Speaker 2: Are your kids into something that you are you think
Speaker 2: is equally as naf as your dad thought of the
Speaker 2: sex pistols, or are you a bit more?
Speaker 3: I try not to sort of do that because I
Speaker 3: know that it's sort of almost sort of it's kind
Speaker 3: of like the more you think it's enough more. I'm
Speaker 3: a little bit a little bit black. My step my
Speaker 3: little boy he's he's only very young, so he'sn't really
Speaker 3: got into music yet. He just sort of listens to whatever.
Speaker 3: But my step son listens to stuff. I listened to
Speaker 3: a lot of listens to a lot of trap.
Speaker 2: Right of course.
Speaker 3: Yeah, that's kind of what kids, you know, fourteen year
Speaker 3: old kids listen to. Yeah, there's actually one singer that
Speaker 3: I quite like. He used to be into sort of
Speaker 3: rock and stuff and then and and Foles and stuff
Speaker 3: like that, and he suddenly the last couple of years
Speaker 3: he's going to trap. There's one thing that I really
Speaker 3: likely likes is this guy called Jimothy Lacosse.
Speaker 2: Oh yeah, have you heard. Yeah, we had him in
Speaker 2: the magazine.
Speaker 3: He's a kind of genius, like you don't know whether
Speaker 3: he's serious or not. And the songs are absolutely there.
Speaker 3: Got to You've got to listen to the songs with
Speaker 3: the videos.
Speaker 2: Yeah, the video to get it kind of.
Speaker 3: Thing, the videos of him dancing in kind of like
Speaker 3: supermarkets and stuff like that. Just something about him that
Speaker 3: I really like. Brilliantly deadpan. You know, life is getting quiet,
Speaker 3: and you know that.
Speaker 2: One brilliant his big number. We actually DJed at the
Speaker 2: festival at the weekend. We did a silent disco for
Speaker 2: the opening party of the festival on Thursday night, and
Speaker 2: Jimmy Fi lacoss was the hit of our of our set.
Speaker 2: We played a couple of his tracks, and that was
Speaker 2: the thing that people were most into out of everything
Speaker 2: we played from the year. So, yeah, he's doing things.
Speaker 3: Oh good. Well I'm pleased for him because it's good.
Speaker 3: That good, that good stuff kind of gets recognition.
Speaker 4: Yeah.
Speaker 2: So how's your relationship with classical music now? Do you
Speaker 2: look on it fondly or listen to classical music or
Speaker 2: are you still like, no, that's just that's my dad's thing.
Speaker 3: Yeah, I can listen to classical music. I mean I
Speaker 3: don't sort of find it offensive. I don't. I don't
Speaker 3: sort of love it obsessively like my father did.
Speaker 2: Sure, did he play Did he play music?
Speaker 3: No? No, no, no, no, he was he was just
Speaker 3: sort of a fan kind of thing, an obsessive fan,
Speaker 3: and he didn't even he was kind of had a
Speaker 3: sort of strange attitude to to me playing where he
Speaker 3: kind of like was always telling people that I was
Speaker 3: going to become a concert pianist, but didn't sort of
Speaker 3: get me piano lessons or anything like that. It was
Speaker 3: kind of this, well, this kind of look strange, some mismatch.
Speaker 2: I just thought it was going to happen.
Speaker 3: Yeah, exactly. It's sort of like, Okay.
Speaker 2: So when did you start making music or being interested
Speaker 2: in thinking I'm going to try and be a musician myself.
Speaker 3: Quite early on, the house that I was brought up
Speaker 3: in was quite creative. My mother was an artist, well
Speaker 3: she was sort of she wasn't sort of commercially successful artist,
Speaker 3: but she painted, and that's sort of how she defined herself.
Speaker 3: She kind of made money by she was a seamstress.
Speaker 3: She made sort of made dresses for the sort of
Speaker 3: women in the area and fixed things and stuff like that.
Speaker 3: But she was quite a creative person, well, very creative person.
Speaker 3: She was always making something or mending something. And my
Speaker 3: dad used to sort of make things as well. He
Speaker 3: was quite creative in a different way, not in a
Speaker 3: less artistic way, in a more kind of practical way.
Speaker 3: So he's sort of like he used to make all
Speaker 3: of our furniture, and you know, sort of so everything
Speaker 3: we kind of owned was sort of homemade or second
Speaker 3: hand or something like that. So it's kind of quite
Speaker 3: a sort of an old upbringing, quite sort of left
Speaker 3: field and creative. And I think when I came to
Speaker 3: wanting to hear a certain sort of thing musically, when
Speaker 3: I couldn't quite hear it, I thought, well, I'll try
Speaker 3: and make it myself. And it was that kind of attitude.
Speaker 3: It's sort of like if you don't if you haven't
Speaker 3: got it, you make it, you know. And it's that
Speaker 3: sort of like, well I can do that, you know,
Speaker 3: because my mother used to make all our clothes and
Speaker 3: my dad used to make our furniture, So why can't
Speaker 3: I make songs? So I sort of sit there and
Speaker 3: bash out and try and you know, make write these
Speaker 3: rubbish songs. And you know, those rubbish songs were rubbish
Speaker 3: for many years and then some critical point got quite
Speaker 3: okay and people have started to like them.
Speaker 2: Is that when you were in bands like the Pigs
Speaker 2: and Jeff they were? Were they your first two bands that.
Speaker 4: You were in?
Speaker 3: Yeah, the Pigs were, and yeah exactly, you know, it
Speaker 3: just kind of like silly.
Speaker 2: Were they punk bands?
Speaker 3: I don't even know what they were? Do you know
Speaker 3: what I mean? You're so kind of like without any
Speaker 3: sort of identity of just throwing all your influences and
Speaker 3: into the into the melting pot and making unlistenable rubbish.
Speaker 3: It's just guys sitting around. I mean, to call them
Speaker 3: bands is sort of like slightly kind of giving them
Speaker 3: a little bit too much kind of you know, it's
Speaker 3: given too much credit, just us sitting around with guitars
Speaker 3: on our laps, you know what I mean talking about
Speaker 3: being Yeah, because it's like, because I've sort of answered
Speaker 3: questions like this, it's like, you know, they become all
Speaker 3: the pigs. Well you know what were they like people
Speaker 3: assumed that we were kind of gigging around, you know,
Speaker 3: playing or something. You know, it's kind of some people
Speaker 3: sitting around kind of like writing some crappy songs. You know,
Speaker 3: it's you know, retrospectively, it's sort of like they've they've
Speaker 3: they've achieved more kind of you know than actually at
Speaker 3: the time. But it's a rite of passage, isn't it.
Speaker 3: For for for for lots of young men, you know,
Speaker 3: bitch forming a band and you know it's exciting.
Speaker 2: Can you remember when you first got up and sang
Speaker 2: in front of people?
Speaker 3: No, when I first started off in the band, I
Speaker 3: was the guitar player, right, that's sort of what I
Speaker 3: wanted to be.
Speaker 2: That was kind of was that the band that would
Speaker 2: become Swede or was that?
Speaker 3: No, there's a band of you know, when I first
Speaker 3: started off on these early kind of like you know,
Speaker 3: bedroomy bands sort of thing. I was the guitar player
Speaker 3: and and then I think I in jet We had
Speaker 3: this band called Funny Bank called Jeff, and the singer
Speaker 3: left and I sort of got sort of pushed to
Speaker 3: the front. It was kind of this weird sort of thing.
Speaker 3: And I was like, because I could sing, I was
Speaker 3: the only one could sing in tune sort of thing.
Speaker 3: It became this sort of thing and like, what do
Speaker 3: you sing? Like, Okay, then I suppose I'll give it
Speaker 3: a go. I wasn't sort of like, oh, I want
Speaker 3: to be a singer. I had to learn to be
Speaker 3: a singer. I had to sort of learned to, you know,
Speaker 3: to express myself. You know, when I first started as
Speaker 3: a singer, I was kind of thought it was all
Speaker 3: just about sort of singing in tune and singing nice
Speaker 3: words and singing nice songs and stuff like that. I
Speaker 3: didn't understand the kind of how you've got to sort
Speaker 3: of emote and have you got to give yourself to
Speaker 3: the music, all of these sorts of things.
Speaker 4: You know.
Speaker 3: I had to learn that over many years and many
Speaker 3: years of failure.
Speaker 2: So when you started to sing in front of people,
Speaker 2: because that's quite I always think that's a really terrifying
Speaker 2: thing to do. And I don't think I've ever met
Speaker 2: anyone any singer who said, oh, I wanted to be
Speaker 2: I knew I wanted to be the singer, and I
Speaker 2: was comfortable being the singer from day one. And I,
Speaker 2: you know, I don't know anyone that ever set out
Speaker 2: to be a singer and felt comfortable with it. It
Speaker 2: fascinates me that people put themselves through that torture, because
Speaker 2: to me, that's the hell. The idea of getting in
Speaker 2: front of people and having to sing is just I
Speaker 2: could I.
Speaker 3: Don't think, Well, that's why there's so much ego involved,
Speaker 3: because you have to sort of you have to believe
Speaker 3: in what you do in order to get up there.
Speaker 3: And that's why, and that the ego obviously goes out
Speaker 3: of control sometimes, and that's what's so exciting about bands
Speaker 3: going off the rails. It's this madness that kind of
Speaker 3: just goes wrong, and people love the soap opera of it.
Speaker 3: But that's why there is so much ego in amongst
Speaker 3: musicians and specially singers, because it's a sort of strange
Speaker 3: role to find yourself in and and but when you
Speaker 3: sort of get good at it, you know, which you
Speaker 3: have to sort of get fairly competent to sort of
Speaker 3: reach a certain standard. There's this there's an incredible thrill,
Speaker 3: and it goes from being this terrifying thing, and in
Speaker 3: the early days it is it was terrifying. I don't
Speaker 3: really know how the hell I kind of pushed through
Speaker 3: those early days because some of those early gigs were
Speaker 3: just so depressing. You know, we regularly there were more
Speaker 3: people on stage than in the audience. We once played
Speaker 3: to one person, you know, things like that, how can
Speaker 3: you kind of and you just have this blind self
Speaker 3: belief And I don't really know what it was based on,
Speaker 3: because I wasn't particularly musically adapt and we certainly hadn't
Speaker 3: really learned to riot and stuff at that point. And
Speaker 3: for some reason, I just pushed through it, and you
Speaker 3: just you just sort of I don't know, it's yeah,
Speaker 3: that sort of self belief which can mutate into into hubris.
Speaker 2: I think, can you remember the time that it did
Speaker 2: switch from being terrifying because there was obviously something there
Speaker 2: that made you, as you say, and you don't even
Speaker 2: necessarily know what it was or where that belief in
Speaker 2: yourself came from, but it was obviously there enough to
Speaker 2: make you go. And we've only paid to one person tonight,
Speaker 2: but we're still going to do another show, Yeah, because
Speaker 2: a lot of people would be like, best forget this.
Speaker 3: Yeah, it's a bit embarrassing. I think when we started
Speaker 3: writing good songs, and there was a kind of weird
Speaker 3: period when me and Bernard started writing really good songs,
Speaker 3: it was a weird period sort of. There's about six
Speaker 3: month period when we were sort of like writing songs
Speaker 3: that would end up being on the first album and
Speaker 3: kind of being lavishly kind of you know, praised by
Speaker 3: the press sort of thing. But we're playing those things
Speaker 3: like Drowners and to the Birds and you know, Pantomime Holes,
Speaker 3: all these songs that end up on the first album
Speaker 3: meltal Mickey as well, and we were sort of still
Speaker 3: playing those to two people perhaps sort of thing, and
Speaker 3: everyone's like and we were kind of out. It was interesting.
Speaker 3: Thing was swayed because I think we were really out
Speaker 3: of step with what was going on at that point
Speaker 3: when we were on the Cusp, just before we made it,
Speaker 3: the whole sort of baggy shoegazing thing had just sort
Speaker 3: of like, you know, it was just kind of coming
Speaker 3: to his you know, dreary end and Swayed certainly weren't
Speaker 3: baggy and certainly weren't a shoegazing band. We're sort of
Speaker 3: doing something different. And first of all that was a
Speaker 3: weakness because people kind of like just ignored us and thought, well,
Speaker 3: they don't fit into this. But it allowed us to
Speaker 3: sort of go away and become good at what we
Speaker 3: were doing, which was being Swayed kind of thing. And
Speaker 3: then when we did sort of appear, we were kind
Speaker 3: of like we suddenly we felt like we were fully formed.
Speaker 3: You know, we didn't grow up in public. Sure, we
Speaker 3: had a lot of time in rehearsal rooms and playing
Speaker 3: to one person in pubs to kind of like you know,
Speaker 3: learn our crafts.
Speaker 2: Yeah, and then the weird thing I think with Swayed
Speaker 2: is that you then were out of step even with
Speaker 2: Britpop to an extent retrospectively, that is still how Swede
Speaker 2: are considered now. When people talk of Britpop a lot
Speaker 2: of the time they're say that Swede kind of started britpop,
Speaker 2: but that then you kind of went your separate ways
Speaker 2: a little bit.
Speaker 3: It wasn't likely, Yeah, that.
Speaker 2: Was kind of your your world necessary, so you were
Speaker 2: kind of always out of step.
Speaker 3: I guess I've always wanted to be out of step.
Speaker 3: I've kind of like, you know, I don't like being
Speaker 3: sort of running with big packs, you know. I've always
Speaker 3: liked sort of being sort of occupying our own little space.
Speaker 3: And it is ironic that we kind of were sort
Speaker 3: of associated with with with the sort of biggest movement
Speaker 3: of that whole decade kind of thing. But you're absolutely right.
Speaker 3: I don't think we're I don't think we ever felt
Speaker 3: any kinship with it. It felt as though we'd started
Speaker 3: it and then it kind of like dissiplate appeared off
Speaker 3: and an old tangent. You know. When I was writing
Speaker 3: those songs in Whenever nineteen ninety nineteen ninety one, I
Speaker 3: was documenting Britain and the bands that came later. I
Speaker 3: think we was celebrating Britain, sure, And that's the huge
Speaker 3: difference there, you know. I was just singing from the
Speaker 3: point of view of a kind of like a poor
Speaker 3: why it's twenty something guy in London singing about my life,
Speaker 3: and my life was sort of like standing in dold
Speaker 3: cu'es looking at the dandruff on the color of the
Speaker 3: man in front of me and sort of like you know,
Speaker 3: rented flats and the throb of last Night's Hangover. You know,
Speaker 3: it certainly wasn't a celebration of this gingoistic flag waving
Speaker 3: celebration that it became the cool Britannia thing. And I
Speaker 3: did distance myself from that. I thought it was ugly.
Speaker 3: I thought it was I thought it was simplistic. I
Speaker 3: thought it was misogynistic. I thought it was horrible. And
Speaker 3: as soon as I saw what was happening with britpop,
Speaker 3: I kind of distanced myself and we wrote dog Man's Star,
Speaker 3: which is as Unbritpop an album as you can possibly get.
Speaker 3: It's about isolation, it's about disintegration, all of these things
Speaker 3: that's certainly not supposed to be a sort of like
Speaker 3: a beery sing along of an album. And yeah, I've
Speaker 3: always been very proud that we've tried our own path.
Speaker 3: You know, sometimes it's hard, but I think that history
Speaker 3: looks back on that tread drunk their own paths with
Speaker 3: you know, kindly hopefully sure, who knows, maybe not?
Speaker 2: And how about now, because The Blue Hour comes out
Speaker 2: on the twenty first of this month.
Speaker 3: We just leapt about twenty years.
Speaker 2: No, I know. Sorry, I've gone straight for it.
Speaker 3: Just I thought we're going kind of chronological wekness something,
Speaker 3: We're just going, We're just going. No, it's fine, go
Speaker 3: for it.
Speaker 2: Yeah, well I just figured that. I mean, you must
Speaker 2: be sick of being people being talking to you about
Speaker 2: britpoff in any case, well or not so much.
Speaker 3: I don't mind. It's fine. I'd rather talk about about
Speaker 3: about what we're doing now, to be honest, But you know,
Speaker 3: I don't mind talking about it. I think as soon
Speaker 3: as you sort of like sort of starting I don't
Speaker 3: talk about that, that becomes the thing that people talk about.
Speaker 3: I always try and talk about it and talk around
Speaker 3: it and have something interesting to say about it.
Speaker 4: I hope you.
Speaker 2: Yeah, when the thing I was going to ask about
Speaker 2: the new record is in relation to what you were
Speaker 2: saying about, how you know, early days of suage, you
Speaker 2: were writing about life in Britain, not celebrating life in Britain.
Speaker 2: Is that still the case now?
Speaker 1: Is?
Speaker 2: What? What is the when you go to make a
Speaker 2: record now? Do you approach it the same way? Are
Speaker 2: you still just writing about your life in that same way?
Speaker 3: Of course? I always look for the details, you know,
Speaker 3: there's a that's always what I'm writing about. And with
Speaker 3: The Blueout kind of like I'm trying to find a
Speaker 3: new expression of you know, I'm trying to find a
Speaker 3: new way to be suade. I suppose I'm trying to
Speaker 3: find to express myself in a fresh way, but I
Speaker 3: suppose express myself within the thresholds of what the band is.
Speaker 3: You know, you've got to kind of like recognize your
Speaker 3: limitations and your and your I suppose you've got to
Speaker 3: recognize your You've got to kind of like recognize your
Speaker 3: your personality as a band. You know, I'm not, you know,
Speaker 3: sort of very foolish for for for the band to
Speaker 3: think that we could suddenly sort of become a reggae
Speaker 3: band or something like that. I'm being kind of silly,
Speaker 3: but obviously not. But do you know what I mean,
Speaker 3: there's limitations in which Wade work And with the Blueout,
Speaker 3: I was trying we're trying to sort of like push
Speaker 3: it a little bit further out. You know, I'm writing
Speaker 3: a lot about about kind of there's a sort of
Speaker 3: like it's set in quite a kind of like almost
Speaker 3: like certainly not set in an urban space. It's sort
Speaker 3: of set in a kind of like a slightly unpleasant
Speaker 3: kind of rural sort of hinter land, and I'm looking
Speaker 3: at looking at lots of the songs are written from
Speaker 3: the perspective of a child's point of view, And I
Speaker 3: suppose I was doing that because I was I wanted
Speaker 3: it wanted in lots of ways, lots of lots of
Speaker 3: the themes of the record is about kind of like
Speaker 3: parenting and stuff like that. But I suppose that the
Speaker 3: child's point of view was was was a way to
Speaker 3: try and create a sense of vulnerability and a sense
Speaker 3: of kind of like hesitation and a sense of a
Speaker 3: sense of unrest there, you know. And I didn't want
Speaker 3: to sing from a child's point of view in a
Speaker 3: kind of cliched sort of like you know, everything's great
Speaker 3: sort of sort of way, you know, I wanted to
Speaker 3: kind of look at it from a sort of slightly
Speaker 3: darker perspective and look at the kind of like slightly
Speaker 3: night create this almost like a slightly nightmareish sort of
Speaker 3: like vignettes, you know.
Speaker 2: The trader that first that preceded any tracks on the
Speaker 2: record is that footage of a dead bird and with
Speaker 2: that soundscape underneath it for about thirty seconds. Yeah, what
Speaker 2: does that embody that that kind of interesting. Yeah, because
Speaker 2: there's a track on there as well as in there,
Speaker 2: like an interlude called called dead Bird.
Speaker 3: Yeah, yea, yeah, it sort of became it became a
Speaker 3: kind of sort of quite symbolic for me of, you know,
Speaker 3: kind of what I wanted to talk about. I suppose
Speaker 3: this sort of sense of kind of like the sense
Speaker 3: of sort of threat that there is in nature, you know,
Speaker 3: the kind of like you know that there's the sort
Speaker 3: of thing when you're in the countryside and constantly seeing
Speaker 3: road kill the side of the road, and it's always
Speaker 3: it's always kind of like animals from children's stories, you know,
Speaker 3: it's always kind of foxes and badgers and these sorts
Speaker 3: of things that you know, you're kind of reading to
Speaker 3: reading as you know, the children seeing there's these cuddly
Speaker 3: little characters and then you kind of like you kind
Speaker 3: of find them dead on the side of.
Speaker 2: You see, and when they're dead.
Speaker 3: Yeah, Yeah, it's kind of this odd sort of thing
Speaker 3: you know that you know, so the kind of like
Speaker 3: the dead bird image, Yeah, I kind of quite I
Speaker 3: don't know, it just seemed to sum it up, and
Speaker 3: it was sort of seemed to sum up the sort
Speaker 3: of the sort of psychic landscape of what I wanted
Speaker 3: to talk about. It kind of seems quite powerful, but
Speaker 3: at the same time quite prosaic, you know, that kind
Speaker 3: of thing that you know, it's very ordinary to sort
Speaker 3: of see a dead animals lying by the side of
Speaker 3: the road. There's nothing that special about it, but there's
Speaker 3: something quite there's something sort of tragic about it and
Speaker 3: sad about it and quite moving about it in lots
Speaker 3: of ways.
Speaker 2: There's a similar feel to the video for Life is Golden,
Speaker 2: which if anyone listening hasn't seen it yet, I'm getting
Speaker 2: it's shot on a drone and it's over.
Speaker 3: I think it has pronounced which is the.
Speaker 2: Town closest to THEBYL reactor. That's right, And it's this
Speaker 2: incredible landscape of a town that was deserted and nature's
Speaker 2: kind of overtaken it.
Speaker 4: I guess.
Speaker 2: It's an incredible video because it's such an incredible landscape.
Speaker 2: Have you ever been? Have you ever been there?
Speaker 3: Or I haven't been there. It's a friend of ours,
Speaker 3: Mike Christy, that made the video for us, and he
Speaker 3: sort of suggested he's a big fan of the band.
Speaker 3: He's been a dear friend for for many, many years.
Speaker 3: We met him through Derek Jarmin in about nineteen ninety
Speaker 3: three or something, and he made it for us, and he,
Speaker 3: you know, he sort of said, well, let's try putting
Speaker 3: this footage next to the song, and we're okay, I'll
Speaker 3: try it. And somehow, even though it obviously isn't there's
Speaker 3: no narrative link between the imagery of a deserted kind
Speaker 3: of town and the lyrics to the song, it somehow
Speaker 3: had a kind of grace and a kind of and
Speaker 3: a sort of poignancy that somehow reflected the lyrics to
Speaker 3: the song and kind of took took the lyrics somewhere else.
Speaker 3: I don't know, I can't. You know, it would be
Speaker 3: very easy to make a bit of a sickly video
Speaker 3: for Life is Gold, and I really didn't want to
Speaker 3: do that. And I like that. I like that it's
Speaker 3: it's it is. There's something quite moving about about the video,
Speaker 3: and I don't really know why it's moving. It's I've
Speaker 3: always loved that imagery, you know, NaN's folly reclaim by nature,
Speaker 3: that whole theme, you know, the final scene in the
Speaker 3: Planet of the Apes of the Statue of Liberty on
Speaker 3: the beach, that sort of thing. It's like, it's fascinating.
Speaker 3: I've always been fascinated with, you know, when you come
Speaker 3: across sort of like Second World War kind of concrete
Speaker 3: things in the countryside, overgrown, there's something really fascinating about it.
Speaker 3: And of course with Prippy Out there's a whole level
Speaker 3: backstory of tragedy and all of these things that I
Speaker 3: don't mean to sort of belittle in any way, but
Speaker 3: there's something there's something kind of very in a very
Speaker 3: simplistic way, quite beautiful about looking at sort of like
Speaker 3: nature reclaiming concrete, and somehow it's sort of it resonated
Speaker 3: with the song.
Speaker 2: It almost suits the rest of the record almost more
Speaker 2: than that track itself in a weird way. Yes, because
Speaker 2: as a whole record, it's parts of it feel a
Speaker 2: bit drunk, bit operatic, should I say, in terms of
Speaker 2: like music. There's a lot of strings on there.
Speaker 3: Yeah.
Speaker 2: Do you think it's fatter, it's quite it's quite dark
Speaker 2: sounding record, yeah, across it. Yeah, and perhaps even your
Speaker 2: your most kind of dramatic sounding sued album.
Speaker 3: Yeah, I think it is.
Speaker 2: What did you intend that when you went into to
Speaker 2: make that?
Speaker 3: Yeah, I think we were trying to sort of push
Speaker 3: it a little bit further, you know, with with with
Speaker 3: with Ninth thought I mean ninth Thoughts is pretty dramatic
Speaker 3: as well. I mean, I think we're just trying to
Speaker 3: sort of like just take it a little bit further
Speaker 3: out and make it, you know, to do things that
Speaker 3: we've not done before, you know, things like the spoken
Speaker 3: word pieces of spoken word piece called Roadkill on there,
Speaker 3: and to use things like choral voices and stuff like that,
Speaker 3: just to try and push it, push the limits of
Speaker 3: what we do a little bit further out. But I
Speaker 3: don't think that, you know, there's nothing wrong with it
Speaker 3: kind of trying to make a dark record. I think
Speaker 3: people sometimes when sometimes when you're kind of like in
Speaker 3: this sort of state when I'm kind of promoting a
Speaker 3: record record, companies are a little bit fearful of this,
Speaker 3: of the their band sort of saying it's a dark record.
Speaker 3: I was kind of like slightly regret When I was
Speaker 3: promoting dog Man Star, there was that sort of thing.
Speaker 3: Bernard had left the band, and we were sort of
Speaker 3: trying to put on this brittle mask of optimism about
Speaker 3: the band's and I kind of like there was this
Speaker 3: sort of bullshit narrative about the record being about about
Speaker 3: ambition and all this stuff, and it's not an record
Speaker 3: about ambition. It's a record about disintegration and falling apart.
Speaker 3: But that doesn't make it any you know, that doesn't
Speaker 3: make it. You know, if I was a kind of
Speaker 3: like a fan of the band, i'd want to listen
Speaker 3: to that. You know, I love things that are about
Speaker 3: failure and about falling apart and about darkness and stuff
Speaker 3: like that. You know, we're not kind of a boy band.
Speaker 3: You know, that's not the role of Swede to kind
Speaker 3: of like make nice sounding, sort of little love songs
Speaker 3: about kind of meeting a nice girl at the shop
Speaker 3: sort of thing. You know, we're trying that's not our role,
Speaker 3: and it shouldn't be. That shouldn't be what we're trying
Speaker 3: to do. You know. One of the greatest things that
Speaker 3: happened that's happened to us over the last since we've reformed,
Speaker 3: is kind of realizing that we're not part of the
Speaker 3: mainstream anymore. And I think that's a really freeing thing,
Speaker 3: you know, when you realize, you know, we're not kind
Speaker 3: of going to get played on radio one anymore, and
Speaker 3: that sort of thing, and that's fine. What leave that
Speaker 3: to people in their twenties, that's absolutely fine. But if
Speaker 3: you're still making music in your fifties, and if you're
Speaker 3: still if you still really care about it, I think
Speaker 3: it's important to sort of explore these kind of murky
Speaker 3: corners of life, you know, to take to try and
Speaker 3: take the format some sort of into a new place,
Speaker 3: you know. That's My favorite records are dark, you know,
Speaker 3: unknown pleasures. God, how dark is that? You know? It's
Speaker 3: you know, you know, it's it's about exploring these things.
Speaker 2: I think, how do you feel when you're approaching a
Speaker 2: release of a record?
Speaker 3: Now? Oh, it's always horrible, is it? Yeah?
Speaker 2: What the worry of it being how it's receiving?
Speaker 3: Yeah, it's because it's it's sort of you never quite
Speaker 3: know because it's sort of when you're making a record.
Speaker 3: What's parallel how it parallels what we were talking about
Speaker 3: earlier about having needing to believe in what you do
Speaker 3: in order to get up on the stage, in order
Speaker 3: to go and go in the studio and to write songs.
Speaker 3: In order to finish a song, you've got to kind
Speaker 3: of believe that you can't kind of get halfway through
Speaker 3: writing the song and think, oh, this is a lot
Speaker 3: of shit, because otherwise you just wouldn't finish it. In
Speaker 3: order to finish these things, you have to believe in them,
Speaker 3: and so there's a certain sense where you're kind of
Speaker 3: like you're sort of like manufacturing a kind of like
Speaker 3: a sort of fantasy about how the record's going to
Speaker 3: be going to be received, and then when you actually
Speaker 3: release it, you're confronted with the reality and even kind
Speaker 3: of like good reviews can sometimes be kind of disheartening.
Speaker 3: I can't really really describe it.
Speaker 2: There's something there's something about being good but they're getting it.
Speaker 4: Wrong, yeah, or kind of just there's just sort of
Speaker 4: there's just something belittling about kind of being in you know,
Speaker 4: your work being assessed.
Speaker 3: No matter how how kindly it's being assessed, there's always
Speaker 3: something and this is this is the big This is
Speaker 3: the big sort of like paradox that are to struggle with,
Speaker 3: you know, this whole thing of like you know, the
Speaker 3: axiomatic truth of like you can't release your work into
Speaker 3: the public arena and then be annoyed if someone doesn't
Speaker 3: like it, because it's it's sort of like, well, you're
Speaker 3: asking for some sort of assessment of it, you know
Speaker 3: what I mean. Yeah, and it's you know, it's you
Speaker 3: do struggle with that, but it's kind of you have
Speaker 3: to if you're going to carry on doing this. I mean,
Speaker 3: what I've been thinking about a lot recently is how
Speaker 3: much a song or any kind of art lives with
Speaker 3: its audience. And you can create something and it's not
Speaker 3: until you kind of give it to the world and
Speaker 3: get feedback about it and get you know that sort
Speaker 3: of you know that you quite know what you think
Speaker 3: of it yourself. You know, that's an interesting process. I think.
Speaker 2: Has it got any easier at all? When swayed when
Speaker 2: the first record was coming out, yeah, twenty days before
Speaker 2: or how far we are you know, like two weeks before?
Speaker 2: Can you remember how that felt compared to like how
Speaker 2: it feels now. Were you more of a wreck then
Speaker 2: than you are now?
Speaker 3: I think I think you kind of it doesn't really
Speaker 3: get any easy. It's like one of those sort of
Speaker 3: things like kind of dating or something like that. And
Speaker 3: I haven't been up to date for many, many years,
Speaker 3: kind of in my forties. In my late thirties, i
Speaker 3: did and it's like, you know, it's like, God, this
Speaker 3: is really hard work, isn't it? You know what I mean?
Speaker 3: It's one of those things that it doesn't. You feel
Speaker 3: as though it.
Speaker 2: Should be getting easier, it should be.
Speaker 3: Getting into just just it just doesn't. And it's it's fine. No,
Speaker 3: I don't know. I think when our first album came out,
Speaker 3: we were on such that we were kind of on
Speaker 3: this huge wave of sort of madness. And you know,
Speaker 3: I don't I didn't know what was going on with
Speaker 3: I don't even know. I can't even remember what I
Speaker 3: was really like in those days. It feels it feels
Speaker 3: like it was happening to someone else almost. I think
Speaker 3: as you get older, you get more sensitive, you get
Speaker 3: kind of like, you know, it's never it's never easy
Speaker 3: to deal with these things. It's always it's always tricky.
Speaker 3: It's always it's always a journey.
Speaker 2: And this is the third record of it's kind of
Speaker 2: it's the third of three, isn't it. These three are
Speaker 2: a kind.
Speaker 3: Of yeah, I think of.
Speaker 2: Yeah, they are a compliment to each one of them.
Speaker 3: Yeah, I think of it like that. Maybe I'd just
Speaker 3: like the idea of a trilogy or whatever. It's kind
Speaker 3: of it sounds quite cool, but strangely, I do think
Speaker 3: of them as like this group that kind of almost
Speaker 3: like one has led on to the other, and it
Speaker 3: feels as though we're sort of going further left field
Speaker 3: with the Blue Hout. It's almost like the kind of
Speaker 3: night Thoughts was the sort of midpoint, and I think
Speaker 3: the next one we'll kind of we'll sort of step back.
Speaker 3: And I don't mean that to sound kind of like, oh,
Speaker 3: we're going to kind of like be less sort of
Speaker 3: you know, we're still try and try and do things
Speaker 3: that challenge us and challenge our audience, but but I
Speaker 3: think we'll we'll we'll step back from that whole journey.
Speaker 2: When you started making blood Sport as the first of
Speaker 2: these three were the other two kind of planned out.
Speaker 2: They've become a three now. But was that a later thing.
Speaker 3: I had a vague idea that we'd we'd make sort
Speaker 3: of three records. I kind of like that idea, but
Speaker 3: you can you can never really think that far ahead.
Speaker 3: You can only really think of I didn't sort of
Speaker 3: have a you know, you learn so much about the
Speaker 3: record you're making while you're making it, and you can
Speaker 3: have a vague, very very very vague idea of the
Speaker 3: sort of shape it might occupy, but it always changes
Speaker 3: and it should change as well, because it's it's sort
Speaker 3: of like you're finding things out about it, and that's
Speaker 3: that's where it becomes kind of real and interesting, in
Speaker 3: the kind of mistakes you make and the sort of
Speaker 3: you know, all those sorts of things.
Speaker 2: So where does the Blue Hour fit into the trilogy?
Speaker 3: It's the furthest left field of the records. I think.
Speaker 3: I think it's the most I think it's the most challenging,
Speaker 3: but I think in lots of ways it's the most
Speaker 3: it's the most rewarding once you kind of get inside
Speaker 3: the world of it, once you once you kind of
Speaker 3: like understand the record, once you kind of like you
Speaker 3: go through the looking glasses, I think it's a really
Speaker 3: rewarding record. But I think it's very very rich. So
Speaker 3: that's my opinion, which is completely meningless. It's not it's
Speaker 3: not for me to say, but people kind of people
Speaker 3: whose opinion I trust, who know the band really well,
Speaker 3: that's the kind of message I've been getting back from
Speaker 3: people that at first they were like oh okay, and
Speaker 3: then a few lessons in they're like whoa, okay, this
Speaker 3: is yeah, this is going somewhere interesting.
Speaker 2: And we mentioned your memoir. You've written a memoir between
Speaker 2: the between the last record and this record?
Speaker 3: I did, Yeah, how was it?
Speaker 4: I am.
Speaker 2: The last of these podcasts that I did was with
Speaker 2: Johnny Maher earlier this year, and we spoke about his
Speaker 2: memoir and asked him what it was like to write
Speaker 2: a memoir. Yeah, And my question to him was, well,
Speaker 2: did you find it as cathartic as you thought you would?
Speaker 2: And his answer was no, he is still waiting for
Speaker 2: the cthassicism of writing an autobiography to hit him and
Speaker 2: it's still not actually arrived. How is it for you? Yeah?
Speaker 3: I did find it very catharsticy. I love the process
Speaker 3: of it, and I kind of learned a lot about
Speaker 3: myself doing it, actually, a lot about myself. And you know,
Speaker 3: it started off as a very very personal thing of well,
Speaker 3: I mean, every memoir is very very personal. But I
Speaker 3: think sometimes I think that sometimes rock biographies kind of
Speaker 3: drift into into kind of, you know, a formula in
Speaker 3: the same way that in the same way the bands
Speaker 3: drift into a formula. A band, a band's life cycle
Speaker 3: is very formulaic. It's struggle followed by success, followed by
Speaker 3: excess followed by disintegration, and very few bands managed to
Speaker 3: deviate from that path, and if you're lucky, you get
Speaker 3: kind of like end up with a point sort of
Speaker 3: like a point of enlightenment somewhere after that. And so
Speaker 3: therefore rock biographies tend to follow a very formulaic sort
Speaker 3: of you know arc and I didn't want to do that,
Speaker 3: and that's why that's why I finished the book finishes
Speaker 3: in nineteen ninety two when we got When We Get,
Speaker 3: When we Got signed, which I thought was a kind
Speaker 3: of like a symbolic moment in a band's career, you know,
Speaker 3: it's the first moment where you kind of should publicly
Speaker 3: achieve any sort of success, and regardless of what happens
Speaker 3: after that is another story. So I wanted it to
Speaker 3: be about a story about my early life, very much
Speaker 3: about my family. It started off specifically as a book
Speaker 3: about my father, and that's one of the main themes
Speaker 3: in the book. It's about kind of fatherhood. Really, it's
Speaker 3: about looking at myself as a son and looking at
Speaker 3: myself as a parent and kind of like you know,
Speaker 3: those kind of things. But obviously it became sort of
Speaker 3: not just a book about parent who it's a book
Speaker 3: about struggle and failure and all of these sorts of things.
Speaker 3: But I loved writing it. I really like, I really
Speaker 3: did enjoy the process of writing it. I loved how
Speaker 3: writing prose kind of like there's a real freedom to it,
Speaker 3: which you don't have when you're writing songs. When you're
Speaker 3: writing songs, you're kind of there's something incredibly sort of
Speaker 3: you've got to try and make it work within this
Speaker 3: very very narrow kind of kind of space, and it
Speaker 3: kind of it's quite constrictive, and when it does work,
Speaker 3: it resonates really really well. You know, the power of
Speaker 3: three words sung with the right melody and the right
Speaker 3: back and can be kind of life changing. But you
Speaker 3: don't have that kind of like freedom just to sort
Speaker 3: of meander off and talk about your school dinners in
Speaker 3: nineteen eighty three or something like that within the context
Speaker 3: of a song, you know, yeah, certainly not in the
Speaker 3: context of a pop song. And I like that. I like,
Speaker 3: I like just sort of like exploring these little avenues
Speaker 3: of memory.
Speaker 2: You know, do you envisage a time when you do
Speaker 2: write your Memoile from ninety two onwards? Is there a
Speaker 2: part two? Or are you not interested in that at all.
Speaker 3: I wouldn't say that, I wouldn't say I'm not interested.
Speaker 3: You know, it's about kind of trying to find a
Speaker 3: way into that that isn't kind of you know, just
Speaker 3: the kind of conventional path and look at trying to
Speaker 3: look at it from a different point of view, trying
Speaker 3: to look at sort of you know, maybe maybe more
Speaker 3: from the point of view of kind of like almost
Speaker 3: a sort of looking at myself as a as a
Speaker 3: as a as a case study almost and looking at
Speaker 3: looking at kind of how success and fame and all
Speaker 3: of these things affected me as a person, almost like
Speaker 3: looking at looking that almost like as a sort of
Speaker 3: like a a sort of like a case study. I
Speaker 3: don't quite have to explain it. There's a really good
Speaker 3: book by Alan de Barton called The Course of Love,
Speaker 3: which is about a relationship and at the end of
Speaker 3: it it's just you know, not just but it's a
Speaker 3: story of you know, kind of people falling in love
Speaker 3: and falling out of love, and every at the end
Speaker 3: of every chapter there's a sort of almost like there's
Speaker 3: a couple of paragraphs which is sort of like from
Speaker 3: a sort of psychology point of view, about what's happening
Speaker 3: to the people. He's feeling this because of this, she's
Speaker 3: feeling this because of that, do you know what I mean?
Speaker 3: And it's really interesting to suddenly it's almost like this
Speaker 3: sort of like you know, sort of like this sort
Speaker 3: of an aside turning too the camera and by the way,
Speaker 3: this is going on here now, and it's kind of
Speaker 3: I love that's the duality to it, and maybe I
Speaker 3: could write something like that.
Speaker 4: Yeah.
Speaker 2: The first book is called Cold Black Morning.
Speaker 3: Yeah.
Speaker 2: Where where does that title come from?
Speaker 3: I don't know. Just I'd write a lot of things down.
Speaker 3: I steal a lot of things that I read, you know,
Speaker 3: things from newspapers and things over here, and and I
Speaker 3: just read it somewhere. I have notebooks, and I write
Speaker 3: all these things down in notebooks, and I probably nixed
Speaker 3: it from someone and I apologize, But you know, there's
Speaker 3: that's there's no no arts original.
Speaker 2: You know, having done that, having done your your memoir,
Speaker 2: what kind of is there left that you would like
Speaker 2: to do?
Speaker 3: The West End musical?
Speaker 2: Yeah, the Andersons, of course.
Speaker 3: Yeah, I don't know. I mean, no, I'm being facetious.
Speaker 3: I don't know. I don't want to becoming up Jack
Speaker 3: of all trades, you know what I mean, I kind
Speaker 3: of like I want to just making more music. Yeah,
Speaker 3: I mean, you know, I really enjoyed writing a book,
Speaker 3: but I'm not sure if I'm if I am a writer,
Speaker 3: you know, no matter how much I enjoyed it, I
Speaker 3: feel as though, you know, you need to kind of
Speaker 3: choose your weapons. And I like, I sort of like
Speaker 3: making records is very very hard, and actually gets harder
Speaker 3: as you get older. But when you get it right
Speaker 3: and when you know there's a there's a sort of
Speaker 3: power to it that that is incredibly addictive. Actually, So
Speaker 3: just making more records or anything.
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