WEBVTT - Ep 21: Blanck Mass

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

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<v Speaker 2>Welcome to episode twenty one of the Loud and Quiet

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<v Speaker 2>Interview podcast. Thank you for joining us once again, or

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<v Speaker 2>maybe this is the first time you've listened. The good

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<v Speaker 2>thing about the way we've been doing this and choosing

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<v Speaker 2>the people that we interview, is that sometimes someone might

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<v Speaker 2>just come by and discover us purely for a one

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<v Speaker 2>off because they happen to be a fan of that artist,

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<v Speaker 2>which is completely fine. Maybe this is the first time

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<v Speaker 2>and the last time you will listen to this, I

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<v Speaker 2>hope not. You can of course subscribe to the Midnight

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<v Speaker 2>Chats either on iTunes or Stitcher. I believe is the

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<v Speaker 2>big one that are on Android phone, or there's many

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<v Speaker 2>others on Android. I think Android get a better deal.

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<v Speaker 2>You can pick up podcasts from everywhere on Android, so

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<v Speaker 2>find us. We're across all of those things. Or indeed,

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<v Speaker 2>just enjoy this one episode because maybe you've tuned in

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<v Speaker 2>purely as a fan of Blank Mass, who is also

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<v Speaker 2>a member one half of Fuck Buttons, a band who

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<v Speaker 2>have an expletive in their name, as I've just proven

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<v Speaker 2>by saying that, but they're an amazing duo of Benjamin

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<v Speaker 2>John Power who is also Blank Mass who I'm speaking

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<v Speaker 2>to today, and a guy called Andrew Hung who met

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<v Speaker 2>him Wooster when they were skateboarding as younger guys. And

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<v Speaker 2>they've had an amazing career so far and released some

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<v Speaker 2>very challenging and very interesting electronic music that's kind of

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<v Speaker 2>noise is inspired by noise music and punk music as

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<v Speaker 2>much as it is electronic music. They infamously soundtracked some

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<v Speaker 2>of the opening ceremony of the Olympic Games in twenty twelve.

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<v Speaker 2>I speak about that a little bit with Ben, but

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<v Speaker 2>not much because I feel like it might be the

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<v Speaker 2>kind of thing that has ended up being the only

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<v Speaker 2>thing that people speak to him about. We were mainly

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<v Speaker 2>meeting up to speak about his new album, his solo

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<v Speaker 2>album as Blank Mass, which is called World Eater. It's

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<v Speaker 2>his third album, and it's a great record. It comes

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<v Speaker 2>out next month on the third of March via an

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<v Speaker 2>amazing label in the States called Sacred Bones, and it

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<v Speaker 2>is a angry record for an angry time, I guess,

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<v Speaker 2>but it's actually still got a lot of joy in it.

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<v Speaker 2>I don't want to get to bog down in analyzing

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<v Speaker 2>the record and what's so great about it. Basically We're

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<v Speaker 2>big fans at Ladon Quiet of both Fuck Buttons and

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<v Speaker 2>Ben's solo workers, Blank Mass and I met him in

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<v Speaker 2>the most amazing place in one of an amazing recording

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<v Speaker 2>studio here in London, in instant John's Wood, which is

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<v Speaker 2>for anyone who hasn't been to that area of London

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<v Speaker 2>or around there at all, it's a very posh part

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<v Speaker 2>of town. It's very posh. It's around the corner from

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<v Speaker 2>Abbey Road Recording Studios and Rack is as you're here.

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<v Speaker 2>It's based in a old school. It used to be

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<v Speaker 2>a Victorian school until a guy called Mickey Most from

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<v Speaker 2>in the sixties. It was a record producer. He produced

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<v Speaker 2>all sorts of people like Herman's Hermits, and I think

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<v Speaker 2>he might have been the guy that also produced you

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<v Speaker 2>Sexy Thing by Hot Chocolate. Slightly different feel to Herman Hermits,

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<v Speaker 2>but he was a great record producer and he started

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<v Speaker 2>this recording studio which is where I met Ben, and

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<v Speaker 2>we sat in what was his office, and he died

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<v Speaker 2>in two thousand and three, and since then they've kind

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<v Speaker 2>of left his office as almost as a I don't

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<v Speaker 2>know shrines the right word day a museum piece. To

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<v Speaker 2>Mickey most and it's an amazing old school recording studio office.

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<v Speaker 2>It's still got his original massive, hulking wooden desk there,

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<v Speaker 2>and his old chair that he'd sit behind every day,

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<v Speaker 2>and all of these gold discs on the walls. It

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<v Speaker 2>was just I was just really excited to be in

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<v Speaker 2>that room, really, and I had a great conversation with

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<v Speaker 2>Ben there. We were joined also by one of Ben's managers,

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<v Speaker 2>or certainly part of his management team, lovely woman called Steph,

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<v Speaker 2>who features on this podcast. Briefly she became inadvertently became

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<v Speaker 2>a fact checker. I don't think she realized she was

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<v Speaker 2>signing up for that when she sat in the room

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<v Speaker 2>with us. But that third voice that you can hear

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<v Speaker 2>is Steph. So thanks to Steph for clearing up some

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<v Speaker 2>facts that we weren't too sure on, and yeah, let's

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<v Speaker 2>just get into this now. Then this is my conversation

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<v Speaker 2>with Benjamin John Power, who records under blank Mass when

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<v Speaker 2>he's not in Fire Buttons. I do have it in

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<v Speaker 2>good authority. We don't mention it here in this conversation

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<v Speaker 2>that Funk Buttons will be back with a new record,

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<v Speaker 2>hopefully next year. They are going to make some more

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<v Speaker 2>music together, But for now it's all about Blank Mass

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<v Speaker 2>and Ben's new record which is called World Eater, and

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<v Speaker 2>that's out on the third of March on Sacred Bones.

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<v Speaker 2>This is a pretty special room to be in.

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<v Speaker 3>For this, Yes, Rack Studios.

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<v Speaker 2>Yeah, this is quite exciting for me because I don't

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<v Speaker 2>even though I do what I do, I don't really

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<v Speaker 2>get to go to any recording studios. And this is

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<v Speaker 2>a really obviously a really infamous one. Yes, in a

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<v Speaker 2>lovely area of London.

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<v Speaker 3>Yes it is. And this used to be a school, right, Oh,

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<v Speaker 3>I didn't know that.

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<v Speaker 2>Actually, I was doing a bit of reading up.

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<v Speaker 3>Yes, it was a school. Getting we're getting we're getting

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<v Speaker 3>a nod over somebody in the Yeah.

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<v Speaker 2>I think. Yeah, I was reading just a little bit

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<v Speaker 2>about it, and I think it used to be a

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<v Speaker 2>Victorian school, which I guess once you know that, you

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<v Speaker 2>kind of get that from the outside of it.

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<v Speaker 3>Yes, that's true.

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<v Speaker 2>I don't know what room this would have been. This

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<v Speaker 2>feels like it would have been.

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<v Speaker 3>Well, this would have been the office.

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<v Speaker 2>The office of the school.

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<v Speaker 3>Oh right, I'm sorry, yeah, yeah.

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<v Speaker 2>We are on what would have been the stage of

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<v Speaker 2>the school.

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<v Speaker 3>Wow, we've got we've got our history we've got our historian. Yeah,

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<v Speaker 3>this is great, This is so really, I don't need

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<v Speaker 3>to answer anything.

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<v Speaker 2>No, it's okay, that's great. It's have you been have

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<v Speaker 2>you been here before?

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<v Speaker 3>So?

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<v Speaker 2>What I mean what I was going to ask us?

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<v Speaker 3>What? What? So?

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<v Speaker 2>Why are we here? Why why have I come to me?

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<v Speaker 3>Well? My managers work out of here. They work out

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<v Speaker 3>of the office. In fact, you can see them just

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<v Speaker 3>over here.

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<v Speaker 2>And our is that them in the in the little

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<v Speaker 2>corner one over there.

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<v Speaker 3>Yeah, Dave somewhere over there, and our local historian over

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<v Speaker 3>here as well. Is work for work for the manager,

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<v Speaker 3>the management?

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<v Speaker 2>Good stuff. And have you recorded here at all?

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<v Speaker 3>No? I couldn't afford that.

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<v Speaker 2>This is like it because this is like quite old score,

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<v Speaker 2>isn't it.

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<v Speaker 3>Yeah, we've got and you've got Abbey Road right just

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<v Speaker 3>around the corners as well.

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<v Speaker 2>Yeah, yeah, it's a similar thing. There is something kind

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<v Speaker 2>of very exciting and special about recordings I find personally,

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<v Speaker 2>but maybe that's because I'm not a musician. Do you

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<v Speaker 2>do you feel that?

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<v Speaker 3>Yeah? I mean I've I've I've been doing it from

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<v Speaker 3>I've been recording from home for for a while now.

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<v Speaker 3>But can I I can swear?

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<v Speaker 2>Yeah?

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<v Speaker 3>So I have to check. So with fuck Buttons. You know,

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<v Speaker 3>our last couple of well, our first two albums, we

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<v Speaker 3>actually went into studio, into the studio, into a studio,

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<v Speaker 3>and it means it's kind of it's like an event,

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<v Speaker 3>do you know what I mean, And you've got to

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<v Speaker 3>get it done within this kind of space of time

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<v Speaker 3>or else you have to go back.

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<v Speaker 2>Is that a stress?

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<v Speaker 3>That is? I mean no, I mean, you know, we

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<v Speaker 3>we never We've never written in the studio, if you

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<v Speaker 3>see what I mean. We've always gone to get it down,

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<v Speaker 3>to get it, to get the recording down. And I

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<v Speaker 3>guess it can be a stress, but you just have

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<v Speaker 3>to you just have to do it. You just have

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<v Speaker 3>to work. You can't work at you know, a snail's pace.

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<v Speaker 3>I tend to prefer doing things in my own space

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<v Speaker 3>because I can go back to things, say at the

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<v Speaker 3>middle of the night and things like that, you know,

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<v Speaker 3>if something comes to me or but I mean, it's

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<v Speaker 3>definitely a thing. I mean, the world that I that

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<v Speaker 3>I operate in, I think, you know, most people are

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<v Speaker 3>doing it from home, and most of them can't necessarily

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<v Speaker 3>afford to go to a studio. That so I do

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<v Speaker 3>like the freedom that you have with home recording setup.

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<v Speaker 2>Do you mainly recall at night?

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<v Speaker 3>No, I don't. Actually, I'm actually quite I'm actually quite disciplined.

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<v Speaker 3>I mean, I'm in the studio by half eight nine

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<v Speaker 3>every day when I'm at home, unlike a lot of musicians,

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<v Speaker 3>I would say, and I usually kind of stop when

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<v Speaker 3>my wife gets home from work unless there's something pressing

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<v Speaker 3>that needs to be done. But I do tend to

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<v Speaker 3>keep office hours, which I think is kind of good

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<v Speaker 3>for my mental balance.

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<v Speaker 2>I think I've started to do that this year. Yeah,

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<v Speaker 2>because otherwise you do dedrive yourself insane, don't you. Yeah,

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<v Speaker 2>you can just work. So when your wife comes home,

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<v Speaker 2>that's the that's when you go, right, my day's down now?

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<v Speaker 3>Well, yeah, mainly because if dinner's not on the table

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<v Speaker 3>when she gets home, she's not a happy But you're

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<v Speaker 3>in trouble. Yeah, I'm in trouble, or at least made

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<v Speaker 3>to feel like I'm in trouble. But I mean, yeah,

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<v Speaker 3>I mean obviously, from time to time, you have you know,

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<v Speaker 3>you have to pull like a sixteen hour shift shift

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<v Speaker 3>or whatever theyn'd like to call it a shift because

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<v Speaker 3>that deglamorizes it a little bit. But you know essentially

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<v Speaker 3>they are sometimes, but yeah, generally I kind of stick

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<v Speaker 3>to her, a stick to you know, the office hours.

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<v Speaker 3>That's good for want of a better. Yeah.

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<v Speaker 2>So when I was reading up about Rack, because I thought,

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<v Speaker 2>you know, I should come with some facts, like the school.

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<v Speaker 3>Facts you're going to you're going to tell me more

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<v Speaker 3>than I know.

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<v Speaker 2>What I was going to say, I was looking at

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<v Speaker 2>other other people that have recorded here. Yeah, who can

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<v Speaker 2>afford to record here? This list of names I could have?

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<v Speaker 2>Could you look at it? I'll read you a few.

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<v Speaker 2>The list has hit me. This is tip of the

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<v Speaker 2>icebergs because Sting was on the list as well, but

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<v Speaker 2>I've not included him. Of course, of course was there,

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<v Speaker 2>of course he was. Okay, the list, I've written down

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<v Speaker 2>some big names as David Bowie, Yeah, Michael Jackson here here,

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<v Speaker 2>Michael Jackson here, Michael Jackson here.

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<v Speaker 3>Okay, now I'm impressed.

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<v Speaker 2>Yeah that's good, right, Yeah, Michael Jackson's a good one.

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<v Speaker 2>Al Green all right, Pink Floyd kind of get that,

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<v Speaker 2>that makes sense, right, yeah, Adele Shakira, wow XTC all right,

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<v Speaker 2>Radiohead they.

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<v Speaker 3>Didn't do they didn't record plans for Nigel.

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<v Speaker 2>I'm not sure what they recorded it. This is the thing.

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<v Speaker 2>It didn't actually tell me.

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<v Speaker 3>What is the local historian? Okay, what album did.

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<v Speaker 2>Well, we'll look into that.

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<v Speaker 3>Yeah, maybe yeah find out Yeah.

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<v Speaker 2>Maybe maybe google that. Yeah, come back to us. We're

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<v Speaker 2>checking on that in a minute. Depeche Mode, Radiohead and

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<v Speaker 2>Shed seven. All right, Okay, that's.

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<v Speaker 3>A that's a list.

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<v Speaker 2>It's a list, isn't it.

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<v Speaker 3>It's a good list. It's also maybe the local historian

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<v Speaker 3>can find out which depeche Mode album or whatever was

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<v Speaker 3>recorded here.

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<v Speaker 2>Yeah, it's great having a line research. I know, this

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<v Speaker 2>is this is excellent.

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<v Speaker 3>So good. Well, I mean you've already clearly done your research,

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<v Speaker 3>but me, I've just got Yeah, look at me, shirking

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<v Speaker 3>responsibility over here.

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<v Speaker 2>Do any of those names do anything for you?

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<v Speaker 3>Yeah, of course. Yeah. Michael Jackson was I was beyond

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<v Speaker 3>obsessed with Michael Jackson as a child too. Yeah. I

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<v Speaker 3>actually went to see Michael Jackson on his Dangerous World tour.

0:12:27.080 --> 0:12:32.160
<v Speaker 3>My mother took me from my a birthday, maybe nine ten,

0:12:32.240 --> 0:12:34.840
<v Speaker 3>I can't remember what year it was even, but that

0:12:35.000 --> 0:12:35.679
<v Speaker 3>was that was.

0:12:35.679 --> 0:12:38.400
<v Speaker 2>Something I went to. The History tour.

0:12:38.840 --> 0:12:41.079
<v Speaker 3>Oh okay, that's show.

0:12:41.120 --> 0:12:43.360
<v Speaker 2>That was the first show I went to and it's

0:12:43.440 --> 0:12:46.760
<v Speaker 2>my it's my that is my brag. Yeah, the right

0:12:46.920 --> 0:12:48.600
<v Speaker 2>thing that I'd say. I'd say it to a lot

0:12:48.640 --> 0:12:49.120
<v Speaker 2>of people.

0:12:49.200 --> 0:12:52.240
<v Speaker 3>That was the first concert you went yeah, yeah Son.

0:12:52.559 --> 0:12:54.800
<v Speaker 2>You yeah, Yeah, it's I mean, it doesn't really get

0:12:54.880 --> 0:12:56.800
<v Speaker 2>much better. What was it? Was it the Wembley show

0:12:56.840 --> 0:12:57.160
<v Speaker 2>you went to?

0:12:57.280 --> 0:13:00.640
<v Speaker 3>It was the Wembley Show. Yeah, he left where arena

0:13:00.679 --> 0:13:01.320
<v Speaker 3>in a jet path.

0:13:01.440 --> 0:13:03.360
<v Speaker 2>Yeah, I saw it. I remember watching it on TV.

0:13:03.520 --> 0:13:07.920
<v Speaker 3>Yeah in another interview. Actually I mentioned this the other day,

0:13:07.960 --> 0:13:10.600
<v Speaker 3>but I remember there was like one of these Michael

0:13:10.679 --> 0:13:14.320
<v Speaker 3>Jackson looking like kind of people milling around in the

0:13:14.320 --> 0:13:17.560
<v Speaker 3>crowd before the show, dressed up, you know, exactly like him,

0:13:17.559 --> 0:13:20.400
<v Speaker 3>looking exactly like him, and I was convinced that this

0:13:20.559 --> 0:13:23.040
<v Speaker 3>was Michael Jackson, and I was like I had to.

0:13:23.480 --> 0:13:24.880
<v Speaker 3>I was trying to get my mom to let me

0:13:25.000 --> 0:13:27.880
<v Speaker 3>go go and introduce me to him, and she's like,

0:13:27.920 --> 0:13:32.360
<v Speaker 3>it's not him. It's like, get his look, clearly.

0:13:33.040 --> 0:13:35.960
<v Speaker 2>Not saying yeah, so I'll come on, then let's go

0:13:36.040 --> 0:13:36.560
<v Speaker 2>meet Michael.

0:13:36.640 --> 0:13:39.120
<v Speaker 3>Come on. Yeah. I could have met Michael Jackson that

0:13:39.200 --> 0:13:41.160
<v Speaker 3>day in my own mind, but there we go.

0:13:41.600 --> 0:13:43.000
<v Speaker 2>So you grew up on Michael Jackson.

0:13:44.000 --> 0:13:46.640
<v Speaker 3>Yeah, for a couple of years. Yeah, but you know

0:13:46.720 --> 0:13:48.960
<v Speaker 3>I was a big fan. Yeah. Yeah, that was my

0:13:49.080 --> 0:13:52.320
<v Speaker 3>first kind of music that I got really really into

0:13:52.400 --> 0:13:53.120
<v Speaker 3>as a kid, you know.

0:13:53.400 --> 0:13:55.720
<v Speaker 2>Yeah, was it the Dangerous album? Was it bad?

0:13:55.960 --> 0:13:58.280
<v Speaker 3>It was bad? Actually, I think that got me into

0:13:58.320 --> 0:14:00.120
<v Speaker 3>it and then and then I was still in to

0:14:00.160 --> 0:14:04.400
<v Speaker 3>it become Dangerous. Yeah.

0:14:04.600 --> 0:14:06.800
<v Speaker 2>Yeah. He lost me after Dangerous, to be honest.

0:14:06.880 --> 0:14:08.720
<v Speaker 3>Yeah, I mean I grew up a little bit after that.

0:14:08.840 --> 0:14:11.720
<v Speaker 3>I mean, that's terrible to say. I still love Michael Jackson,

0:14:11.800 --> 0:14:14.360
<v Speaker 3>but you know, when you when you go, I guess

0:14:14.360 --> 0:14:17.440
<v Speaker 3>I discovered punk music shortly afterwards or something, you know. Sure.

0:14:17.559 --> 0:14:19.840
<v Speaker 2>So this is whilst you're you were living in Worcester

0:14:19.920 --> 0:14:22.120
<v Speaker 2>at the time, Yeah, which is where you grew up?

0:14:22.200 --> 0:14:23.560
<v Speaker 2>You were born there?

0:14:23.720 --> 0:14:27.280
<v Speaker 3>I was actually born in London, okay. Yeah. My mum

0:14:27.320 --> 0:14:29.800
<v Speaker 3>and dad when they were together, used to run the

0:14:29.880 --> 0:14:34.960
<v Speaker 3>Museum Tavern pub. Yeah, the Museum Tavern. It's in Kensington,

0:14:35.160 --> 0:14:42.280
<v Speaker 3>I believe, I know. I'm so sorry. Yeah, it's it's

0:14:42.320 --> 0:14:45.080
<v Speaker 3>by like the Natural History Museum that kind of very

0:14:45.120 --> 0:14:48.000
<v Speaker 3>but it's called the Museum Tavern and that's where I was.

0:14:49.320 --> 0:14:51.040
<v Speaker 3>I mean, I was born where I lived when I

0:14:51.080 --> 0:14:51.720
<v Speaker 3>was first.

0:14:51.440 --> 0:14:54.400
<v Speaker 2>Born, And what aged you move to Worcester.

0:14:55.840 --> 0:14:59.040
<v Speaker 3>And I'll say three years old. This I'm really terrible

0:14:59.080 --> 0:15:02.600
<v Speaker 3>at years and stuff, but it was around the age

0:15:02.640 --> 0:15:03.800
<v Speaker 3>of three or something like that.

0:15:03.880 --> 0:15:08.000
<v Speaker 2>Yeah, I went to Worcester fairly recently. My brothers moved

0:15:08.040 --> 0:15:10.800
<v Speaker 2>up that way. Oh okay, I went up. I'm pretty

0:15:10.840 --> 0:15:12.880
<v Speaker 2>sure it was. It was Worcester. I went on the

0:15:12.920 --> 0:15:15.400
<v Speaker 2>cathedral roof. Oh yeah, that's the thing, right.

0:15:15.360 --> 0:15:17.600
<v Speaker 3>Worcester Cathedral is a beautiful cathed.

0:15:17.640 --> 0:15:18.280
<v Speaker 2>It's amazing.

0:15:18.400 --> 0:15:23.960
<v Speaker 3>Yeah, first use of flying buttresses. I believe that's a

0:15:23.960 --> 0:15:24.440
<v Speaker 3>good fact.

0:15:24.440 --> 0:15:25.880
<v Speaker 2>That's the kind of stuff this podcast.

0:15:25.920 --> 0:15:29.280
<v Speaker 3>Now. Yeah, in the in the UK or maybe even Europe.

0:15:31.040 --> 0:15:33.520
<v Speaker 3>King John is buried there.

0:15:34.120 --> 0:15:37.280
<v Speaker 2>He is, but when I was there, there was some

0:15:37.320 --> 0:15:40.320
<v Speaker 2>scaffolding over his because it's inside, isn't it.

0:15:40.320 --> 0:15:42.320
<v Speaker 3>It's inside, he's right in the middle. Yeah, he's toomb

0:15:42.400 --> 0:15:42.760
<v Speaker 3>or whatever.

0:15:42.800 --> 0:15:45.480
<v Speaker 2>Then the concert going on and i'd put in rate seating.

0:15:45.880 --> 0:15:48.080
<v Speaker 2>Okay I missed that. But you go up on the

0:15:48.160 --> 0:15:50.480
<v Speaker 2>roof and you have to climb up. It feels like

0:15:50.480 --> 0:15:53.440
<v Speaker 2>you're climbing up like a hidden staircase.

0:15:53.600 --> 0:15:56.040
<v Speaker 3>Yeah. It is a little bit, isn't it. But it's beautiful.

0:15:56.080 --> 0:16:01.160
<v Speaker 3>And my other Worcester Cathedral fact is that it was

0:16:01.320 --> 0:16:03.480
<v Speaker 3>used on the twenty on the back of the twenty

0:16:03.520 --> 0:16:05.160
<v Speaker 3>pound notes for a very long time.

0:16:05.400 --> 0:16:08.440
<v Speaker 2>Okay, so what was Worster like as you were growing

0:16:08.520 --> 0:16:14.080
<v Speaker 2>up post Michael Jackson? It was teenage times.

0:16:14.200 --> 0:16:16.120
<v Speaker 3>Yeah, it was pretty good. I mean I was listening

0:16:16.120 --> 0:16:18.040
<v Speaker 3>to a lot of punk and hardcore at the time,

0:16:18.640 --> 0:16:22.360
<v Speaker 3>and there were some guys that used to put shows

0:16:22.400 --> 0:16:27.480
<v Speaker 3>on in you know, whichever whichever pub would let them

0:16:27.520 --> 0:16:29.560
<v Speaker 3>have the back function room or whatever for you know,

0:16:29.640 --> 0:16:32.480
<v Speaker 3>two quid or something like that, and they wouldn't get like,

0:16:33.160 --> 0:16:36.120
<v Speaker 3>you know, huge names or whatever, but you know, anyone

0:16:36.160 --> 0:16:38.360
<v Speaker 3>who was kind of on the touring circuit, they would

0:16:38.440 --> 0:16:41.520
<v Speaker 3>kind of bring through a lot of metal and things

0:16:41.560 --> 0:16:44.680
<v Speaker 3>like that, you know. So you know, it was fine.

0:16:44.760 --> 0:16:47.440
<v Speaker 3>And I used to spend a lot of time skateboarding and.

0:16:47.880 --> 0:16:50.920
<v Speaker 2>Was that were you were quite an outgoing kid.

0:16:50.960 --> 0:16:53.560
<v Speaker 3>Yeah, I would say so, yeah, yeah, I was. Yeah,

0:16:53.720 --> 0:16:55.840
<v Speaker 3>that's actually how I met Andy, you know, from from

0:16:55.880 --> 0:16:59.840
<v Speaker 3>my from my band was through skateboarding and Worcester.

0:16:59.800 --> 0:17:02.600
<v Speaker 2>Right, he was doing it as well. Yeah, So when

0:17:02.680 --> 0:17:05.360
<v Speaker 2>you meet Andy, was it a case of was that

0:17:05.480 --> 0:17:08.480
<v Speaker 2>pure luck? Because of what because of the music of

0:17:08.520 --> 0:17:12.080
<v Speaker 2>Fuck Buttons is is a very specific sound.

0:17:12.440 --> 0:17:12.640
<v Speaker 3>Yeah.

0:17:14.280 --> 0:17:16.080
<v Speaker 2>I grew up in South End, and if I had

0:17:16.080 --> 0:17:19.600
<v Speaker 2>been into that sound, yeah, I think the chance of

0:17:19.680 --> 0:17:22.280
<v Speaker 2>me finding the other person in South End that liked

0:17:22.280 --> 0:17:24.920
<v Speaker 2>that would be so slim. Was it like that or

0:17:25.240 --> 0:17:26.080
<v Speaker 2>was there kind.

0:17:25.840 --> 0:17:28.440
<v Speaker 3>Of No, it was a little different. Actually. I actually

0:17:28.480 --> 0:17:34.000
<v Speaker 3>met Andy through some mutual friends and we skateboarded a

0:17:34.000 --> 0:17:36.000
<v Speaker 3>little bit together, you know, when we lived in Worcester.

0:17:36.640 --> 0:17:38.679
<v Speaker 3>Then I didn't see him for a long time until

0:17:38.720 --> 0:17:42.480
<v Speaker 3>I went to Bristol. I went to university in Bristol.

0:17:42.520 --> 0:17:46.760
<v Speaker 3>I studied illustration and then I recognized Andy as someone

0:17:46.800 --> 0:17:48.639
<v Speaker 3>being from Worcester and I was like, oh, hey, you

0:17:48.640 --> 0:17:52.360
<v Speaker 3>know we used to scape together and we actually started

0:17:52.400 --> 0:17:55.359
<v Speaker 3>the band in Bristol, and there was like, you know,

0:17:55.560 --> 0:17:59.040
<v Speaker 3>like kind of a lot of like minded people who

0:17:59.119 --> 0:18:01.720
<v Speaker 3>liked weird music in Bristol, so he was just one

0:18:01.720 --> 0:18:04.680
<v Speaker 3>of those people. But it kind of it more came

0:18:04.720 --> 0:18:07.280
<v Speaker 3>about because we knew each other from years ago when

0:18:07.320 --> 0:18:09.640
<v Speaker 3>we used to skateboard when we were teenagers, and.

0:18:09.560 --> 0:18:11.600
<v Speaker 2>You knew, did you did you when you met him

0:18:11.640 --> 0:18:14.919
<v Speaker 2>you were did you instantly kind of click into what

0:18:15.040 --> 0:18:19.439
<v Speaker 2>became the fuck button sound he had.

0:18:19.119 --> 0:18:23.720
<v Speaker 3>He was making, you know, short films for his fine

0:18:23.800 --> 0:18:28.280
<v Speaker 3>art course, and and we thought we'd hope we used

0:18:28.280 --> 0:18:30.520
<v Speaker 3>to we used to go out drinking and stuff together

0:18:30.640 --> 0:18:33.520
<v Speaker 3>or whatever, and we decided that we would have a

0:18:33.560 --> 0:18:37.919
<v Speaker 3>crack at soundtracking one of these short films he made

0:18:38.080 --> 0:18:41.000
<v Speaker 3>and then and it worked out pretty well, so we

0:18:41.119 --> 0:18:42.680
<v Speaker 3>just carried on making music from there.

0:18:42.720 --> 0:18:44.240
<v Speaker 2>Really, And do you still skateboard now?

0:18:45.480 --> 0:18:46.760
<v Speaker 3>No? I don't.

0:18:47.760 --> 0:18:49.200
<v Speaker 2>When was the last time? When was the last time

0:18:49.200 --> 0:18:49.760
<v Speaker 2>you were on escape?

0:18:49.760 --> 0:18:51.280
<v Speaker 3>When was the last time I was on a skateboard?

0:18:51.320 --> 0:18:54.600
<v Speaker 3>There's there's a skateboard in my in my hallway at

0:18:54.600 --> 0:18:57.560
<v Speaker 3>the moment that I can't can't get rid of, just

0:18:57.600 --> 0:19:01.760
<v Speaker 3>in case. But I mean, last time I went to

0:19:01.840 --> 0:19:04.000
<v Speaker 3>a skate park with a friend of mine who lives

0:19:04.040 --> 0:19:07.879
<v Speaker 3>in London called Conan, And we went to a skate

0:19:07.960 --> 0:19:13.200
<v Speaker 3>park maybe about six years ago, and all the kids

0:19:13.200 --> 0:19:15.520
<v Speaker 3>were just tearing it up. You know, it's just embarrassing.

0:19:15.560 --> 0:19:18.560
<v Speaker 3>I felt like an embarrassing dad or something, trying to

0:19:19.040 --> 0:19:20.880
<v Speaker 3>you know, like I was maybe going through a midlife

0:19:20.880 --> 0:19:24.000
<v Speaker 3>crisis or something. But if I was good, I wouldn't

0:19:24.000 --> 0:19:25.680
<v Speaker 3>have felt like that. But they were all so much

0:19:25.720 --> 0:19:27.640
<v Speaker 3>better them, And I was like, we got to we've

0:19:27.640 --> 0:19:28.560
<v Speaker 3>got to put an end to this.

0:19:28.680 --> 0:19:31.639
<v Speaker 2>Right now, I live opposite at a skate park in

0:19:31.680 --> 0:19:34.720
<v Speaker 2>Camden and some of the kids in there are like

0:19:34.880 --> 0:19:35.680
<v Speaker 2>five year old.

0:19:35.840 --> 0:19:36.639
<v Speaker 3>Unbelievable.

0:19:36.720 --> 0:19:39.840
<v Speaker 2>Yeah, fearless. I think it's the fearless nature youth, isn't it,

0:19:39.880 --> 0:19:41.640
<v Speaker 2>I guess. But a lot of them are in there

0:19:41.640 --> 0:19:42.359
<v Speaker 2>on scooters.

0:19:42.359 --> 0:19:45.800
<v Speaker 3>Now, oh okay, I mean whatever whatever you want, that's fine.

0:19:45.880 --> 0:19:48.520
<v Speaker 2>But there's kind of like tribes. You know, there's like

0:19:48.520 --> 0:19:51.320
<v Speaker 2>a scooter tribe, and then there's the tables are amazing,

0:19:51.320 --> 0:19:55.560
<v Speaker 2>and that's such tiny kids. It's a it makes you sick,

0:19:55.640 --> 0:19:57.480
<v Speaker 2>doesn't I never really got very far with it. I

0:19:57.520 --> 0:19:58.960
<v Speaker 2>used to be. I used to speak quite into it,

0:19:58.960 --> 0:20:02.199
<v Speaker 2>but I could only ever Ollie upper curve was. That

0:20:02.280 --> 0:20:03.840
<v Speaker 2>was as good as I got.

0:20:03.960 --> 0:20:05.639
<v Speaker 3>I got, all right, I used to I used to

0:20:05.640 --> 0:20:09.480
<v Speaker 3>throw myself off like big sets of stairs and I

0:20:09.480 --> 0:20:13.560
<v Speaker 3>would have like a maybe you know, maybe one out

0:20:13.600 --> 0:20:18.800
<v Speaker 3>of ten success rate or something like that. I mean,

0:20:18.840 --> 0:20:20.840
<v Speaker 3>I was never very technical, but I had some I

0:20:20.880 --> 0:20:21.919
<v Speaker 3>had some balls, you know.

0:20:22.000 --> 0:20:23.639
<v Speaker 2>Yeah, that's half the battle.

0:20:23.640 --> 0:20:25.760
<v Speaker 3>I think that's half the battle. But now I just

0:20:26.000 --> 0:20:28.280
<v Speaker 3>if I break something, do you know what I mean?

0:20:28.320 --> 0:20:30.320
<v Speaker 3>I can't I can't do my job.

0:20:30.760 --> 0:20:32.679
<v Speaker 2>And you'd have to explain at the hospital that you

0:20:32.680 --> 0:20:34.159
<v Speaker 2>were skateboarding.

0:20:33.600 --> 0:20:37.199
<v Speaker 3>And they're like, yeah, they'd be grow up. Come on.

0:20:38.320 --> 0:20:41.080
<v Speaker 3>It's terrible to say, though, because like you know, there

0:20:41.080 --> 0:20:43.880
<v Speaker 3>are still people our age who do it and are good,

0:20:43.960 --> 0:20:44.399
<v Speaker 3>are great.

0:20:44.560 --> 0:20:47.320
<v Speaker 2>Yeah, yeah, I guess you just need to kicked in it.

0:20:47.400 --> 0:20:49.560
<v Speaker 2>But I mean punk, the punk music you were listening

0:20:49.560 --> 0:20:51.960
<v Speaker 2>to at the time, that just goes so hand in

0:20:52.000 --> 0:20:55.440
<v Speaker 2>hand with skating and that cultures, that culture.

0:20:55.520 --> 0:20:57.960
<v Speaker 3>Yeah, they definitely. Yeah.

0:20:58.160 --> 0:21:01.080
<v Speaker 2>Who were the big bands for you?

0:21:01.320 --> 0:21:03.600
<v Speaker 3>The big bands for me? I mean, you know when

0:21:03.640 --> 0:21:06.520
<v Speaker 3>I went through a lot of phases as well during

0:21:06.560 --> 0:21:08.439
<v Speaker 3>that time. I mean I would listen to stuff like

0:21:08.480 --> 0:21:12.000
<v Speaker 3>The Misfits and No Effects, even things like that, you

0:21:12.040 --> 0:21:13.280
<v Speaker 3>know when I first.

0:21:14.320 --> 0:21:16.720
<v Speaker 2>Because we're around the same age, and I remember that.

0:21:17.240 --> 0:21:20.760
<v Speaker 3>Duff like that, who I still have time for around

0:21:20.800 --> 0:21:22.800
<v Speaker 3>I still have time for all these bands. Really not

0:21:22.840 --> 0:21:25.600
<v Speaker 3>so much No Effects anymore, but I would listen to

0:21:25.600 --> 0:21:28.840
<v Speaker 3>it if it came on. And then I guess grunge

0:21:29.000 --> 0:21:32.119
<v Speaker 3>happened after that, and Nirvana were the big thing for me,

0:21:32.160 --> 0:21:36.000
<v Speaker 3>who I still love and Sound Garden, But I mean, yeah,

0:21:36.040 --> 0:21:38.480
<v Speaker 3>I mean that that kind of culture. Skating definitely goes

0:21:38.480 --> 0:21:40.560
<v Speaker 3>hand in hand with it, doesn't it.

0:21:40.600 --> 0:21:43.720
<v Speaker 2>So you started Funck Buttons in in Bristol and then

0:21:43.760 --> 0:21:46.960
<v Speaker 2>moved to London, I presume, Yeah.

0:21:46.760 --> 0:21:49.159
<v Speaker 3>That's right. I actually I actually moved back to Worcester

0:21:49.200 --> 0:21:52.680
<v Speaker 3>for a little bit and then moved to London pretty

0:21:52.760 --> 0:21:56.480
<v Speaker 3>much when Funck Buttons first started, just before our first tour.

0:21:56.560 --> 0:21:59.360
<v Speaker 3>I actually I moved to London just before that.

0:21:59.680 --> 0:22:04.080
<v Speaker 2>Yeah, on the on the name fuck Buttons. I've only

0:22:04.080 --> 0:22:05.200
<v Speaker 2>mentioned this because.

0:22:05.080 --> 0:22:07.239
<v Speaker 4>Because you mentioned it, Because I like that that you

0:22:07.240 --> 0:22:08.200
<v Speaker 4>had to say earlier.

0:22:08.480 --> 0:22:10.000
<v Speaker 2>I was just swear it's.

0:22:09.840 --> 0:22:14.600
<v Speaker 3>Okay to such a polite nihilist. I like that.

0:22:15.600 --> 0:22:18.159
<v Speaker 2>It's got to a point where because I remember fun

0:22:18.240 --> 0:22:22.359
<v Speaker 2>Buttons coming out, I remember the first record and thinking, what,

0:22:22.560 --> 0:22:24.879
<v Speaker 2>you know, what a great name. But I never really

0:22:24.920 --> 0:22:28.679
<v Speaker 2>thought it would be an issue like the expletiff in

0:22:28.760 --> 0:22:33.159
<v Speaker 2>it because of the world you exist in. But now

0:22:33.680 --> 0:22:36.679
<v Speaker 2>there is times where I would see it written as

0:22:36.840 --> 0:22:39.160
<v Speaker 2>f buttons in things.

0:22:39.960 --> 0:22:42.480
<v Speaker 3>I mean when we when we first started it, we

0:22:42.480 --> 0:22:44.800
<v Speaker 3>didn't think we were going to be playing anywhere outside

0:22:44.800 --> 0:22:46.800
<v Speaker 3>of the pub down the road in Bristol, do you

0:22:46.840 --> 0:22:49.879
<v Speaker 3>know what I mean? And there were a couple of

0:22:49.880 --> 0:22:54.000
<v Speaker 3>occasions where there was talk of some kind of self

0:22:54.040 --> 0:22:59.840
<v Speaker 3>censor censorship. But my you know, my my roots and

0:23:00.160 --> 0:23:04.359
<v Speaker 3>the punk in me would be like, well you know that,

0:23:04.400 --> 0:23:07.600
<v Speaker 3>Why why should I change my name for somebody else's benefit.

0:23:09.560 --> 0:23:11.000
<v Speaker 3>I'm still glad we didn't.

0:23:11.280 --> 0:23:11.960
<v Speaker 2>Yeah, it's great.

0:23:12.040 --> 0:23:12.320
<v Speaker 3>Yeah.

0:23:12.480 --> 0:23:15.919
<v Speaker 2>Does it feel with the places that the band's gone to,

0:23:17.240 --> 0:23:20.560
<v Speaker 2>which essentially well, I mean when you see it edited,

0:23:21.080 --> 0:23:23.520
<v Speaker 2>it's because it's in a realm that is probably outside

0:23:23.520 --> 0:23:26.240
<v Speaker 2>where you thought it would be existing.

0:23:26.320 --> 0:23:28.960
<v Speaker 3>Yeah, I mean, you know, so for example the Olympics.

0:23:29.000 --> 0:23:31.680
<v Speaker 3>You know when when they use blank masks and funk

0:23:31.720 --> 0:23:34.600
<v Speaker 3>buttons in the Olympics, it's it's f buttons, you know,

0:23:34.720 --> 0:23:37.040
<v Speaker 3>because you know it's our family show.

0:23:37.440 --> 0:23:39.200
<v Speaker 2>You can't lord co.

0:23:39.800 --> 0:23:44.600
<v Speaker 3>Yeah, exactly, that's right. The Queen will be there, you know.

0:23:45.440 --> 0:23:48.600
<v Speaker 2>Did that around that whole time of of I mean,

0:23:48.720 --> 0:23:51.880
<v Speaker 2>I mean I remember watching the Olympic opening ceremony. I'm

0:23:51.880 --> 0:23:54.720
<v Speaker 2>a big fan of the Olympics. Anyway, Yeah, I get

0:23:54.840 --> 0:23:58.000
<v Speaker 2>quite caught up in it. I was very excited about

0:23:58.160 --> 0:24:02.080
<v Speaker 2>it being here, and we had a party at my

0:24:02.160 --> 0:24:05.120
<v Speaker 2>friend's house and we for the opening. Yeah, and as

0:24:05.119 --> 0:24:07.800
<v Speaker 2>soon as it started and funck buns. It was the

0:24:07.800 --> 0:24:09.159
<v Speaker 2>first sound of it.

0:24:09.080 --> 0:24:12.400
<v Speaker 3>Pretty much opening kind of like video sequence.

0:24:12.480 --> 0:24:14.679
<v Speaker 2>Yeah, And I was with a friend of mine who

0:24:15.680 --> 0:24:17.600
<v Speaker 2>who knows your music as well, but a lot of

0:24:17.600 --> 0:24:19.399
<v Speaker 2>my other friends don't, and we kind of looked at

0:24:19.440 --> 0:24:21.360
<v Speaker 2>each other, It's like, that's a that's a fun bun

0:24:21.440 --> 0:24:23.960
<v Speaker 2>so And that was kind of like did it go?

0:24:24.240 --> 0:24:25.560
<v Speaker 2>Did your phone go? Mentor?

0:24:25.600 --> 0:24:29.840
<v Speaker 3>At that point, I think enough people knew that about it.

0:24:30.200 --> 0:24:32.879
<v Speaker 3>I mean we had to sign obviously side disclaimers and

0:24:32.920 --> 0:24:37.600
<v Speaker 3>stuff like that, but you know, close family and stuff.

0:24:37.640 --> 0:24:39.520
<v Speaker 2>They I was like, you know, they were tuning in

0:24:39.520 --> 0:24:40.000
<v Speaker 2>to watch it.

0:24:40.080 --> 0:24:42.040
<v Speaker 3>Yeah, of course, but I mean it did to a

0:24:42.080 --> 0:24:44.000
<v Speaker 3>certain degree. Yeah, I would be lying if I say

0:24:44.040 --> 0:24:46.159
<v Speaker 3>it didn't. Is this your music?

0:24:47.480 --> 0:24:49.280
<v Speaker 2>And there were some blank mask tracks on there as well.

0:24:49.400 --> 0:24:51.560
<v Speaker 3>Yeah, there was actually more blank musters and than fuck

0:24:51.640 --> 0:24:54.960
<v Speaker 3>buttons in there. Whenever a flag, whenever there was any.

0:24:54.880 --> 0:24:56.960
<v Speaker 2>It was a flag thing, wasn't it. They were like

0:24:57.280 --> 0:24:59.600
<v Speaker 2>when the torch came in, The torch came in.

0:24:59.680 --> 0:25:02.240
<v Speaker 3>That was always That was always sundown from the first

0:25:02.240 --> 0:25:05.480
<v Speaker 3>blank Mass album with the London Symphony Orchestra, which I

0:25:05.520 --> 0:25:08.520
<v Speaker 3>went to see being recorded around the corner at Abbey Road,

0:25:08.560 --> 0:25:09.760
<v Speaker 3>and that was quite something.

0:25:09.880 --> 0:25:11.360
<v Speaker 2>Yeah, was that in the big room there.

0:25:11.480 --> 0:25:13.199
<v Speaker 3>That was in the big room. Yeah, there was like

0:25:13.200 --> 0:25:17.760
<v Speaker 3>a sixty strong string section and a thirty strong brass section,

0:25:18.119 --> 0:25:21.600
<v Speaker 3>you know, the London Symphony Orchestra. Wow. And Rick Smith

0:25:21.680 --> 0:25:23.159
<v Speaker 3>took me in to meet them all and I was

0:25:23.240 --> 0:25:24.919
<v Speaker 3>like bloody yell and so.

0:25:25.000 --> 0:25:30.040
<v Speaker 2>They kind of are you introduced to the orchestra and yeah, yeah,

0:25:30.359 --> 0:25:30.680
<v Speaker 2>and you.

0:25:30.640 --> 0:25:32.720
<v Speaker 3>Do a little bout that, just a little bit. Yeah,

0:25:32.760 --> 0:25:33.200
<v Speaker 3>that's right.

0:25:33.280 --> 0:25:37.159
<v Speaker 2>Yeah, well that's quite an experience too. Yeah, that was

0:25:37.280 --> 0:25:40.440
<v Speaker 2>very cool to kind of do that kind of thing.

0:25:40.760 --> 0:25:44.359
<v Speaker 2>Is soundtracking something that soundtracking seems so? I mean you

0:25:44.400 --> 0:25:46.520
<v Speaker 2>say that you and Andy started off soundtracking some.

0:25:46.440 --> 0:25:51.119
<v Speaker 3>Of his yeah, like a short, like a UNI project basically, but.

0:25:51.119 --> 0:25:54.560
<v Speaker 2>That kind of feels like now the music you make

0:25:54.680 --> 0:25:55.600
<v Speaker 2>is so fit.

0:25:55.480 --> 0:25:59.640
<v Speaker 3>For Yes, I mean everything, you know, all of these

0:25:59.680 --> 0:26:02.600
<v Speaker 3>albums have such like a strong sense of narrative in

0:26:02.640 --> 0:26:06.560
<v Speaker 3>them any anything that I do, I mean, yeah, soundtracking

0:26:06.680 --> 0:26:10.439
<v Speaker 3>is something that I've done a little bit of, but

0:26:10.560 --> 0:26:13.600
<v Speaker 3>I want to and hopefully I'm going to be doing

0:26:13.640 --> 0:26:16.000
<v Speaker 3>a lot more of. Yeah.

0:26:16.240 --> 0:26:18.879
<v Speaker 2>And now you're not living down here at all.

0:26:18.920 --> 0:26:22.160
<v Speaker 3>You're living in Edinburgh, just outside of Edinburgh, now, Yeah.

0:26:22.000 --> 0:26:24.040
<v Speaker 2>Where you've been for maybe a couple of years, because

0:26:24.040 --> 0:26:25.960
<v Speaker 2>I remember you were in the magazine three years.

0:26:26.119 --> 0:26:27.840
<v Speaker 3>Yeah, yeah, three years.

0:26:28.520 --> 0:26:30.760
<v Speaker 2>What was it that made you want to get out

0:26:30.760 --> 0:26:31.280
<v Speaker 2>of this town?

0:26:32.080 --> 0:26:35.560
<v Speaker 3>Well, my wife and I wanted to get out of

0:26:35.560 --> 0:26:39.000
<v Speaker 3>London because it was starting to get a little a

0:26:39.040 --> 0:26:42.919
<v Speaker 3>little claustrophobic, and obviously we wanted to find somewhere that

0:26:42.960 --> 0:26:46.920
<v Speaker 3>could be ours. And you know, she was actually born

0:26:46.960 --> 0:26:50.440
<v Speaker 3>in Edinburgh. I really liked it from when I'd been

0:26:50.480 --> 0:26:53.160
<v Speaker 3>touring there, you know, and I was whenever we were there,

0:26:54.080 --> 0:26:56.280
<v Speaker 3>I just felt this kind of you know, I could

0:26:56.359 --> 0:27:00.320
<v Speaker 3>really see myself living here. You know, it's beautiful, you know,

0:27:00.359 --> 0:27:03.600
<v Speaker 3>the architectures are Gothic and it's really it's really nice.

0:27:03.600 --> 0:27:08.240
<v Speaker 3>So yeah, so that was that, really, And we lived

0:27:08.240 --> 0:27:12.439
<v Speaker 3>in town for the first year when we arrived, like

0:27:12.560 --> 0:27:15.199
<v Speaker 3>right in, right in the city center, and now we

0:27:15.320 --> 0:27:19.320
<v Speaker 3>live it's fifteen miles outside of town and it's a

0:27:19.359 --> 0:27:22.640
<v Speaker 3>little more rural, but it definitely is a change from

0:27:22.720 --> 0:27:25.160
<v Speaker 3>living next door to the Shackle Arms, which I did

0:27:25.200 --> 0:27:26.919
<v Speaker 3>for about six years.

0:27:27.160 --> 0:27:29.879
<v Speaker 2>Right, Okay, Yeah, Well you like in what in that

0:27:29.960 --> 0:27:33.040
<v Speaker 2>row of building that's is directly next door to the pub.

0:27:33.440 --> 0:27:39.080
<v Speaker 3>Yeah, that Band of Horrors had Yeah, yeah, oh, yeah,

0:27:39.440 --> 0:27:42.000
<v Speaker 3>that's where I lived, all right, okay, Yeah, my Lafe's place.

0:27:42.240 --> 0:27:45.520
<v Speaker 2>Yeah, I went there once to do to meet him.

0:27:45.840 --> 0:27:47.320
<v Speaker 2>I had like a little courtyard and it used to

0:27:47.320 --> 0:27:48.679
<v Speaker 2>be like a dairy farm or.

0:27:48.760 --> 0:27:51.520
<v Speaker 3>Yeah, that's right, it used to be a dairy and

0:27:51.640 --> 0:27:56.640
<v Speaker 3>fuck Buttons actually had he had. I made a studio

0:27:56.640 --> 0:27:58.960
<v Speaker 3>space in there for fuck Buttons, right, and well I'm

0:27:58.960 --> 0:28:02.119
<v Speaker 3>black mass as well in that courtyard, but which I

0:28:02.160 --> 0:28:04.399
<v Speaker 3>believe I actually yeah, I don't know. I was about

0:28:04.440 --> 0:28:06.760
<v Speaker 3>to say such and such has it now, but I

0:28:06.760 --> 0:28:08.480
<v Speaker 3>don't know if that's right, is it?

0:28:08.520 --> 0:28:08.879
<v Speaker 2>Okay?

0:28:09.359 --> 0:28:12.760
<v Speaker 3>Because there might be people fans of fans of mister

0:28:12.880 --> 0:28:17.359
<v Speaker 3>slash missus X that I maybe shouldn't mention. Okay, maybe

0:28:17.359 --> 0:28:20.040
<v Speaker 3>people already. No, I don't know. But anyway, there's a

0:28:20.040 --> 0:28:20.720
<v Speaker 3>studio in that.

0:28:21.040 --> 0:28:23.600
<v Speaker 2>Yeah, that is right in the middle of that's in

0:28:23.640 --> 0:28:25.920
<v Speaker 2>the thick of it, though, I mean a busy place

0:28:25.960 --> 0:28:26.840
<v Speaker 2>to be I imagine.

0:28:27.040 --> 0:28:27.240
<v Speaker 4>Yeah.

0:28:27.440 --> 0:28:31.120
<v Speaker 3>I mean my bedroom window faced onto the street outside

0:28:31.119 --> 0:28:35.359
<v Speaker 3>the sheackle well arms as well, so when chucking out time,

0:28:35.440 --> 0:28:38.560
<v Speaker 3>it was very difficult to not get woken up.

0:28:38.760 --> 0:28:41.880
<v Speaker 2>Right, Yeah, yeah, I can imagine. Yeah, So what's what's

0:28:41.920 --> 0:28:47.400
<v Speaker 2>your kind of basic typical daily regime up in Scotland

0:28:49.120 --> 0:28:50.400
<v Speaker 2>in the studio at eight.

0:28:50.680 --> 0:28:53.440
<v Speaker 3>I mean really depending on what time my wife goes

0:28:53.480 --> 0:28:56.640
<v Speaker 3>to work, because I get it when she does. And yeah,

0:28:56.800 --> 0:29:00.600
<v Speaker 3>then I go into the studio, maybe to answer a

0:29:00.640 --> 0:29:03.400
<v Speaker 3>couple of emails, maybe I don't, depending on what's going on.

0:29:03.640 --> 0:29:05.280
<v Speaker 3>And then yeah, straight into the studio.

0:29:05.720 --> 0:29:08.480
<v Speaker 2>And is that a case of you just making things?

0:29:08.560 --> 0:29:12.280
<v Speaker 2>You just constantly in there making music. It's not like

0:29:13.080 --> 0:29:15.160
<v Speaker 2>you're in the studio, but you're in the studio providing

0:29:15.400 --> 0:29:18.680
<v Speaker 2>you've decided you're going to make this new record for example.

0:29:18.880 --> 0:29:21.080
<v Speaker 3>I mean, it depends what's going on. You know. Sometimes

0:29:21.080 --> 0:29:25.960
<v Speaker 3>there's remixes and things like that to do, or you know,

0:29:26.120 --> 0:29:30.800
<v Speaker 3>mixing for something that already exists or I mean, but

0:29:30.880 --> 0:29:33.160
<v Speaker 3>the real fun is when I get to there's no

0:29:34.040 --> 0:29:36.320
<v Speaker 3>set goal in mind, and I just get to play

0:29:36.320 --> 0:29:39.440
<v Speaker 3>around with whatever I have in there, and then you know,

0:29:39.640 --> 0:29:41.720
<v Speaker 3>build up a library of stuff.

0:29:41.440 --> 0:29:44.000
<v Speaker 2>And what's your setup? Is it it's like a home studio,

0:29:44.080 --> 0:29:45.160
<v Speaker 2>but is it where is it? Is it in the

0:29:45.200 --> 0:29:47.120
<v Speaker 2>garage or is it in a spare room or.

0:29:47.120 --> 0:29:51.880
<v Speaker 3>It's actually in the kind of spare room. But yeah,

0:29:51.920 --> 0:29:54.360
<v Speaker 3>and it's good. You know, it's like it's not it's

0:29:54.400 --> 0:29:56.680
<v Speaker 3>not huge, but I can fit stuff in there. I

0:29:56.680 --> 0:29:59.320
<v Speaker 3>mean I couldn't fit a drunk in there, but I

0:29:59.360 --> 0:30:01.280
<v Speaker 3>can fit all my budget's in there, no problem.

0:30:01.560 --> 0:30:03.280
<v Speaker 2>Sure. Yeah, And it's some way you can make as

0:30:03.360 --> 0:30:04.160
<v Speaker 2>much noise as.

0:30:04.000 --> 0:30:05.800
<v Speaker 3>You I can make as much noise as I mean,

0:30:05.840 --> 0:30:11.000
<v Speaker 3>I haven't, I've tested it out. We're directly below as well,

0:30:11.840 --> 0:30:15.440
<v Speaker 3>so it's actually in the essentially in the eaves of

0:30:15.480 --> 0:30:18.760
<v Speaker 3>like an old house that was built in seventeen seventy

0:30:18.800 --> 0:30:21.600
<v Speaker 3>three I think the house was built, okay, And the

0:30:21.640 --> 0:30:24.720
<v Speaker 3>studio is up in the eves, so directly below the

0:30:24.760 --> 0:30:29.600
<v Speaker 3>studio is our space again, so you know, we don't

0:30:29.600 --> 0:30:32.880
<v Speaker 3>have neighbors directly below the studio, so it's actually quite handy.

0:30:33.360 --> 0:30:36.120
<v Speaker 3>I mean, it's a small space, so it doesn't need

0:30:36.400 --> 0:30:39.840
<v Speaker 3>much to fill it anyway. But it's nice to know

0:30:39.960 --> 0:30:42.880
<v Speaker 3>that if I do want to, you know, try and

0:30:42.880 --> 0:30:45.000
<v Speaker 3>make my own ears bleed, then I can without too

0:30:45.120 --> 0:30:47.960
<v Speaker 3>much without affecting the neighbors too much.

0:30:48.040 --> 0:30:50.720
<v Speaker 2>Yeah. Has the fact that you're the fact so you're

0:30:50.760 --> 0:30:52.880
<v Speaker 2>out in the sticks a little bit more as opposed

0:30:52.880 --> 0:30:56.560
<v Speaker 2>to the center of town. Has that affected Has that

0:30:56.600 --> 0:30:58.600
<v Speaker 2>affected the output the music?

0:31:00.160 --> 0:31:02.760
<v Speaker 3>Yeah? I mean, I think it would be it'd be

0:31:02.840 --> 0:31:09.320
<v Speaker 3>fast stretched to find somebody who's geographical location didn't have

0:31:09.440 --> 0:31:13.240
<v Speaker 3>some impact on the record, whatever that may be. I mean,

0:31:13.280 --> 0:31:18.520
<v Speaker 3>I and it's difficult to say how it has impacted it.

0:31:18.920 --> 0:31:24.720
<v Speaker 3>But I mean, Dumbflash was written in three or four

0:31:24.760 --> 0:31:30.480
<v Speaker 3>different locations, and World Eater was written solely in this space.

0:31:32.600 --> 0:31:35.160
<v Speaker 3>So maybe it might sound a little bit more direct

0:31:35.200 --> 0:31:39.680
<v Speaker 3>and cohesive. Perhaps, I don't know, but that's how I

0:31:39.720 --> 0:31:39.960
<v Speaker 3>did it.

0:31:40.000 --> 0:31:45.880
<v Speaker 2>Anyway, sort of title World Eater an incredible. I mean,

0:31:45.920 --> 0:31:48.240
<v Speaker 2>that's put the bar here for titles of the year.

0:31:48.480 --> 0:31:49.800
<v Speaker 2>Oh yeah, yeah, I think so.

0:31:50.080 --> 0:31:50.680
<v Speaker 3>Oh that's cool.

0:31:50.760 --> 0:31:53.400
<v Speaker 2>It's I didn't realize.

0:31:53.000 --> 0:31:55.160
<v Speaker 3>But there's a bolt throw a song called world Eater

0:31:55.240 --> 0:31:57.600
<v Speaker 3>that somebody asked me about the other day. And apparently

0:31:57.640 --> 0:32:01.320
<v Speaker 3>there's also like a comic book character world Eater or

0:32:01.360 --> 0:32:03.640
<v Speaker 3>the World Eater or something like that. Yeah. I don't

0:32:03.680 --> 0:32:07.600
<v Speaker 3>I don't read comics, but apparently there is. Anyway, So

0:32:07.640 --> 0:32:08.520
<v Speaker 3>where did where did it?

0:32:08.880 --> 0:32:10.360
<v Speaker 2>How did that come to you? That?

0:32:11.240 --> 0:32:14.680
<v Speaker 3>I mean, the theme of the album is about you

0:32:14.720 --> 0:32:17.640
<v Speaker 3>know this, this this inner beast that you know this

0:32:17.920 --> 0:32:22.440
<v Speaker 3>kind of evolutional evolve evolutional evolved hangover that we have,

0:32:24.160 --> 0:32:27.920
<v Speaker 3>we're still very territorial and and that is the world

0:32:27.960 --> 0:32:30.920
<v Speaker 3>eater I guess. I mean, you can interpret it however

0:32:30.960 --> 0:32:35.200
<v Speaker 3>you want to. Also, you know, maybe the human humans

0:32:35.240 --> 0:32:37.320
<v Speaker 3>are the world eaters and we're destroying ourselves.

0:32:38.040 --> 0:32:42.160
<v Speaker 2>Is it the it sounds like because it's a it's

0:32:42.160 --> 0:32:45.520
<v Speaker 2>a dark record. I guess it's a dark record for

0:32:45.560 --> 0:32:50.960
<v Speaker 2>a dark time our current. You read it last year, right, yes, yeah,

0:32:51.560 --> 0:32:53.960
<v Speaker 2>which is I don't know if you know this, but

0:32:53.960 --> 0:32:55.600
<v Speaker 2>apparently it was the worst year in the history of

0:32:55.640 --> 0:32:59.480
<v Speaker 2>the world last year, as we all have to say

0:32:59.720 --> 0:33:05.320
<v Speaker 2>any given opportunity, did you feel, how did your twenty

0:33:06.400 --> 0:33:08.040
<v Speaker 2>sixteen feel?

0:33:08.200 --> 0:33:15.080
<v Speaker 3>Well? I mean, you know, it's very difficult for somebody

0:33:15.160 --> 0:33:21.680
<v Speaker 3>of you know, reasonable privilege to really put a finite

0:33:22.840 --> 0:33:25.479
<v Speaker 3>measure on how bad it was. But I mean a

0:33:25.520 --> 0:33:27.920
<v Speaker 3>lot of shit went down and still is going down,

0:33:28.120 --> 0:33:32.560
<v Speaker 3>and things aren't right, and human beings are fucking horrible,

0:33:32.840 --> 0:33:37.680
<v Speaker 3>and you know, I it's yeah, it's difficult for me

0:33:37.760 --> 0:33:40.040
<v Speaker 3>to say. I mean, sure there was, like, but all

0:33:40.040 --> 0:33:42.360
<v Speaker 3>these things affect you, don't they, Yeah, of course, do

0:33:42.400 --> 0:33:45.160
<v Speaker 3>you know what I mean? It's like, I mean I

0:33:45.160 --> 0:33:46.880
<v Speaker 3>didn't have a great year. I didn't have a I

0:33:46.920 --> 0:33:49.000
<v Speaker 3>didn't have as bad a year as some people in

0:33:49.040 --> 0:33:52.280
<v Speaker 3>this world, though, you know, yeah.

0:33:51.400 --> 0:33:53.800
<v Speaker 2>And I think that's important to remember. Of course, a

0:33:53.800 --> 0:33:55.720
<v Speaker 2>lot of people, I think we kind of did all

0:33:55.760 --> 0:33:58.400
<v Speaker 2>get a little bit too hysterical.

0:33:59.760 --> 0:34:03.000
<v Speaker 3>Well, I mean it's difficult not to when when things

0:34:03.000 --> 0:34:06.280
<v Speaker 3>are so fucked up, isn't it? I think? But it

0:34:06.360 --> 0:34:10.359
<v Speaker 3>is important to remember, I think. But I mean, you know,

0:34:11.800 --> 0:34:15.040
<v Speaker 3>I mean, if you feel you feel towards people who

0:34:15.040 --> 0:34:16.839
<v Speaker 3>are going through things a lot worse than you, don't

0:34:16.880 --> 0:34:19.760
<v Speaker 3>you that's another you know it is it is possible

0:34:19.800 --> 0:34:25.080
<v Speaker 3>to feel empathy and and that affects you know, that

0:34:25.120 --> 0:34:29.600
<v Speaker 3>affects that affects you too, doesn't it. Yeah?

0:34:30.120 --> 0:34:33.759
<v Speaker 2>So is the is the is the record? Is World Eat?

0:34:33.800 --> 0:34:37.680
<v Speaker 2>The music on World Eater? Is it a direct reaction

0:34:37.920 --> 0:34:40.359
<v Speaker 2>to last year?

0:34:40.440 --> 0:34:44.000
<v Speaker 3>And well, I mean you know it was written over

0:34:44.600 --> 0:34:48.719
<v Speaker 3>a reasonably small space of time for me anyway, last year,

0:34:48.800 --> 0:34:50.480
<v Speaker 3>and you know, all of this stuff was going on

0:34:50.840 --> 0:34:53.200
<v Speaker 3>at the same time. And as I was saying before,

0:34:53.239 --> 0:34:57.440
<v Speaker 3>you know, you are a manifestation. You know what you

0:34:57.880 --> 0:35:01.880
<v Speaker 3>put out as are is you know, does manifest itself

0:35:01.920 --> 0:35:05.360
<v Speaker 3>as from what is going on around you? I would say,

0:35:05.640 --> 0:35:08.439
<v Speaker 3>I mean, I never try and you know, sit down

0:35:08.480 --> 0:35:10.439
<v Speaker 3>in the studio and go right, I want to write

0:35:10.440 --> 0:35:13.000
<v Speaker 3>a hip hop track today. It doesn't work like that.

0:35:13.080 --> 0:35:16.000
<v Speaker 3>I mean, it's all it's almost like automatic writing, so

0:35:17.480 --> 0:35:21.160
<v Speaker 3>and and experimentation, so what what what's going on is

0:35:21.239 --> 0:35:24.120
<v Speaker 3>definitely has some impact. So to answer your question in

0:35:24.120 --> 0:35:25.040
<v Speaker 3>one word, yes.

0:35:25.880 --> 0:35:29.520
<v Speaker 2>But maybe you just don't know exactly was there. Was

0:35:29.560 --> 0:35:33.120
<v Speaker 2>there a trigger or a particular thing that that got

0:35:33.160 --> 0:35:35.480
<v Speaker 2>you going on right in this record? So you're like,

0:35:35.640 --> 0:35:37.319
<v Speaker 2>that's it, I've had enough, I'm going to I'm going

0:35:37.320 --> 0:35:38.440
<v Speaker 2>to the studio experience.

0:35:38.480 --> 0:35:40.640
<v Speaker 3>No, see, that's the thing. It wasn't It wasn't a

0:35:40.640 --> 0:35:43.279
<v Speaker 3>protest record. That would be a protest record that would

0:35:43.280 --> 0:35:47.160
<v Speaker 3>be reactionary. And whilst it is like reactionary to a

0:35:47.160 --> 0:35:50.960
<v Speaker 3>certain degree, I'd say it's more of a it's more

0:35:50.960 --> 0:35:54.960
<v Speaker 3>of a kind of and like a recognition as opposed

0:35:55.000 --> 0:35:58.680
<v Speaker 3>to a reaction. The overall theme is more of Yeah,

0:35:59.040 --> 0:36:03.360
<v Speaker 3>it's more of a recognition. So and also I'm constantly writing,

0:36:03.480 --> 0:36:06.319
<v Speaker 3>I don't you know, I don't kind of wake up

0:36:06.360 --> 0:36:08.120
<v Speaker 3>one day and say, you know, oh, I'm going to

0:36:08.160 --> 0:36:11.520
<v Speaker 3>start writing my new album today. Yeah, it doesn't really

0:36:11.560 --> 0:36:12.160
<v Speaker 3>work like that.

0:36:12.560 --> 0:36:15.600
<v Speaker 2>What I like about the record is although it's like

0:36:15.680 --> 0:36:20.160
<v Speaker 2>it's dark, it's got obviously some a dark overall tone.

0:36:20.640 --> 0:36:24.880
<v Speaker 2>There are tracks on it like Please, for example, Yeah,

0:36:24.960 --> 0:36:27.680
<v Speaker 2>when you play when I'm guessing you're going to play

0:36:27.719 --> 0:36:30.560
<v Speaker 2>some shows to support the album, and when you play those,

0:36:30.680 --> 0:36:32.839
<v Speaker 2>you're going to be up there and that track's going

0:36:32.880 --> 0:36:35.040
<v Speaker 2>to come on and people are going to just probably

0:36:35.160 --> 0:36:38.480
<v Speaker 2>kind of lose that shit, but in a joyful, happy,

0:36:38.920 --> 0:36:41.040
<v Speaker 2>like throwing their arms in the air kind of way.

0:36:41.320 --> 0:36:43.520
<v Speaker 3>It's funny because I see, I actually see that track

0:36:43.600 --> 0:36:47.000
<v Speaker 3>is quite like the emotional palette within that track. I

0:36:47.040 --> 0:36:50.680
<v Speaker 3>actually find it quite melancholy. I actually find it quite sad.

0:36:50.760 --> 0:36:55.400
<v Speaker 3>But that's like that's everybody sees things differently, don't they.

0:36:55.440 --> 0:36:58.359
<v Speaker 3>I mean, you know, some people may find it, as

0:36:58.360 --> 0:37:02.040
<v Speaker 3>you say, like joyous, uplifting. I feel like it's more

0:37:02.080 --> 0:37:04.960
<v Speaker 3>of a kind of I mean that if I was trying,

0:37:05.120 --> 0:37:06.920
<v Speaker 3>if I was to try and analyze that one, I

0:37:06.920 --> 0:37:10.800
<v Speaker 3>would say that that's more that was maybe me trying

0:37:10.800 --> 0:37:14.040
<v Speaker 3>to make some kind of subconscious effort effort to bring

0:37:14.080 --> 0:37:17.719
<v Speaker 3>some like personal balance and missed all the madness. I think.

0:37:17.920 --> 0:37:21.960
<v Speaker 2>Yeah, seen as last year was, as we've already established,

0:37:21.960 --> 0:37:26.080
<v Speaker 2>the worst year. Ever, how's how's I'm feeling good about

0:37:26.120 --> 0:37:28.920
<v Speaker 2>this year? I feel like I'm I'm the only person

0:37:29.000 --> 0:37:34.000
<v Speaker 2>saying this, certainly in my circle of friends. I've I know,

0:37:34.080 --> 0:37:38.120
<v Speaker 2>everything's going to ship. How do you feel about about it?

0:37:38.160 --> 0:37:39.799
<v Speaker 2>I mean, because you're about to enter a year of

0:37:40.280 --> 0:37:43.319
<v Speaker 2>got your new record, and that's quite exciting time.

0:37:43.480 --> 0:37:47.879
<v Speaker 3>Of course. Yeah, I don't really know yet. Actually, I mean,

0:37:47.960 --> 0:37:53.600
<v Speaker 3>there's obviously some there's some great that has come from

0:37:53.640 --> 0:37:58.120
<v Speaker 3>the bad, for sure, but it's very it's very early

0:37:58.200 --> 0:38:01.640
<v Speaker 3>days to say how things are going to go. I

0:38:01.680 --> 0:38:08.640
<v Speaker 3>don't know. I mean, my nihilistic tendencies sometimes have a

0:38:08.680 --> 0:38:14.840
<v Speaker 3>louder voice than you know. Yeah, I I I really

0:38:14.880 --> 0:38:16.160
<v Speaker 3>don't know. I don't know.

0:38:16.280 --> 0:38:19.919
<v Speaker 2>Okay, Yeah, I think maybe I'm just trying to I'm

0:38:19.960 --> 0:38:21.560
<v Speaker 2>just trying to kid myself.

0:38:21.600 --> 0:38:24.640
<v Speaker 3>Maybe I don't know. Maybe, but maybe there's hope is

0:38:25.160 --> 0:38:27.120
<v Speaker 3>also quite important, I think, you.

0:38:27.080 --> 0:38:29.760
<v Speaker 2>Know, thanks very much for being a guest on the podcast.

0:38:29.840 --> 0:38:32.480
<v Speaker 2>Before we go though, Yeah, where do we get on

0:38:32.480 --> 0:38:36.880
<v Speaker 2>these facts? The XTC record, the Big Express, it's the

0:38:36.880 --> 0:38:37.640
<v Speaker 2>Big Express?

0:38:37.719 --> 0:38:43.120
<v Speaker 3>Okay? Oh okay, what year?

0:38:43.239 --> 0:38:44.360
<v Speaker 2>What year was that? Do we know?

0:38:44.360 --> 0:38:44.640
<v Speaker 3>The year?

0:38:44.680 --> 0:38:48.839
<v Speaker 2>On that? We don't need to go back that's good enough.

0:38:50.600 --> 0:38:51.719
<v Speaker 2>I don't know where that is.

0:38:55.440 --> 0:38:58.440
<v Speaker 3>Oh, the Museum Tavern, it's still called the Museum Tavern.

0:38:58.600 --> 0:38:59.480
<v Speaker 2>Is it's still there the past.

0:38:59.600 --> 0:39:00.719
<v Speaker 3>Yeah, it's still.

0:39:01.040 --> 0:39:04.440
<v Speaker 2>It's around all of the Naturalish Museum and.

0:39:04.600 --> 0:39:07.080
<v Speaker 3>Yeah, that kind of area. In fact, I'm pretty sure

0:39:07.120 --> 0:39:08.640
<v Speaker 3>my dad said that he was in there not too

0:39:08.680 --> 0:39:09.120
<v Speaker 3>long ago.

0:39:09.480 --> 0:39:14.720
<v Speaker 2>Okay, Oh, it's it's the comic.

0:39:15.520 --> 0:39:18.840
<v Speaker 1>I don't know. It looks comic and that's what came up.

0:39:19.160 --> 0:39:24.880
<v Speaker 3>Okay, well, there we go. Anyway, it's not in reference

0:39:24.920 --> 0:39:25.760
<v Speaker 3>to a comic book.

0:39:26.560 --> 0:39:30.520
<v Speaker 2>This is good. I feel we've got some closure. There

0:39:30.560 --> 0:39:31.480
<v Speaker 2>are no facts.

0:39:32.360 --> 0:39:35.360
<v Speaker 3>That's good. Excellent checker for like every interview.

0:39:36.200 --> 0:40:00.720
<v Speaker 4>I know you're free tomorrow, Thank you very much, thank you.

0:40:01.080 --> 0:40:04.319
<v Speaker 1>Midnight Chats is a loud and quiet podcast production by

0:40:04.360 --> 0:40:08.760
<v Speaker 1>Emma Snook Music courtesy of gold Panda. Search Midnight Chats

0:40:08.760 --> 0:40:12.680
<v Speaker 1>on iTunes for more episodes and to subscribe. For more information,

0:40:12.880 --> 0:40:17.960
<v Speaker 1>visit loudanquiet dot com