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Speaker 1: Pushkin. Daniel Kessler grew up between London, Paris and DC,

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Speaker 1: listening to his older brother's early UK punk and rock records.

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Speaker 2: He picked up guitar.

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Speaker 1: As a teenager the same day he quit skateboarding, and

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Speaker 1: after moving to New York in the late nineties, set

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Speaker 1: out to find musicians serious enough to start a band.

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Speaker 1: Fast forward more than two decades later, Kessler remains the

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Speaker 1: musical architect of the band Interpol, right in the foundation

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Speaker 1: of the band's songs, often alone on a classical guitar

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Speaker 1: before bringing them to his bandmates. The band has now

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Speaker 1: made eight albums together, and their latest Demera Waste a Ton,

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Speaker 1: is their first record made in New York in more

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Speaker 1: than a decade. On today's episode, Lea Rose talks with

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Speaker 1: Daniel Kesler about making the new album, the early days

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Speaker 1: when Interpol played to almost nobody, a chance encounter with

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Speaker 1: David Bowie before his show at Hammersteen Ballroom, in the

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Speaker 1: creative routines, guitar, coffee and films that have kept him

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Speaker 1: writing for nearly three gades. This is broken record, real musicians,

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Speaker 1: real conversations. Here's Lea Rhodes with Daniel Kessler.

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Speaker 3: I'm curious about the title of the new album, This

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Speaker 3: Mirror Waste a Ton. It reminds me of the Public

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Speaker 3: Enemy album The suziets a Ton. Does it have anything

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Speaker 3: to do with that or is that just coincidence?

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Speaker 2: Oh? Man, that's amazing.

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Speaker 4: I wish I could say firmative on that one, but

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Speaker 4: I don't think it does. I well, ask all about

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Speaker 4: that in case it was somehow. You know, he really

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Speaker 4: thinks of everything, and he's a massive hip hop fan,

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Speaker 4: so it'd be amazing if that was actually some sort

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Speaker 4: of subtext or something like that, or some conscious sort

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Speaker 4: of decision. But I don't think so, because we you know,

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Speaker 4: we cycled through several options before we landed on that one,

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Speaker 4: and as soon as that one became a candidate or

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Speaker 4: you know, just an idea, I think right there and

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Speaker 4: then I was.

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Speaker 2: I was sold right away. I was like, oh, not

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Speaker 2: really have this one? I was.

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Speaker 4: I was so in love with it. I really felt

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Speaker 4: like on my listeners, really like what we've we've been

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Speaker 4: going through this journey just to arrive at this title.

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Speaker 3: So tell me the story of how this album started

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Speaker 3: and how it came together and just how logistically you

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Speaker 3: all work together at this point, because I think you're

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Speaker 3: living in different countries, right.

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Speaker 2: We are. I mean, you know, you know both Paul

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Speaker 2: and I.

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Speaker 4: Paul is predominatly in Berlin, still is a place in

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Speaker 4: New York, and I spent my time between Barcelona and

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Speaker 4: New York. Sam still in the States, and Brad the

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Speaker 4: who played based on this record is in New York.

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Speaker 4: But you know, we're still like a New York band,

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Speaker 4: and we predominantly converge in New York. To Wright, it's

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Speaker 4: been a miss since we had recorded New York until

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Speaker 4: this our latest record, So that was sort of a

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Speaker 4: wonderful homecoming and something great to do. And it's kind

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Speaker 4: of crazy that it's been ten years. But so essentially,

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Speaker 4: usually the songs begin with me. I'll just write at

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Speaker 4: home on a classical guitar or sometimes on the piano

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Speaker 4: as well, and then we'll get together and then we'll

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Speaker 4: make them into interpol pieces of music together and so forth.

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Speaker 4: So actually, the first time that we did get together

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Speaker 4: in such capacity was really when we had already decided

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Speaker 4: that we wanted to work with Andrew Wyatt, the producer

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Speaker 4: who was a longtime friend to most of us separately,

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Speaker 4: and Paul had worked with him on a track that

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Speaker 4: he did with the on the record that he released

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Speaker 4: with Rizzo, and he had a great experience, so he

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Speaker 4: was very positive about that. He's such an incredible musician

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Speaker 4: and obviously like really accomplished professionally, and I knew that

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Speaker 4: he was also like just great with get a great year,

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Speaker 4: great with keyboards, with a great pianist, great with arrangements

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Speaker 4: and things like that, which was really.

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Speaker 2: Intriguing to me and then for me, so I guess

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Speaker 2: the thing that really attracted.

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Speaker 4: Me to working with him was like what it will

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Speaker 4: bring atmospherically and keyboards and orchestrations. That was like a

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Speaker 4: really attractive point. I was hoping that he would jump

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Speaker 4: on board, and he did so. April twenty twenty five

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Speaker 4: was really the real beginning and which kind of, you know,

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Speaker 4: we were off of the racist pretty quickly once. At

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Speaker 4: that time, his studio was in the basement of his

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Speaker 4: house in New York, and we just went there and

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Speaker 4: we laid the ground. The first song that we worked

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Speaker 4: on was Iron City, and it went pretty far, pretty deep,

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Speaker 4: thank you, and it's it felt very different right from

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Speaker 4: like day one with him there already felt like, wow,

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Speaker 4: this is a very different vibe and feeling I wrote

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Speaker 4: on the piano in that arrangement, but then Andrews started

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Speaker 4: doing the things that Andrews just did to the track

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Speaker 4: atmospherically and bye wise, and then Paul right away had them.

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Speaker 4: I think he had the course like like within day

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Speaker 4: one and day two with those lyrics of Iron City

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Speaker 4: and the melody. So it's when when things are going

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Speaker 4: like that, I think, you know, you're like in a

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Speaker 4: good place and things feel very positive and then leaning Yeah,

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Speaker 4: and then in the ensuing days we started working on

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Speaker 4: what would become Wings on Fire, so rites of rained

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Speaker 4: here and then actually the last track on the record, Sudden,

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Speaker 4: which I recorded in Andrews's house on his piano in

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Speaker 4: his living room, and then it was is great because

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Speaker 4: it's like it's a residential house and at the end

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Speaker 4: it was at dusk you could hear all these birds

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Speaker 4: from street just doing their song. And it's at the

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Speaker 4: very end of if you listen closely, at the end

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Speaker 4: of the track, you can hear these bursts and yeah,

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Speaker 4: it's like a nice sort of like little natural ambiance

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Speaker 4: and something that you want to make sure preserves are

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Speaker 4: up the recording process, and it doesn't get lost.

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Speaker 3: I've heard you talk about the record and say that

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Speaker 3: there's some things, some new sounds you wanted to bring in,

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Speaker 3: and aesthetically it's a little bit different than past Interpol albums.

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Speaker 3: Did you have a moment where you sort of like

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Speaker 3: thought back over the catalog or listen to old recordings

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Speaker 3: and consciously thought like, these are the things I want

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Speaker 3: to bring in or was that a conversation with Andrew

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Speaker 3: or did that sort of just evolve naturally.

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Speaker 2: I think it really evolves naturally.

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Speaker 4: I'm personally I'm best and I don't think conceptually too

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Speaker 4: much about what I want to do, or I think

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Speaker 4: when we don't discuss I mean maybe.

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Speaker 2: I'm a little bit of a you know, I.

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Speaker 4: Stick clear in my old way to something, but like

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Speaker 4: I didn't, you know, we don't start talking about grandiose

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Speaker 4: ideas or concepsual ideas rather than just do them. I

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Speaker 4: love and we're just doing things, you know, and and

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Speaker 4: if evolution naturally takes this course, the better.

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Speaker 2: But you know, when it's more of like a conceptual conversation,

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Speaker 2: I find.

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Speaker 4: Those are harder to lift off versus the ones that

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Speaker 4: we're actually just doing it. And I think we're kind

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Speaker 4: of good at just mixing it up. And we're very

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Speaker 4: different people, so we are mixing together. Usually the results

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Speaker 4: can kind of go in different ways for me as

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Speaker 4: far as like even just like the you know, the onset.

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Speaker 2: Of just writing.

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Speaker 4: I was pretty excited about some of the stuff that

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Speaker 4: I was working on. I've written a little bit more

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Speaker 4: previously on the piano, but it's not something I do

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Speaker 4: all the time. So the fact that there's already three

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Speaker 4: songs that felt very different for us, and then there's

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Speaker 4: some songs as I was writing them, I felt like

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Speaker 4: maybe the progression I kind of pushed myself a little

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Speaker 4: bit further to maybe reinvent them, Like I felt like

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Speaker 4: they're going down too much of a familiar road. So

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Speaker 4: then I kind of reworked that and consequently came out

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Speaker 4: with like new results, whether it was like weird sort

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Speaker 4: of rhythm, sort of signatures or vibes, Like there's a

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Speaker 4: few reinventions of the songs I can think of, just

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Speaker 4: kind of found a different like avenue for them, you know.

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Speaker 3: Cool. How have you noticed that your own personal musical

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Speaker 3: tastes have changed since you know, starting the band. It's

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Speaker 3: been like over thirty years.

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Speaker 4: Right, Yeah, follow after that kind of sentence.

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Speaker 3: You know, it's so crazy, but like, how have you

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Speaker 3: seen like your own personal taste change, and how have

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Speaker 3: you seen like Paul's taste change, And how has that

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Speaker 3: influenced the music that you guys make together? And if

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Speaker 3: those are sort of like divergent paths, like you said,

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Speaker 3: everybody in the band is very different. Is it hard

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Speaker 3: to settle into one sound?

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Speaker 4: I mean, I mean maybe it is, but I think

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Speaker 4: that's good. And I think it's something that I don't

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Speaker 4: ever pay that much mind to whether you know, like

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Speaker 4: a what kind of sound that might be, or whether

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Speaker 4: this fits or whatnot. You know, if it feels good,

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Speaker 4: it feels good. And I think we've always just kind

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Speaker 4: of abided by that. You know, it's like Paul's influences.

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Speaker 4: We have some overlap from you know, the early conversations

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Speaker 4: when I first met him, you know, there were some

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Speaker 4: overlaps and so forth.

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Speaker 2: But he's always been like, you know, he's really really

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Speaker 2: in the hip hop and masterdom when what he listens

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Speaker 2: to the most.

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Speaker 4: And that's been consistent since I've known him, and I

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Speaker 4: probably listen less of hip hop than he doesn't. The

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Speaker 4: great admiration for it. I just don't keep up on

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Speaker 4: what's happening and so forth. He really keeps up on it.

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Speaker 4: But you know, the over our history, there's been like

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Speaker 4: bands that we traded or you know, like in the

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Speaker 4: early days, I was working a record label and the

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Speaker 4: record label is putting out the first mob Wie records

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Speaker 4: and I got crazy for them, and I remember inducing

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Speaker 4: it to Paul and we got to see some of

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Speaker 4: their early concerts and become friends and all those kind

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Speaker 4: of like moments. So that these were or like getting

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Speaker 4: really in the can in the early days and doing

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Speaker 4: the same thing as a band. You know, It's more

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Speaker 4: I think we've always had like an openness for whatever

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Speaker 4: feels good and whatever we like we like and we

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Speaker 4: don't really think about how that fits as to technology

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Speaker 4: and just the music world has changed so much from

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Speaker 4: going to record stores and just really trusting, you know,

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Speaker 4: when we started to go like other music or in

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Speaker 4: New York City like the store yeah Mondo Kims also

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Speaker 4: and so forth, and then that you trust the buyer

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Speaker 4: there or something like that, and it might have been

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Speaker 4: a nice time.

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Speaker 2: Brad who plays bass Finer Pol was a buyer Mondo Kims.

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Speaker 2: But you know, what I mean.

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Speaker 3: They'd be like, oh, yeah, job, you could have had

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Speaker 3: back then.

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Speaker 4: You know what I mean, you know, and then they

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Speaker 4: would have like a little like placard that would say

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Speaker 4: check out this saying blah blah blah blah.

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Speaker 2: And then you trust them and if you've won the

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Speaker 2: clerks there would be like, oh, yeah, you really check

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Speaker 2: this out. I think you'd like this. Then you go home.

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Speaker 2: You develop a relationship with a record.

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Speaker 4: Maybe at first you didn't love it, but then by

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Speaker 4: listening five I should say you loved it, And I

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Speaker 4: think we're in a very different nation of that. Maybe

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Speaker 4: for me, I find a little overwhelming at times, so

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Speaker 4: I don't come across music as much as like in

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Speaker 4: that sort of pure format, which I think really suits me.

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Speaker 4: So I don't want to have done a great job

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Speaker 4: of like always finding new things they find me or

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Speaker 4: I have friends who like circulate it. But I guess

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Speaker 4: at the same time, like creativity, I don't find I

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Speaker 4: needed to create. I kind of just love writing songs still,

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Speaker 4: and that's like kind of crazy that I do enjoy

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Speaker 4: as much now as I did when I was like

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Speaker 4: certainly when the band started, but even as a teenager,

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Speaker 4: it's really something I'd love to do.

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Speaker 2: And when you're touring.

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Speaker 4: As much as we do, I don't I don't get

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Speaker 4: to do it all on the on the roads. When

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Speaker 4: I'm at home finally like some space. It's like it's

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Speaker 4: probably my favorite thing to do is pick up my

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Speaker 4: class and guitar and just try to you know, start

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Speaker 4: my day off that way. And when you come across

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Speaker 4: something new that really you know, you're into and you

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Speaker 4: want to develop, it's still like a feeling that I

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Speaker 4: can relate to being a teenager and coming up with that's,

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Speaker 4: you know, and it's something that hasn't really changed.

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Speaker 3: That is so crazy, and what a gift that you're

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Speaker 3: still into it, that it still brings you joy or

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Speaker 3: it provides some sort of outlet for you. That's insane totally.

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Speaker 2: And I don't take that for granted because there's very

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Speaker 2: few things I think in.

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Speaker 4: Life that you can sort of correlate to your teenage

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Speaker 4: you know, years as far as that joy and it

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Speaker 4: would still have that purity to it and it still

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Speaker 4: would make as much sense. But it really does, and

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Speaker 4: and these things can disappear, you can, you know, obviously,

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Speaker 4: like many other elements in your lives change of it. Yeah,

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Speaker 4: over that time, you know, and so do brand the

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Speaker 4: sand will feel like you sti't relate to that sort

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Speaker 4: of feeling where you don't you don't you don't yearn

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Speaker 4: for it, or you just it's like the well feels dry.

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Speaker 4: But it's a I really do feel like I really

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Speaker 4: get I started every single day when I'm not on

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Speaker 4: the road, just playing guitar, you know, drinking coffee and

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Speaker 4: watching a film. That's really, Oh, that's the best. It's

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Speaker 4: the best thing. Even if I feel like catching an

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Speaker 4: early morning flight, I will still like allocate time for

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Speaker 4: at least like thirty.

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Speaker 2: Minutes to do this.

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Speaker 4: It's really it's kind of insane, but I really just

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Speaker 4: enjoy so much and it centers me, you know.

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Speaker 3: So you wake up, you get your coffee, you play

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Speaker 3: the guitar, and you watch a movie at the same time.

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Speaker 2: I do forever.

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Speaker 3: What do you focus more on the movie? Are you

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Speaker 3: focused on the guitar?

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Speaker 2: I really do both.

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Speaker 4: It's really like it's I think the movie is more

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Speaker 4: there to distract me from like the the weight of

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Speaker 4: trying to write something or trying to do something. It's

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Speaker 4: just more and it's also like visual stimulation and something yeah,

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Speaker 4: and so I think the combination of the two sort

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Speaker 4: of you know, and I started new link. Sometimes I'll

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Speaker 4: just be newling on something that I've been working on,

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Speaker 4: seeing if there's like a new passage or like a

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Speaker 4: new way, like oh, a new park or something like that.

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Speaker 4: And then sometimes quite more times than not, I'll just realize.

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Speaker 2: I'm just watching a movie and playing guitar, and that's all.

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Speaker 4: I'll be like, all right, guys, like, you know, get

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Speaker 4: off your day and ever fishing tomorrow and seeing something

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Speaker 4: else happens.

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Speaker 2: But like it's it's still something I really enjoy doing.

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Speaker 2: But then once in a while, it's like a nice life.

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Speaker 3: I like that.

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Speaker 2: It's amazing. It's amazing to me.

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Speaker 4: It's like the luxury of not looking in time in

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Speaker 4: the morning is something that I think I really longed

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Speaker 4: for when I was working jobs, you know, like I

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Speaker 4: really hope that one day I can sort of take

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Speaker 4: the clock off and just play, you know, work on

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Speaker 4: music in the mornings and not have to worry about

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Speaker 4: being there. And I can vividly remember feeling that way

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Speaker 4: while working jobs, that I just really want to be

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Speaker 4: doing this. So it's it's not a loss to me

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Speaker 4: that this is a real luxury they get to have

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Speaker 4: in my life.

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Speaker 3: So tell me about working jobs. Was this all before

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Speaker 3: the band started or did you have you didn't have

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Speaker 3: any sort of jobs like while Interpol was together.

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Speaker 2: Right, yeah, yeah, yeah yeah.

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Speaker 4: I started working right like the day after I graduated

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Speaker 4: from university. I started working record labels, basically because I

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Speaker 4: just I thought the autore really against me that I

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Speaker 4: get to play music in my life, and I just

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Speaker 4: joined the percentage, you know.

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Speaker 2: Of the likelihood.

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Speaker 4: So I just sort of well thought of like, well,

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Speaker 4: if I have to work, I kind of want to

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Speaker 4: work around, you know, music at the very least, and

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Speaker 4: around music that I was passionate about that I liked.

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Speaker 4: So if I have to give my time to to

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Speaker 4: someone else into something else, I wanted to be around

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Speaker 4: I wanted.

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Speaker 2: I wanted to understand why, you know. And so I

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Speaker 2: started working.

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Speaker 4: My first real job was working this record company called

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Speaker 4: jet Set, and it was a very small record company

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Speaker 4: and so there was like a lot of responsibility, which

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Speaker 4: is great.

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Speaker 2: I learned so much.

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Speaker 4: I did like all this dissitbution marketing and retail stuff

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Speaker 4: and even like accounts receivable, like I did a whole

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Speaker 4: bunch of I did, you know.

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Speaker 2: But it was like, really, I learned so much.

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Speaker 4: So it was like, I mean, no money, like negative money,

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Speaker 4: but it was such a yeah.

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Speaker 2: I was like a great education in itself, and I

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Speaker 2: just learned, you know.

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Speaker 4: Yeah, And then from there I just worked a different

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Speaker 4: places along the way.

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Speaker 2: My last job was working at Domino Records.

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Speaker 4: And while I was working there as when you know,

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Speaker 4: it's like towards even right before we started working on

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Speaker 4: recording Tone of the Bride Lights, I was still working

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Speaker 4: at Domino.

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Speaker 3: So was it a big deal, like when you quit

335
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Speaker 3: the job, was that a big deal? Or was it

336
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Speaker 3: sort of like, I mean to try this out and

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Speaker 3: I can always go back.

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Speaker 4: I mean, you know, to me, my dream was always

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Speaker 4: just to get to make a record. It was really

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Speaker 4: like I it was, so it didn't come that easily.

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Speaker 2: You know.

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Speaker 4: We were we played off first show I think in

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Speaker 4: March nineteen ninety eight.

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Speaker 2: I think we didn't sign really.

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Speaker 4: To our first record label deal until something like the

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Speaker 4: fall of two thousand and one. And in that time,

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Speaker 4: we played, you know, we made several demos, We played

348
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Speaker 4: so many shows, and we didn't really change esthetically or

349
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Speaker 4: sound wise, songs that are very first sema that we

350
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Speaker 4: made in the summer of nineth ninety eight, or go

351
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Speaker 4: on our very first record, like our very first single

352
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Speaker 4: was on the very first seme of this PDA role

353
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Speaker 4: and one other song, but you know, PDA Rowland or

354
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Speaker 4: on our first record in PDA was our very first single. Granted,

355
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Speaker 4: maybe we became better at playing those songs, but we

356
00:15:23,796 --> 00:15:25,636
Speaker 4: already had a sense of who we were and what

357
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Speaker 4: we were doing, and that's it's just the timing maybe

358
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Speaker 4: wasn't right or just not that much interest. So so

359
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Speaker 4: to me, I just kept like, you know, all these

360
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Speaker 4: doors would be shut in our faces sort of speak,

361
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Speaker 4: and no one was showing any interest, and you keep

362
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Speaker 4: And I think that's something that really helped me was

363
00:15:40,756 --> 00:15:44,476
Speaker 4: that having worked at record labels and understanding that record

364
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Speaker 4: labels only have so much space, like new bands, and

365
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Speaker 4: they have all these other bands that they keep putting,

366
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Speaker 4: you know, the season bands that they released records of

367
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Speaker 4: every few years and so forth, that the slots were

368
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Speaker 4: just there, weren't that many available, and so we just

369
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Speaker 4: had to be very patient about it, and I didn't

370
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Speaker 4: take it too personally. But when we finally were signed

371
00:16:00,996 --> 00:16:03,716
Speaker 4: and we were able to make, you know, our first record.

372
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Speaker 4: To me, that was like as far as mine, my

373
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Speaker 4: aspirations and my dream lench. You know, I didn't really

374
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Speaker 4: spend four or five years with no one really showing

375
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Speaker 4: much interest towards your band and being sort of you know,

376
00:16:14,476 --> 00:16:16,556
Speaker 4: delusional to think all of a sudden that people would

377
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Speaker 4: actually be into your the outbum that we finally put out.

378
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Speaker 4: So I was really surprised that people were so receptive

379
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Speaker 4: to our first record when they upon its release.

380
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Speaker 3: Yeah, I feel like I would feel very dejected at

381
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Speaker 3: that point, like Okay, we need to change the sound

382
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Speaker 3: or we're obviously not doing something right.

383
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Speaker 4: Well, you know, I mean that this is like I

384
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Speaker 4: really love making music with these guys sincerely, and to

385
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Speaker 4: me it was even I mean I felt like not

386
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Speaker 4: I would never ever ever contemplate changing our sound because

387
00:16:43,876 --> 00:16:46,276
Speaker 4: I really, to me, it's like, you know, you do

388
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Speaker 4: this for yourselves, and you do this because you're expressing

389
00:16:50,276 --> 00:16:51,876
Speaker 4: something that you need to get out and it feels

390
00:16:51,956 --> 00:16:54,556
Speaker 4: grat in that rehearsal room. And then there was a

391
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Speaker 4: moment where, you know the thing that I did feel

392
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Speaker 4: like rejected like by the you know so much or

393
00:17:00,196 --> 00:17:02,956
Speaker 4: dejected by so much rejections and so forth. But after

394
00:17:02,956 --> 00:17:04,796
Speaker 4: a while you find, like some I think by going

395
00:17:04,796 --> 00:17:06,836
Speaker 4: through that process, I think, you know, I found, at

396
00:17:06,876 --> 00:17:09,596
Speaker 4: least for me, a little bit of an innerp Well,

397
00:17:09,676 --> 00:17:11,716
Speaker 4: you know, I think I left a rehearsal number one

398
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Speaker 4: winter day in Willisburg and just being like, I think

399
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Speaker 4: we're working on something like NYC or something like that

400
00:17:17,156 --> 00:17:19,316
Speaker 4: for our first record, and I felt it was all

401
00:17:19,356 --> 00:17:21,556
Speaker 4: such a great feeling to leave a rehearsal where something

402
00:17:21,636 --> 00:17:23,476
Speaker 4: just happened that you couldn't have predicted, and the song

403
00:17:23,596 --> 00:17:24,796
Speaker 4: really took this form.

404
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Speaker 2: And you just sort of had this feeling of like euphoria.

405
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Speaker 4: And I remember like leaving me like so into it,

406
00:17:30,196 --> 00:17:32,316
Speaker 4: but then also finding some sort of like inner piece

407
00:17:32,356 --> 00:17:35,276
Speaker 4: that well, if no one ever hears this, no one ever,

408
00:17:35,476 --> 00:17:37,436
Speaker 4: you know, seemed to be the path that we're on,

409
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Speaker 4: it's okay, you know, at least I'm getting something out

410
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Speaker 4: of this. And so I really did kind of like

411
00:17:41,716 --> 00:17:44,636
Speaker 4: let myself feel that peace and sort of let go

412
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Speaker 4: of the things I really can control. Yeah, And also

413
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Speaker 4: there's also like an inner like side, like something inside

414
00:17:50,476 --> 00:17:53,596
Speaker 4: of me I think so consciously, I think consciously actually

415
00:17:53,636 --> 00:17:56,516
Speaker 4: felt like the hardest part was just finding people to

416
00:17:56,516 --> 00:17:58,556
Speaker 4: start a bandwidth. It was really I think I'd been

417
00:17:59,036 --> 00:18:00,956
Speaker 4: looking in New York for so long and I just

418
00:18:00,956 --> 00:18:04,196
Speaker 4: couldn't find people who were maybe like serious about starting

419
00:18:04,196 --> 00:18:06,676
Speaker 4: a band, or want to commit the time, or or

420
00:18:07,036 --> 00:18:09,876
Speaker 4: or kindred spirits. And when you know, I finally found

421
00:18:09,916 --> 00:18:12,076
Speaker 4: these people and I really felt like, well, we're doing

422
00:18:12,116 --> 00:18:14,676
Speaker 4: something kind of special in this rehearsal room. I just

423
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Speaker 4: felt like, well, this is actually the hardest part, and

424
00:18:16,596 --> 00:18:18,836
Speaker 4: staying together is probably the hardest part. You know. I

425
00:18:18,836 --> 00:18:20,996
Speaker 4: didn't It wasn't like I had faith that something good

426
00:18:21,076 --> 00:18:23,476
Speaker 4: would come to be, you know, as far as like,

427
00:18:23,636 --> 00:18:25,236
Speaker 4: you know, being a fan base out there. But I

428
00:18:25,316 --> 00:18:27,316
Speaker 4: just really felt like, you know, just kind of saying

429
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Speaker 4: together it was like the most important thing.

430
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Speaker 1: We'll be back with more from Daniel Kessler after this break.

431
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Speaker 3: Were there things that you felt like you had to

432
00:18:39,116 --> 00:18:42,556
Speaker 3: do to sort of like nurture the relationships within the

433
00:18:42,596 --> 00:18:44,636
Speaker 3: band or was that not even a thought back then?

434
00:18:44,716 --> 00:18:49,476
Speaker 3: It was just keep working and keep playing together for sure.

435
00:18:49,756 --> 00:18:52,116
Speaker 4: I mean, you know, I think young men in New

436
00:18:52,196 --> 00:18:56,396
Speaker 4: York City with no money, you know, like rehearsals are

437
00:18:56,476 --> 00:19:01,716
Speaker 4: costing money that people don't have everyone's really broke, you're

438
00:19:01,756 --> 00:19:03,836
Speaker 4: not getting paid very much money from your jobs.

439
00:19:04,476 --> 00:19:06,916
Speaker 2: Yeah, you know, some people maybe.

440
00:19:06,716 --> 00:19:08,356
Speaker 4: Like were like I didn't never say that wanted to

441
00:19:08,356 --> 00:19:10,356
Speaker 4: be in a band, you know, you know, I really

442
00:19:10,396 --> 00:19:11,796
Speaker 4: wanted to be in a band. I really wanted to

443
00:19:11,796 --> 00:19:14,076
Speaker 4: start a band. But yeah, I really kind of like

444
00:19:14,116 --> 00:19:17,956
Speaker 4: approached everyone. So when things are not sort of building

445
00:19:18,036 --> 00:19:21,396
Speaker 4: to some sort of like progression, you know, as far

446
00:19:21,436 --> 00:19:23,796
Speaker 4: as like well more people coming to some of our shows,

447
00:19:23,916 --> 00:19:25,836
Speaker 4: or now we have this opportunity to make a record

448
00:19:25,916 --> 00:19:28,316
Speaker 4: after a while, as the you know, young men with

449
00:19:28,596 --> 00:19:31,396
Speaker 4: you know, who are very talented in different aspirations, it's

450
00:19:31,436 --> 00:19:32,996
Speaker 4: it's like they may be like, well, why am I

451
00:19:32,996 --> 00:19:36,636
Speaker 4: saying all this money for not you know, and yeah,

452
00:19:36,676 --> 00:19:38,436
Speaker 4: so there. I think there's definitely moments where I could

453
00:19:38,436 --> 00:19:40,516
Speaker 4: have gone either way, and thankfully, you know, I think

454
00:19:40,556 --> 00:19:42,116
Speaker 4: we would try to like talk it out. I think

455
00:19:42,156 --> 00:19:45,036
Speaker 4: I think Papa was subconsciously we knew that we there

456
00:19:45,196 --> 00:19:47,196
Speaker 4: was some special chemistry that was kind of.

457
00:19:47,676 --> 00:19:50,676
Speaker 2: Harder to put into wars but difficult to like deny.

458
00:19:50,796 --> 00:19:52,476
Speaker 4: Once we were playing music, it was really like you

459
00:19:52,476 --> 00:19:53,796
Speaker 4: could see it and you could feel it.

460
00:19:53,796 --> 00:19:54,516
Speaker 2: It was palpable.

461
00:19:55,716 --> 00:19:59,156
Speaker 3: Was there a moment when you sort of felt like, Okay,

462
00:19:59,556 --> 00:20:01,996
Speaker 3: this is going to work. We're going to start actually

463
00:20:01,996 --> 00:20:04,516
Speaker 3: making money from this, this is going to grow.

464
00:20:06,196 --> 00:20:07,396
Speaker 2: Ah.

465
00:20:07,636 --> 00:20:09,516
Speaker 4: It just makes me laugh because I remember, like Carlos

466
00:20:09,636 --> 00:20:10,916
Speaker 4: is also be like, can equit my job?

467
00:20:11,116 --> 00:20:13,036
Speaker 2: Can equip my job, And it became sort of like

468
00:20:13,676 --> 00:20:15,916
Speaker 2: an inside joke. You just say this forever. I don't know,

469
00:20:15,996 --> 00:20:17,476
Speaker 2: and I know you remember what you did put his job.

470
00:20:17,476 --> 00:20:18,756
Speaker 2: I don't know if it was like actually when we

471
00:20:18,756 --> 00:20:21,276
Speaker 2: were doing a very first US tour or something, but

472
00:20:21,356 --> 00:20:23,596
Speaker 2: it was it was along those lines. We were still

473
00:20:23,596 --> 00:20:25,236
Speaker 2: on a van and everything like that, but it was

474
00:20:26,156 --> 00:20:28,556
Speaker 2: I didn't know if, like, you know, working is an

475
00:20:28,596 --> 00:20:29,236
Speaker 2: interesting word.

476
00:20:29,316 --> 00:20:31,756
Speaker 4: I don't know if you ever like kind of know that,

477
00:20:31,836 --> 00:20:34,356
Speaker 4: but those we're in it for this moment at the

478
00:20:34,476 --> 00:20:36,956
Speaker 4: very least, you know, And then it just became sort

479
00:20:36,956 --> 00:20:39,116
Speaker 4: of like that very first US tour in a van.

480
00:20:39,836 --> 00:20:41,916
Speaker 4: You know, I think you did two nights at the

481
00:20:41,916 --> 00:20:44,556
Speaker 4: Troubadour in la and and those sold out, and and

482
00:20:44,596 --> 00:20:46,236
Speaker 4: you know, you're seeing things. Then you come back the

483
00:20:46,236 --> 00:20:48,836
Speaker 4: next time and you're playing the next size up and

484
00:20:48,876 --> 00:20:50,676
Speaker 4: so forth, and now you know you can see like

485
00:20:50,716 --> 00:20:53,516
Speaker 4: a progression, and I think that was something helpful for

486
00:20:53,596 --> 00:20:55,956
Speaker 4: us to see that there's like something building and so forth.

487
00:20:56,036 --> 00:20:58,796
Speaker 4: And then you see like minded spirits at our shows

488
00:20:58,876 --> 00:21:01,516
Speaker 4: and hanging out with them, and I think you kind

489
00:21:01,516 --> 00:21:04,916
Speaker 4: of just got, you know, really into it and and

490
00:21:05,076 --> 00:21:08,156
Speaker 4: uh yeah, and just like touring and traveling and just exploring.

491
00:21:09,556 --> 00:21:12,956
Speaker 3: And then what about any early rock star moments where

492
00:21:12,996 --> 00:21:15,436
Speaker 3: you were maybe backstage with people or people that you

493
00:21:15,476 --> 00:21:19,156
Speaker 3: really admired, Like do you remember like anything that you

494
00:21:19,156 --> 00:21:21,396
Speaker 3: were like WHOA like pinch me moments?

495
00:21:21,636 --> 00:21:24,596
Speaker 4: I mean, the best one for sure for me, And

496
00:21:24,716 --> 00:21:26,476
Speaker 4: I would imagine first, I mean, I can't speak for

497
00:21:26,476 --> 00:21:30,116
Speaker 4: my badness, but it was we were playing early on

498
00:21:30,556 --> 00:21:32,356
Speaker 4: It might have been at the very end of our

499
00:21:33,716 --> 00:21:36,036
Speaker 4: touring on on Bright Lights, at the very beginning of

500
00:21:36,036 --> 00:21:37,996
Speaker 4: touring on on Antics. So I have a two thousand

501
00:21:37,996 --> 00:21:41,396
Speaker 4: and three or two thousand and four, but we were, uh,

502
00:21:41,556 --> 00:21:45,036
Speaker 4: we had two nights at the Hammerston Ballroom and and

503
00:21:45,076 --> 00:21:46,996
Speaker 4: it was very it was like a very last show

504
00:21:47,276 --> 00:21:50,196
Speaker 4: of a of a North American tour and so we

505
00:21:50,316 --> 00:21:52,796
Speaker 4: got you know, you're so excited to go it like

506
00:21:52,836 --> 00:21:55,796
Speaker 4: hard partying days it too. Plus it's like you're so

507
00:21:55,956 --> 00:21:58,276
Speaker 4: happy to be home. So that first night we went

508
00:21:58,316 --> 00:22:00,956
Speaker 4: out and went out a little too hard.

509
00:22:01,276 --> 00:22:02,476
Speaker 2: We're too happy to be home.

510
00:22:02,556 --> 00:22:06,116
Speaker 4: And so the backstage scene before the night of like

511
00:22:06,156 --> 00:22:07,316
Speaker 4: the second show, everyone.

512
00:22:07,156 --> 00:22:08,236
Speaker 2: Was like just su pleated.

513
00:22:08,556 --> 00:22:10,276
Speaker 4: It just didn't look like you're about to go play,

514
00:22:10,476 --> 00:22:12,276
Speaker 4: you know, a rock show where just everyone was like

515
00:22:12,316 --> 00:22:16,476
Speaker 4: it was like lethargic energy everywhere. And then we had

516
00:22:16,556 --> 00:22:20,756
Speaker 4: like a lovely Scottish tour manager at that time, Pero.

517
00:22:20,876 --> 00:22:23,996
Speaker 4: His name is Stevie Dreads and he's amazing, and and

518
00:22:24,436 --> 00:22:27,396
Speaker 4: you just see Stevie's energy goes towards a door where

519
00:22:27,396 --> 00:22:29,476
Speaker 4: it's like, I guess the presence was trying to enter it,

520
00:22:29,756 --> 00:22:31,876
Speaker 4: and see he goes, sorry, mate, you can't come in,

521
00:22:32,596 --> 00:22:33,076
Speaker 4: and then you.

522
00:22:33,116 --> 00:22:35,196
Speaker 2: Just hear you don't see the person, you just here,

523
00:22:35,316 --> 00:22:36,996
Speaker 2: but I'm David Bowie.

524
00:22:37,556 --> 00:22:40,236
Speaker 4: And then you just see like Stevie Dreads just move

525
00:22:40,436 --> 00:22:42,516
Speaker 4: like lather lays if he's like a door like open,

526
00:22:42,596 --> 00:22:45,116
Speaker 4: sesame and sad, and he just gets out of the way.

527
00:22:45,156 --> 00:22:47,676
Speaker 4: And then David Bowie comes in and you know he's

528
00:22:47,716 --> 00:22:50,596
Speaker 4: like super affable, really kind, saying really nice things. It

529
00:22:50,636 --> 00:22:52,756
Speaker 4: was actually I guess after our first record. He's talking

530
00:22:52,716 --> 00:22:55,916
Speaker 4: about the first record and he's doing really warm, and

531
00:22:55,956 --> 00:22:58,436
Speaker 4: he wants to say hello before the show because he

532
00:22:58,516 --> 00:23:00,396
Speaker 4: had a young job at home and he wanted to

533
00:23:00,476 --> 00:23:02,156
Speaker 4: get home before the end of the show or you

534
00:23:02,156 --> 00:23:03,716
Speaker 4: would be able to say hello after it, and said

535
00:23:04,556 --> 00:23:06,676
Speaker 4: we were aflord, you know, we were just so like

536
00:23:06,716 --> 00:23:08,756
Speaker 4: we're just gondn't I remember Carlos was in the bathroom

537
00:23:08,756 --> 00:23:10,596
Speaker 4: and there was like a little dark side of you

538
00:23:10,676 --> 00:23:12,076
Speaker 4: is like I hope he just says in the bathroom,

539
00:23:12,156 --> 00:23:14,956
Speaker 4: this is this crazy kind of moment accident right after

540
00:23:15,116 --> 00:23:17,636
Speaker 4: David Aloady left and guess and tell him, but not yet.

541
00:23:17,756 --> 00:23:20,676
Speaker 2: You know, he got I want him all to myself, Yeah,

542
00:23:21,876 --> 00:23:24,036
Speaker 2: calmly sketch of some sort, but he uh no, but

543
00:23:24,196 --> 00:23:26,436
Speaker 2: he got to. He accided matter as well.

544
00:23:26,476 --> 00:23:28,636
Speaker 4: But it was just such a I don't think you

545
00:23:28,676 --> 00:23:31,156
Speaker 4: can do any better that he's you know, one of

546
00:23:31,156 --> 00:23:34,956
Speaker 4: the great artists of our times period and wow, just

547
00:23:35,156 --> 00:23:37,916
Speaker 4: uh just wasn't expecting that, and you know, obviously really

548
00:23:37,916 --> 00:23:39,556
Speaker 4: woke us up and fueled that show.

549
00:23:39,716 --> 00:23:41,076
Speaker 1: Right, Yeah, that's like.

550
00:23:42,916 --> 00:23:44,876
Speaker 3: Yeah, right, you're like you got an ivy all of

551
00:23:44,916 --> 00:23:48,796
Speaker 3: a sudden, like, yeah, does that make you nervous to

552
00:23:48,836 --> 00:23:51,036
Speaker 3: know that he's out there to perform you.

553
00:23:50,956 --> 00:23:53,676
Speaker 4: Know the good thing about I think being and I

554
00:23:53,676 --> 00:23:56,356
Speaker 4: felt the way even as it was unfolding. The good

555
00:23:56,356 --> 00:23:58,956
Speaker 4: thing about like not having things happen too fast as

556
00:23:58,996 --> 00:24:01,636
Speaker 4: a as a curve of class where we had these

557
00:24:01,676 --> 00:24:03,436
Speaker 4: like you know, four years and no one wanted to

558
00:24:03,436 --> 00:24:04,516
Speaker 4: sign us and so forth.

559
00:24:04,676 --> 00:24:06,956
Speaker 2: I think it helps develop something within you.

560
00:24:07,116 --> 00:24:10,356
Speaker 4: I feel like he's like a self preservation, some blinders

561
00:24:10,356 --> 00:24:12,276
Speaker 4: on your eyes, something that just kind of makes you

562
00:24:12,316 --> 00:24:14,956
Speaker 4: a little bit solid as far as just focusing on

563
00:24:15,476 --> 00:24:17,636
Speaker 4: what you can control and just doing your things. So

564
00:24:18,156 --> 00:24:20,436
Speaker 4: I don't really recall thinking too too much about it.

565
00:24:20,436 --> 00:24:22,156
Speaker 4: I just recall just getting in the moment or just

566
00:24:22,196 --> 00:24:24,876
Speaker 4: playing music. I do that, you know what I said,

567
00:24:24,916 --> 00:24:27,596
Speaker 4: I really do. It feels like, really I'm happy things

568
00:24:27,596 --> 00:24:29,556
Speaker 4: that not happened too fast for us. I'm happy that

569
00:24:30,476 --> 00:24:32,356
Speaker 4: I wasn't like we put out a song like as

570
00:24:32,436 --> 00:24:34,156
Speaker 4: like today, where you put out something else sudden just

571
00:24:34,156 --> 00:24:35,716
Speaker 4: blows up and you have no time to sort of

572
00:24:35,716 --> 00:24:39,356
Speaker 4: develop as a as a musician, as a band, as songwriters,

573
00:24:39,396 --> 00:24:41,636
Speaker 4: and so forth, and then you start overthinking things. I

574
00:24:41,676 --> 00:24:44,236
Speaker 4: was definitely worried in the early days of overthinking things

575
00:24:44,516 --> 00:24:46,276
Speaker 4: that would give in the way of like me being

576
00:24:46,276 --> 00:24:48,316
Speaker 4: able to write future songs, and I think having that

577
00:24:48,396 --> 00:24:51,716
Speaker 4: time to see formulate and so forth that kind of

578
00:24:51,956 --> 00:24:54,436
Speaker 4: secured something as far as just not thinking about anything

579
00:24:54,436 --> 00:24:56,036
Speaker 4: when I'm like writing for you know, for instance, I

580
00:24:56,076 --> 00:24:58,876
Speaker 4: don't think about anything. I don't think about whether people

581
00:24:58,916 --> 00:25:00,396
Speaker 4: are going to like something or not like something. I

582
00:25:00,476 --> 00:25:02,316
Speaker 4: just kind of just focus on whether I'm liking it,

583
00:25:02,356 --> 00:25:04,676
Speaker 4: and the world just sort of like you know, falls

584
00:25:04,716 --> 00:25:05,396
Speaker 4: to the backdraw.

585
00:25:06,036 --> 00:25:09,396
Speaker 3: When did you first realize that you want I wanted

586
00:25:09,396 --> 00:25:11,796
Speaker 3: to write songs or when did you start writing songs?

587
00:25:11,796 --> 00:25:14,356
Speaker 3: And what was the inspiration for that? Was there other

588
00:25:14,436 --> 00:25:16,596
Speaker 3: musical people in your family? Did you know people who

589
00:25:16,636 --> 00:25:17,436
Speaker 3: were making music?

590
00:25:18,916 --> 00:25:20,636
Speaker 4: Not really, I think for me, it's like you know,

591
00:25:20,636 --> 00:25:23,236
Speaker 4: I have I guess like just music was also like

592
00:25:23,316 --> 00:25:26,916
Speaker 4: such a strong position in my life and in my family.

593
00:25:26,956 --> 00:25:28,316
Speaker 2: I have two older brothers.

594
00:25:28,356 --> 00:25:30,556
Speaker 4: I was born in England, I lived there until six

595
00:25:30,636 --> 00:25:35,516
Speaker 4: and my eldest brother somehow was extraordinarily passionate about music.

596
00:25:35,556 --> 00:25:37,476
Speaker 2: I had this importance. So we eat the you know,

597
00:25:37,556 --> 00:25:38,356
Speaker 2: me and my two buttons.

598
00:25:38,356 --> 00:25:40,796
Speaker 4: We shared a room and bedroom together, so it's like

599
00:25:40,836 --> 00:25:43,756
Speaker 4: I could just in my first musical memories just staring

600
00:25:43,756 --> 00:25:46,556
Speaker 4: at this his side of the wall, you know, and

601
00:25:46,636 --> 00:25:48,996
Speaker 4: just seeing all these like cutouts of like Paul Weller

602
00:25:49,156 --> 00:25:52,276
Speaker 4: or countless other really using the Jam fan club.

603
00:25:52,316 --> 00:25:53,756
Speaker 2: So there's like tons of like Jam stuff.

604
00:25:53,796 --> 00:25:55,756
Speaker 4: So to me it was almost like this is my

605
00:25:55,796 --> 00:25:58,596
Speaker 4: first not even like my first musical memories, my first

606
00:25:58,636 --> 00:26:01,556
Speaker 4: life memories are staring at this wall, waking up and

607
00:26:01,596 --> 00:26:03,596
Speaker 4: go and sleep and just you know, And so to me,

608
00:26:03,636 --> 00:26:05,796
Speaker 4: it's almost like religion. You know, it's like if people

609
00:26:05,836 --> 00:26:08,236
Speaker 4: have religious artifacts. I'm looking at this and thinking this

610
00:26:08,356 --> 00:26:10,876
Speaker 4: is really serious. And then when I moved to I

611
00:26:10,916 --> 00:26:13,956
Speaker 4: lived England until six, and then France i was eleven.

612
00:26:14,436 --> 00:26:16,796
Speaker 4: And then when I moved to Washington, DC when I

613
00:26:16,836 --> 00:26:19,396
Speaker 4: was eleven, I think just moving there and I was

614
00:26:19,396 --> 00:26:21,236
Speaker 4: a skateboarder for a while, and then I quit doing

615
00:26:21,236 --> 00:26:23,556
Speaker 4: that and then I started, you know, on the same

616
00:26:23,596 --> 00:26:26,516
Speaker 4: day I quit skateboarding, I picked up playing guitar, and

617
00:26:26,516 --> 00:26:28,436
Speaker 4: then I started learning how to write songs on my own,

618
00:26:28,516 --> 00:26:30,556
Speaker 4: and that sort of I think I got something out

619
00:26:30,596 --> 00:26:33,276
Speaker 4: of it, as like a ag sort of my teenager

620
00:26:33,436 --> 00:26:35,316
Speaker 4: just kind of you know, making my own chords and

621
00:26:35,356 --> 00:26:38,316
Speaker 4: then realizing that I really when I started trying to

622
00:26:38,316 --> 00:26:41,316
Speaker 4: write songs, and you know, something happened for me in emotionally,

623
00:26:41,316 --> 00:26:42,676
Speaker 4: I felt, you know, I felt a little bit better,

624
00:26:43,116 --> 00:26:45,556
Speaker 4: if that makes sense, just like that sort of scapees

625
00:26:45,556 --> 00:26:47,636
Speaker 4: and like writing songs of the night and feeling like.

626
00:26:47,836 --> 00:26:49,356
Speaker 2: A little bit more whole by doing so.

627
00:26:50,596 --> 00:26:52,876
Speaker 3: When you moved to d C when you were eleven,

628
00:26:52,956 --> 00:26:55,396
Speaker 3: did you lock in with like the local music scene

629
00:26:55,516 --> 00:26:57,396
Speaker 3: in DC at the time, Like what was going on

630
00:26:57,476 --> 00:26:58,196
Speaker 3: musically there.

631
00:26:59,036 --> 00:27:01,516
Speaker 4: I mean, I was in all of the music scene

632
00:27:01,516 --> 00:27:03,996
Speaker 4: that for sure had a big inspiration. And I think

633
00:27:04,036 --> 00:27:07,316
Speaker 4: also having come from like London and France and these

634
00:27:07,356 --> 00:27:10,556
Speaker 4: two older brothers were really you know, very had like

635
00:27:10,596 --> 00:27:13,356
Speaker 4: you know, a little strong pump rock energy and you know,

636
00:27:13,716 --> 00:27:16,156
Speaker 4: underground energy that they took really seriously. And I think

637
00:27:16,556 --> 00:27:19,356
Speaker 4: that in that time period, like in the UK and

638
00:27:19,396 --> 00:27:21,716
Speaker 4: in France, you when you dressed a certain way, it's

639
00:27:21,716 --> 00:27:24,316
Speaker 4: almost sort of like it meant something, you know.

640
00:27:24,236 --> 00:27:25,196
Speaker 2: It wasn't.

641
00:27:24,636 --> 00:27:27,036
Speaker 4: You're a bit of a tribe, you know, and you're

642
00:27:27,036 --> 00:27:29,156
Speaker 4: also a bit of a target. It was serious work

643
00:27:29,156 --> 00:27:31,236
Speaker 4: because of other people you encounter, other people that weren't

644
00:27:31,596 --> 00:27:33,356
Speaker 4: of the same tribe like that, they could get it

645
00:27:33,396 --> 00:27:35,756
Speaker 4: could get like sort of like violin and so forth.

646
00:27:35,836 --> 00:27:38,556
Speaker 4: It was really a serious in a way that it

647
00:27:38,596 --> 00:27:40,396
Speaker 4: is not now or it's just very different now. So

648
00:27:40,436 --> 00:27:42,276
Speaker 4: in that sense, I think that also is like set

649
00:27:42,316 --> 00:27:44,916
Speaker 4: of a seriousness with me too. And then moving to

650
00:27:45,156 --> 00:27:48,116
Speaker 4: d C for sure. And also just like the in.

651
00:27:48,116 --> 00:27:51,236
Speaker 2: The skateboarding world, you know, you start discovering like hardcore and.

652
00:27:51,156 --> 00:27:53,516
Speaker 4: Not really in the hardcore and the d C and

653
00:27:53,516 --> 00:27:55,636
Speaker 4: like the Discord stuff was a huge that's when I

654
00:27:55,676 --> 00:27:57,676
Speaker 4: discovered that. I was like, I mean, I don't think

655
00:27:57,676 --> 00:28:00,636
Speaker 4: I could think of a bigger influence if I had

656
00:28:00,676 --> 00:28:03,156
Speaker 4: this single one band that had the biggest influence on

657
00:28:03,196 --> 00:28:05,596
Speaker 4: me as a as a musician and me covered my

658
00:28:05,596 --> 00:28:07,156
Speaker 4: own palf I would say fu Gassi by far.

659
00:28:07,556 --> 00:28:10,036
Speaker 3: Yeah for sure. So what was your first band? When

660
00:28:10,036 --> 00:28:12,516
Speaker 3: did you find guys to play with?

661
00:28:13,916 --> 00:28:15,836
Speaker 4: I mean really Enterpolse really kind of like was the

662
00:28:15,876 --> 00:28:17,956
Speaker 4: first like serious band, Like I did high school bands

663
00:28:18,196 --> 00:28:20,796
Speaker 4: in DC, but you know, you did a few shows

664
00:28:20,796 --> 00:28:22,436
Speaker 4: here and there and so forth, and it was kind

665
00:28:22,436 --> 00:28:24,236
Speaker 4: of fun. But it's I think it's almost like sets

666
00:28:24,276 --> 00:28:25,836
Speaker 4: you in the path to like learning how to play

667
00:28:25,876 --> 00:28:28,796
Speaker 4: live and not being too nervous about it. But when

668
00:28:28,836 --> 00:28:30,876
Speaker 4: I moved to New York, I really set my my

669
00:28:30,876 --> 00:28:34,196
Speaker 4: my my goals were finally like, you know, a copper

670
00:28:34,196 --> 00:28:35,276
Speaker 4: and serious band to play with.

671
00:28:35,956 --> 00:28:38,916
Speaker 3: I heard that you you guys recorded antics like pretty

672
00:28:38,916 --> 00:28:42,916
Speaker 3: close closely after the first album. When it came time

673
00:28:42,916 --> 00:28:46,236
Speaker 3: to do the third album, did you ever experience like, oh,

674
00:28:46,276 --> 00:28:48,596
Speaker 3: it's suddenly hard to write new songs.

675
00:28:50,556 --> 00:28:53,036
Speaker 2: Observationally, I would say it didn't happen.

676
00:28:53,076 --> 00:28:55,596
Speaker 4: I always kind of expected or knew that it could happen,

677
00:28:55,876 --> 00:28:57,996
Speaker 4: you know, like I really I knew, you know, just

678
00:28:58,116 --> 00:29:01,396
Speaker 4: musical issuy wise, like even like the the sophomore slump

679
00:29:01,436 --> 00:29:04,076
Speaker 4: and so forthwarth people, I think those pitfalls are things

680
00:29:04,076 --> 00:29:07,076
Speaker 4: that I was awareless. So I was trying to be mindful,

681
00:29:07,156 --> 00:29:09,796
Speaker 4: like you know, so for instance, you know, as you mentioned,

682
00:29:10,436 --> 00:29:12,436
Speaker 4: album and the album two are very close together. But

683
00:29:12,476 --> 00:29:13,956
Speaker 4: that was something that was like I think we were

684
00:29:14,036 --> 00:29:17,196
Speaker 4: very mindful of, like let's start working on album too

685
00:29:17,276 --> 00:29:19,356
Speaker 4: while we're still touring on on Bright Lights.

686
00:29:19,436 --> 00:29:22,596
Speaker 2: Let's just you know, not, let's not let's get ahead.

687
00:29:22,276 --> 00:29:24,276
Speaker 4: Of all of this, like all these sort of cliches

688
00:29:24,356 --> 00:29:27,316
Speaker 4: or you know, or these these these truths of the

689
00:29:27,396 --> 00:29:29,756
Speaker 4: music and to stry, let's just like start writing stuff.

690
00:29:29,636 --> 00:29:30,716
Speaker 2: We can really think about it.

691
00:29:30,756 --> 00:29:32,516
Speaker 4: And so that's why we put those two records also

692
00:29:32,596 --> 00:29:35,756
Speaker 4: close together, because we're quite ready, because we just continued

693
00:29:35,876 --> 00:29:39,876
Speaker 4: and I think we're naturally progressing as musicians as songwriters

694
00:29:39,956 --> 00:29:44,396
Speaker 4: while we're writing antics and so I think, you know, constantly,

695
00:29:44,436 --> 00:29:47,156
Speaker 4: I've always been mindful of this so too. It's it's strange,

696
00:29:47,196 --> 00:29:49,436
Speaker 4: like I think maybe after getting you know, through those

697
00:29:49,436 --> 00:29:52,196
Speaker 4: first two records, something sort of just kind of happened naturally,

698
00:29:52,276 --> 00:29:54,596
Speaker 4: so you just kind of got through us a storm

699
00:29:54,636 --> 00:29:55,996
Speaker 4: and then you stopped thinking about it.

700
00:29:56,276 --> 00:29:58,556
Speaker 2: And also what I was saying before about those first.

701
00:29:58,436 --> 00:30:01,316
Speaker 4: Four years of just no one wanted to sign us,

702
00:30:01,356 --> 00:30:03,916
Speaker 4: I think that really sort of gave us a just

703
00:30:03,956 --> 00:30:05,916
Speaker 4: station period just to be kind of like, you know,

704
00:30:06,036 --> 00:30:08,356
Speaker 4: even though we'd had changes and we had challenges along

705
00:30:08,396 --> 00:30:12,356
Speaker 4: the way as band members, and I think we still

706
00:30:12,516 --> 00:30:14,716
Speaker 4: had something kind of solid ones we were able to

707
00:30:14,756 --> 00:30:16,956
Speaker 4: focus on underworking on new music.

708
00:30:17,036 --> 00:30:18,556
Speaker 2: You know, we were never had like a big like

709
00:30:18,916 --> 00:30:22,276
Speaker 2: writing droughts. You know, we've never been short on ideas.

710
00:30:22,516 --> 00:30:25,116
Speaker 4: I mean, people might could, you know, could very they

711
00:30:25,156 --> 00:30:26,556
Speaker 4: could be like, well, maybe should have taken a little

712
00:30:26,556 --> 00:30:28,516
Speaker 4: bit longer or something like that. That's fair, but you know,

713
00:30:28,796 --> 00:30:30,396
Speaker 4: for us, while we're working on things, I think we

714
00:30:30,516 --> 00:30:33,036
Speaker 4: got pretty into what we're working on. So for even

715
00:30:33,076 --> 00:30:35,716
Speaker 4: like album three, I think, you know, there's maybe a

716
00:30:35,756 --> 00:30:39,156
Speaker 4: little bit more like things were happening behind the scenes

717
00:30:39,196 --> 00:30:40,956
Speaker 4: in the band and so forth, you know, like the

718
00:30:41,036 --> 00:30:46,356
Speaker 4: natural like challenges of like adults and yeah and so forth.

719
00:30:46,396 --> 00:30:48,436
Speaker 4: But I don't think once we were in writing it

720
00:30:48,516 --> 00:30:50,836
Speaker 4: was like challenging is you know. We might have had

721
00:30:50,876 --> 00:30:53,996
Speaker 4: like more like conversations about directions and so forth, But

722
00:30:54,036 --> 00:30:56,036
Speaker 4: for the most part, I think we always had a

723
00:30:56,116 --> 00:30:58,356
Speaker 4: strong sense of like chemistry. It's just a matter of

724
00:30:58,436 --> 00:31:00,916
Speaker 4: like maybe which direction we want to go to. But

725
00:31:00,996 --> 00:31:03,356
Speaker 4: even like an album three, you know, I was happy

726
00:31:03,396 --> 00:31:05,556
Speaker 4: what we're doing for album three. You know, It's interesting

727
00:31:05,596 --> 00:31:09,076
Speaker 4: because I feel like maybe at the time, I mean

728
00:31:09,156 --> 00:31:10,356
Speaker 4: it's like a while ago, but I feel like at

729
00:31:10,396 --> 00:31:12,676
Speaker 4: the time people pile least there are these certain people

730
00:31:13,236 --> 00:31:15,516
Speaker 4: I've never like really read much up press and stuff

731
00:31:15,516 --> 00:31:18,156
Speaker 4: like this. I stopped reading press really on like touring

732
00:31:18,156 --> 00:31:20,276
Speaker 4: on Turn of the Bright Lights because it just, I

733
00:31:20,276 --> 00:31:21,676
Speaker 4: don't know, I felt like, this is not for me

734
00:31:21,756 --> 00:31:23,476
Speaker 4: to read, It's for other people to read, you know

735
00:31:23,516 --> 00:31:25,276
Speaker 4: what I mean. I don't want my feelings to be

736
00:31:25,316 --> 00:31:28,396
Speaker 4: wrapped up on this of like anticipation if this is

737
00:31:28,436 --> 00:31:30,996
Speaker 4: going to be a good review or bad review, because like, wait,

738
00:31:31,196 --> 00:31:33,156
Speaker 4: what can I do now? Like I can just control

739
00:31:33,876 --> 00:31:35,996
Speaker 4: writing music, recording music, and releasing it.

740
00:31:36,036 --> 00:31:37,916
Speaker 2: But apart from that, it's like completely out in my hands.

741
00:31:37,916 --> 00:31:39,396
Speaker 2: So like, oh, okay, so I'll just let go.

742
00:31:39,516 --> 00:31:41,596
Speaker 4: And it felt as soon as I made that decision,

743
00:31:41,596 --> 00:31:44,436
Speaker 4: it felt like the right one. So but on the

744
00:31:44,436 --> 00:31:46,396
Speaker 4: album through, I probably felt like there's probably a little

745
00:31:46,436 --> 00:31:48,956
Speaker 4: bit of like people not taking to the record, which

746
00:31:49,036 --> 00:31:50,756
Speaker 4: might you know, I think sometimes that's just like part

747
00:31:50,796 --> 00:31:52,836
Speaker 4: for the portion, and you come in with like a

748
00:31:52,836 --> 00:31:56,796
Speaker 4: lot of attention on your first like you know, two actors,

749
00:31:56,876 --> 00:31:58,836
Speaker 4: and there's a moment where especially I think back then

750
00:31:58,876 --> 00:32:02,156
Speaker 4: with like the way the pendulum was like swing, I

751
00:32:02,236 --> 00:32:04,236
Speaker 4: think those things might have happened around IBM three.

752
00:32:04,476 --> 00:32:06,716
Speaker 3: It's always like there's a natural up and down, but

753
00:32:06,796 --> 00:32:10,356
Speaker 3: sometimes it feels fabricated and it's like people are like

754
00:32:10,516 --> 00:32:12,876
Speaker 3: chomping at the bit to write that story. You know.

755
00:32:13,476 --> 00:32:17,636
Speaker 3: It's like that's a crazy instinct that humans have.

756
00:32:18,316 --> 00:32:20,436
Speaker 4: It's weird, I mean, and you don't want any excuses

757
00:32:20,436 --> 00:32:22,996
Speaker 4: because if someone's legitially like yo, I don't think this

758
00:32:23,116 --> 00:32:24,876
Speaker 4: is a very good record, or I think like your

759
00:32:24,916 --> 00:32:27,796
Speaker 4: other stuff is way better. That's completely a fair assessment,

760
00:32:28,076 --> 00:32:29,916
Speaker 4: you know. That's like the beautiful thing about arts, Like

761
00:32:29,956 --> 00:32:32,356
Speaker 4: everyone has a different opinion and that's like fair and

762
00:32:32,356 --> 00:32:35,516
Speaker 4: no one is really wrong. It's a very subjective entity

763
00:32:35,756 --> 00:32:38,116
Speaker 4: like thing media, whatever you know, and and so like.

764
00:32:38,476 --> 00:32:40,716
Speaker 2: But at the same time, I think sometimes there is like.

765
00:32:40,676 --> 00:32:44,116
Speaker 4: In probably like music, popular music criticism, this is maybe

766
00:32:44,116 --> 00:32:45,596
Speaker 4: a little bit of like I'm tired of these guys

767
00:32:45,716 --> 00:32:47,916
Speaker 4: or I'm tired of this, you know, versus giving it

768
00:32:47,956 --> 00:32:51,276
Speaker 4: a real shake. I definitely remember hearing someone come up

769
00:32:51,316 --> 00:32:53,916
Speaker 4: to me like years later and say like, oh, yeah,

770
00:32:53,916 --> 00:32:55,556
Speaker 4: I didn't really like album three and I gave it

771
00:32:55,716 --> 00:32:57,956
Speaker 4: like not a very good review or stuff. I can't

772
00:32:57,956 --> 00:32:59,876
Speaker 4: remember the circumstances, but you know, when I went back

773
00:32:59,916 --> 00:33:01,636
Speaker 4: and listened to it recently and it's actually pretty good,

774
00:33:01,636 --> 00:33:02,196
Speaker 4: and I was like.

775
00:33:02,556 --> 00:33:04,356
Speaker 2: Bro, get away from me. I'm like, I don't know,

776
00:33:04,476 --> 00:33:06,836
Speaker 2: like I like, like, I don't know. It's like one

777
00:33:06,836 --> 00:33:07,596
Speaker 2: thing to you, as I.

778
00:33:07,516 --> 00:33:09,036
Speaker 4: Said, if you don't like it, I totally get that,

779
00:33:09,396 --> 00:33:12,356
Speaker 4: but it's like I don't know to to do. That

780
00:33:12,516 --> 00:33:14,276
Speaker 4: is not really I feel like, you know, or if

781
00:33:14,316 --> 00:33:16,396
Speaker 4: you need a minute, maybe get a better assessment of

782
00:33:16,396 --> 00:33:18,596
Speaker 4: it before you formulate an opinion.

783
00:33:19,076 --> 00:33:21,636
Speaker 3: Yeah, that's the problem with that job is like oftentimes

784
00:33:21,636 --> 00:33:23,836
Speaker 3: you only have a couple of days to listen to

785
00:33:23,876 --> 00:33:26,436
Speaker 3: the album, to digest it, and then to sort of

786
00:33:26,476 --> 00:33:30,276
Speaker 3: like barf out an opinion. But you're like you should

787
00:33:30,396 --> 00:33:32,516
Speaker 3: to that guy, it's like, dude, can you like publish

788
00:33:32,516 --> 00:33:34,716
Speaker 3: a new story, like an updated opinion?

789
00:33:35,676 --> 00:33:37,396
Speaker 2: I mean, you know what that's actually like not a

790
00:33:37,396 --> 00:33:38,476
Speaker 2: bad story.

791
00:33:38,196 --> 00:33:44,316
Speaker 4: There, you know, like you know, but yeah.

792
00:33:42,076 --> 00:33:45,596
Speaker 3: Yeah, yeah, it's so annoying. But do you find as

793
00:33:45,836 --> 00:33:47,996
Speaker 3: just a fan of music and a listener, like, do

794
00:33:48,036 --> 00:33:51,356
Speaker 3: you find yourself doing the same thing to other artists

795
00:33:51,436 --> 00:33:54,236
Speaker 3: or other groups where you listen to something and you like,

796
00:33:54,356 --> 00:33:57,396
Speaker 3: is your first reaction ever just to hate on it?

797
00:33:58,276 --> 00:34:00,396
Speaker 3: Or do you feel like because you're in the industry,

798
00:34:00,436 --> 00:34:01,836
Speaker 3: you're just naturally supportive.

799
00:34:03,076 --> 00:34:05,316
Speaker 2: I don't know if I have one meaning or the other.

800
00:34:05,396 --> 00:34:07,276
Speaker 4: I think it's also different times in your life and

801
00:34:07,316 --> 00:34:09,076
Speaker 4: different ages in your life, you know what I mean. Like,

802
00:34:09,156 --> 00:34:12,196
Speaker 4: there's like I certainly when I was like a you know,

803
00:34:12,356 --> 00:34:14,956
Speaker 4: late teenager, early twenties, I think I probably formulate my

804
00:34:14,996 --> 00:34:16,076
Speaker 4: opinions pretty quickly.

805
00:34:16,236 --> 00:34:18,956
Speaker 2: And yeah, in a way that I certainly would not

806
00:34:18,996 --> 00:34:20,556
Speaker 2: do now or I haven't done in a while. But

807
00:34:20,596 --> 00:34:21,876
Speaker 2: like I think, especially.

808
00:34:21,476 --> 00:34:25,076
Speaker 4: When you're like a you know, a late teenager, I

809
00:34:25,116 --> 00:34:27,316
Speaker 4: do remember when like certain things were blowing up. I

810
00:34:27,356 --> 00:34:29,956
Speaker 4: was already into like a lot of like hardcore kind

811
00:34:29,956 --> 00:34:31,596
Speaker 4: of stuff when I was in high school, or underground

812
00:34:31,636 --> 00:34:34,236
Speaker 4: kind of stuff, and then all of a sudden, Nirvana

813
00:34:34,276 --> 00:34:36,916
Speaker 4: becomes like so massive, and all these bands becomes so massive,

814
00:34:36,916 --> 00:34:38,996
Speaker 4: and everyone in your high school like likes, you know,

815
00:34:39,236 --> 00:34:41,116
Speaker 4: this music that sounds pretty close to the things that

816
00:34:41,156 --> 00:34:44,636
Speaker 4: you like. You've become like a proprietary like kind of standpoint,

817
00:34:44,676 --> 00:34:46,196
Speaker 4: and you feel like a little bit of cross upon

818
00:34:46,316 --> 00:34:48,876
Speaker 4: because this is like one of the elements that said

819
00:34:48,996 --> 00:34:51,076
Speaker 4: you made you feel a little bit different, you know,

820
00:34:51,356 --> 00:34:52,796
Speaker 4: in a way that I think is very different now

821
00:34:52,836 --> 00:34:54,916
Speaker 4: than it was then. But but when I was a

822
00:34:54,996 --> 00:34:56,676
Speaker 4: kid then it was like you'd have to really like

823
00:34:56,796 --> 00:34:58,676
Speaker 4: dig dig dig to get some of the stuff. And

824
00:34:58,676 --> 00:35:01,436
Speaker 4: all of a sudden it became so mainstream and in

825
00:35:01,476 --> 00:35:04,756
Speaker 4: a very well earned and exciting way, like there's an

826
00:35:04,916 --> 00:35:08,836
Speaker 4: undeniable and pure like Nirvana sounds amazing now too, you know,

827
00:35:08,836 --> 00:35:11,676
Speaker 4: when I here like out there, it's like undeniable At

828
00:35:11,676 --> 00:35:13,436
Speaker 4: that time, I think I probably had a hard time

829
00:35:13,476 --> 00:35:15,956
Speaker 4: hearing it because it was just energy wise or closer

830
00:35:16,036 --> 00:35:17,796
Speaker 4: things that I liked that I just kind of, you know,

831
00:35:17,996 --> 00:35:19,756
Speaker 4: wanted to keep for myself. So it's just like an

832
00:35:19,796 --> 00:35:23,196
Speaker 4: I hadn't heard Navana before they actually really blew up.

833
00:35:23,476 --> 00:35:25,556
Speaker 4: I hadn't heard Bleachs and so forth. But it's like

834
00:35:25,996 --> 00:35:28,036
Speaker 4: you hear it now, you know, and it's like, this

835
00:35:28,116 --> 00:35:33,196
Speaker 4: is an undeniably incredible original band with these songs that

836
00:35:33,236 --> 00:35:35,876
Speaker 4: are very singular and you know, like lyrics that are

837
00:35:35,916 --> 00:35:37,916
Speaker 4: really one of a kind, and it's amazing that it

838
00:35:37,996 --> 00:35:41,996
Speaker 4: actually resonated with like you know, popular culture and the masses.

839
00:35:41,996 --> 00:35:44,836
Speaker 4: It's really because it's so unique sounding and in some

840
00:35:44,876 --> 00:35:48,156
Speaker 4: ways it's it's a sounding that would be for so

841
00:35:48,196 --> 00:35:49,756
Speaker 4: many people, you know what I mean. There's like something

842
00:35:49,796 --> 00:35:53,396
Speaker 4: that's really like left of sensor. So it's actually looking back,

843
00:35:53,476 --> 00:35:55,636
Speaker 4: it's an extraordinarily exciting moment.

844
00:35:55,436 --> 00:36:04,036
Speaker 1: You know, one last break and moving back with Daniel Kessler, do.

845
00:36:03,996 --> 00:36:06,276
Speaker 3: You think of like at this point, I know that

846
00:36:06,756 --> 00:36:09,716
Speaker 3: you had a celebration. I think it waslast year, maybe

847
00:36:09,716 --> 00:36:13,956
Speaker 3: a couple of years ago for antics, was it the

848
00:36:13,996 --> 00:36:16,116
Speaker 3: twentieth anniversary.

849
00:36:15,916 --> 00:36:19,676
Speaker 2: Or it was, Yeah, it was the twentieth and twenty twenty.

850
00:36:19,396 --> 00:36:24,596
Speaker 3: Four, twenty twenty four. Okay, So at that point do

851
00:36:24,716 --> 00:36:28,556
Speaker 3: you start to think of Interpol as a legacy band, Like,

852
00:36:28,596 --> 00:36:34,316
Speaker 3: how does that sit with you? I wish that wasn't

853
00:36:34,316 --> 00:36:35,716
Speaker 3: a bad thing, because no.

854
00:36:35,596 --> 00:36:39,356
Speaker 2: I mean, in some ways it's an amazing heat. You know.

855
00:36:39,436 --> 00:36:41,396
Speaker 4: It's like really and I mean what I say, like

856
00:36:41,436 --> 00:36:43,356
Speaker 4: I never got further than my sort of dreaming about

857
00:36:43,396 --> 00:36:46,396
Speaker 4: making out one. I feel like it feels so close

858
00:36:46,396 --> 00:36:49,476
Speaker 4: to me when I think of those of that feeling

859
00:36:49,556 --> 00:36:52,676
Speaker 4: somehow I really think about playing the Troubadour. It's really

860
00:36:52,676 --> 00:36:54,676
Speaker 4: strange because I feel like that like when we had

861
00:36:54,676 --> 00:36:56,716
Speaker 4: this two shows there and playing it and it was

862
00:36:56,756 --> 00:36:59,996
Speaker 4: like really like I really dawned to me, like wow,

863
00:37:00,036 --> 00:37:01,836
Speaker 4: this is really happening right now, and those all those

864
00:37:01,956 --> 00:37:04,236
Speaker 4: those times not that long ago, people just for showing

865
00:37:04,276 --> 00:37:06,676
Speaker 4: no interests and like we have these two sold out shows.

866
00:37:07,956 --> 00:37:09,556
Speaker 4: But to me, it was like, wow, that was like

867
00:37:09,596 --> 00:37:11,836
Speaker 4: my dream. And so that was like and I just

868
00:37:11,916 --> 00:37:14,836
Speaker 4: never anything after that. Als felt like bonus, it really

869
00:37:14,836 --> 00:37:16,716
Speaker 4: did like soon after that and then here we are

870
00:37:16,716 --> 00:37:17,156
Speaker 4: on an album.

871
00:37:17,196 --> 00:37:19,436
Speaker 3: A that's a lot of years of bonus.

872
00:37:19,756 --> 00:37:22,076
Speaker 4: It's like yeah, but you know, the thing about it

873
00:37:22,116 --> 00:37:24,996
Speaker 4: is like I guess it's absolutely and it's like so

874
00:37:25,036 --> 00:37:27,196
Speaker 4: it's one part of me like that's just really crazy,

875
00:37:27,196 --> 00:37:29,436
Speaker 4: and I guess some ways, like lots of life has

876
00:37:29,436 --> 00:37:32,596
Speaker 4: been lived since then, you you know, by doing this,

877
00:37:32,716 --> 00:37:35,316
Speaker 4: you know, I've got to explore the world, meet people

878
00:37:35,316 --> 00:37:37,396
Speaker 4: from all over the world, have many different life experiences.

879
00:37:37,476 --> 00:37:39,676
Speaker 4: So in that sense, it's really the band's giving you

880
00:37:39,716 --> 00:37:42,316
Speaker 4: so much. But then you make a record like the

881
00:37:42,316 --> 00:37:44,516
Speaker 4: record we just made, or every time we write songs,

882
00:37:45,236 --> 00:37:49,676
Speaker 4: you have this urgency and this uh in the songwriting together,

883
00:37:49,796 --> 00:37:52,076
Speaker 4: you have this chemistry and it's kind of undeniable, and

884
00:37:52,116 --> 00:37:54,756
Speaker 4: it's never like it it never feels like work.

885
00:37:54,796 --> 00:37:57,716
Speaker 2: It's more of just like you feel it. It's like invigorating,

886
00:37:57,756 --> 00:37:58,356
Speaker 2: it's visceral.

887
00:37:58,476 --> 00:38:01,796
Speaker 4: It's like all these things and in some ways is

888
00:38:01,876 --> 00:38:04,396
Speaker 4: there's a commonality because that to like how it was

889
00:38:05,116 --> 00:38:07,396
Speaker 4: when we first started like writing songs and realizing that

890
00:38:07,396 --> 00:38:10,116
Speaker 4: there's like this chemistry that hasn't really changed that much.

891
00:38:10,156 --> 00:38:13,196
Speaker 4: And that's again like going back to these things can dissipate,

892
00:38:13,236 --> 00:38:13,796
Speaker 4: they can just go.

893
00:38:13,756 --> 00:38:15,516
Speaker 2: Away and be very understandable.

894
00:38:16,676 --> 00:38:18,796
Speaker 4: They you know, and if it started feeling like a

895
00:38:18,876 --> 00:38:21,316
Speaker 4: job then, you know, like and so forth, But it's

896
00:38:21,396 --> 00:38:23,396
Speaker 4: never felt like a job. It's never felt like something.

897
00:38:23,436 --> 00:38:26,396
Speaker 4: We don't start making records. We feel like we're writing

898
00:38:26,436 --> 00:38:28,116
Speaker 4: songs because we feel like we need to go do this.

899
00:38:28,236 --> 00:38:30,676
Speaker 4: We can start touring. We've never thought about those terms

900
00:38:30,676 --> 00:38:33,956
Speaker 4: you write. We're still abandoned. Still write songs together and

901
00:38:34,276 --> 00:38:36,516
Speaker 4: make records because I feel like it's just a it's

902
00:38:36,556 --> 00:38:39,476
Speaker 4: just this energy, this chemistry is just really like pure

903
00:38:39,516 --> 00:38:41,636
Speaker 4: and it's just it's undeniable, and it's really get so

904
00:38:41,676 --> 00:38:43,516
Speaker 4: much out of it, and it's passionate, and you feel

905
00:38:43,516 --> 00:38:46,356
Speaker 4: like you can do something better than what you done previously.

906
00:38:46,516 --> 00:38:49,756
Speaker 2: But you just feel like this evolution is so happening

907
00:38:49,756 --> 00:38:50,476
Speaker 2: while we're doing this.

908
00:38:50,516 --> 00:38:52,236
Speaker 4: So to me, it's like as long as that's feeling

909
00:38:52,436 --> 00:38:54,076
Speaker 4: is still there, and then that's kind of what you're

910
00:38:54,316 --> 00:38:54,836
Speaker 4: focused on.

911
00:38:54,956 --> 00:38:57,516
Speaker 2: So it's almost like I think to myself.

912
00:38:57,196 --> 00:38:59,076
Speaker 4: Maybe, like, you know, there'll be a time where I'll

913
00:38:59,076 --> 00:39:00,676
Speaker 4: look back about some of these things that we've done

914
00:39:00,716 --> 00:39:03,276
Speaker 4: and so forth, and you know, but that's it's not right.

915
00:39:03,356 --> 00:39:04,996
Speaker 2: It's not now in that sense, you know, but it's

916
00:39:04,996 --> 00:39:05,636
Speaker 2: also true.

917
00:39:05,716 --> 00:39:07,836
Speaker 4: It's like it's been a long time, So if not,

918
00:39:07,996 --> 00:39:10,436
Speaker 4: and if probably probably been saying a version of this

919
00:39:11,036 --> 00:39:13,516
Speaker 4: to myself for a very long time. But I think

920
00:39:13,556 --> 00:39:16,316
Speaker 4: in some ways, I think I don't think about it

921
00:39:16,356 --> 00:39:18,716
Speaker 4: that much because I just want to keep going forward because.

922
00:39:18,516 --> 00:39:20,396
Speaker 2: I really do believe in what we're doing.

923
00:39:20,476 --> 00:39:23,356
Speaker 4: And if I ever felt like trying or like there

924
00:39:23,436 --> 00:39:26,156
Speaker 4: was a drought in the songwriting or the chemistry shows

925
00:39:26,196 --> 00:39:28,956
Speaker 4: the there, then you know, I'm we would definitely take

926
00:39:28,996 --> 00:39:31,636
Speaker 4: a big pause. We definitely would take a moment. We

927
00:39:31,676 --> 00:39:34,236
Speaker 4: definitely would never force anything. But it's kind of insane

928
00:39:34,276 --> 00:39:36,756
Speaker 4: to me that actually that has never been and on

929
00:39:36,796 --> 00:39:39,716
Speaker 4: the slightest round it that's abelt very Yeah, it felt

930
00:39:39,716 --> 00:39:41,316
Speaker 4: really amazing in the moments, you know, and it felt

931
00:39:41,396 --> 00:39:44,356
Speaker 4: very exciting, and we wasn't even belaboring. We didn't spend

932
00:39:44,716 --> 00:39:46,836
Speaker 4: a ton of time working in these songs were writing

933
00:39:46,876 --> 00:39:48,956
Speaker 4: and before we started recording them. So I think if

934
00:39:48,996 --> 00:39:51,516
Speaker 4: you're having moments like this that are feeling very like

935
00:39:51,596 --> 00:39:54,996
Speaker 4: good energy, positive and you're getting excited, and you kind

936
00:39:54,996 --> 00:39:57,716
Speaker 4: of more focus on that than what you've already accomplished.

937
00:39:58,116 --> 00:40:01,436
Speaker 3: Yeah, yeah, yeah, of course for the new album, was

938
00:40:01,476 --> 00:40:04,436
Speaker 3: there any more of those sort of like magical moments

939
00:40:04,476 --> 00:40:08,316
Speaker 3: that you remember when something really started to come together

940
00:40:08,556 --> 00:40:09,756
Speaker 3: and feel complete.

941
00:40:10,516 --> 00:40:11,916
Speaker 2: I think it's a couple of times. I feel like

942
00:40:11,996 --> 00:40:14,916
Speaker 2: when we were doing like the Burden Serpent, just towards

943
00:40:14,956 --> 00:40:17,076
Speaker 2: the end of the record, that one does something. I

944
00:40:17,076 --> 00:40:18,876
Speaker 2: know when I was like that was the one song

945
00:40:18,916 --> 00:40:20,796
Speaker 2: that I think when I was writing the main Progression,

946
00:40:20,836 --> 00:40:23,956
Speaker 2: I had it in a very different kind of mode.

947
00:40:24,036 --> 00:40:26,436
Speaker 4: It was almost maybe a little bit more like it

948
00:40:26,596 --> 00:40:28,716
Speaker 4: just felt like maybe like more rocky, and all of

949
00:40:28,716 --> 00:40:30,436
Speaker 4: a sudden I started playing with like the sort of

950
00:40:30,516 --> 00:40:33,676
Speaker 4: rhythm of it, and I feel like that sort of

951
00:40:33,716 --> 00:40:35,036
Speaker 4: kind of so for me, I was getting kind of

952
00:40:35,036 --> 00:40:36,956
Speaker 4: excited about like, oh what this could be. And then

953
00:40:36,996 --> 00:40:39,036
Speaker 4: when we started working on it as a unit in

954
00:40:39,076 --> 00:40:42,116
Speaker 4: the rehearsal room, I just feeling the excitement of the

955
00:40:42,236 --> 00:40:44,316
Speaker 4: energy and so forth, and feeling realized.

956
00:40:44,316 --> 00:40:45,716
Speaker 2: I think that was like a good indication.

957
00:40:46,276 --> 00:40:48,676
Speaker 4: I think this mirror weighs a ton of the title

958
00:40:48,756 --> 00:40:51,556
Speaker 4: track when that started growing in the studio. I mean,

959
00:40:51,756 --> 00:40:53,916
Speaker 4: a really great moment for me is just like sitting

960
00:40:53,916 --> 00:40:56,756
Speaker 4: there with Andrew's work and someone's atmospheres that are happening

961
00:40:56,836 --> 00:41:01,156
Speaker 4: in the song and the courses and Paulosis right next

962
00:41:01,196 --> 00:41:03,316
Speaker 4: to me at that moment is you know, to me,

963
00:41:03,316 --> 00:41:06,236
Speaker 4: I felt like, that's almost become like an instrumental piece

964
00:41:06,236 --> 00:41:08,636
Speaker 4: of music. But then pauls whom my left and he

965
00:41:08,796 --> 00:41:10,516
Speaker 4: was like writing in a notebook, and then all of

966
00:41:10,556 --> 00:41:12,076
Speaker 4: a sudden he ran to the he had like a

967
00:41:12,116 --> 00:41:14,956
Speaker 4: little studio in the back of Madrew's studio, like a

968
00:41:14,956 --> 00:41:17,796
Speaker 4: little working room. And then two hours later I walked

969
00:41:17,836 --> 00:41:20,476
Speaker 4: in and he played me some of the vocals that

970
00:41:20,556 --> 00:41:22,756
Speaker 4: he had just recorded and and right there and then

971
00:41:22,796 --> 00:41:24,556
Speaker 4: you're like, oh, so this is definitely not gonna become

972
00:41:24,596 --> 00:41:27,716
Speaker 4: an instrumental because these vocals are too good and now

973
00:41:27,836 --> 00:41:29,556
Speaker 4: these and these melodies are too amazing.

974
00:41:29,756 --> 00:41:31,996
Speaker 2: And then even then I'm pretty sure he just in

975
00:41:32,036 --> 00:41:34,916
Speaker 2: that one moment he'd written this may of waste a

976
00:41:34,916 --> 00:41:36,796
Speaker 2: ton That lyric was already there, so like right there,

977
00:41:36,796 --> 00:41:38,756
Speaker 2: you're like, what is that? Like that just jumps out

978
00:41:38,796 --> 00:41:39,036
Speaker 2: at you.

979
00:41:39,276 --> 00:41:41,836
Speaker 4: So those are really exciting kind of like visceral moments,

980
00:41:41,876 --> 00:41:44,076
Speaker 4: I would say, you know, but there's a lot of

981
00:41:44,076 --> 00:41:45,876
Speaker 4: them on the record, Like even like even like a

982
00:41:45,916 --> 00:41:47,516
Speaker 4: song that's probably a little more of like an Interpols

983
00:41:47,556 --> 00:41:49,956
Speaker 4: song like c out Loud, uh that that was like

984
00:41:49,956 --> 00:41:52,356
Speaker 4: a really fun one put together and find the jam

985
00:41:52,396 --> 00:41:53,436
Speaker 4: on and stuff like that.

986
00:41:53,396 --> 00:41:55,236
Speaker 2: Or wake up too.

987
00:41:55,476 --> 00:41:57,396
Speaker 4: That's you know, that feels like a you know, sort

988
00:41:57,396 --> 00:41:59,076
Speaker 4: of like kind of like my guitarist a little bit

989
00:41:59,116 --> 00:42:01,196
Speaker 4: like almost like a West African kind of like guitar

990
00:42:01,276 --> 00:42:04,236
Speaker 4: sort of inscribed you know, rhythm and then like you know,

991
00:42:04,356 --> 00:42:04,796
Speaker 4: just the song.

992
00:42:04,836 --> 00:42:07,036
Speaker 2: Playing that together, like the energy and so forth was

993
00:42:07,076 --> 00:42:07,516
Speaker 2: really fun.

994
00:42:08,716 --> 00:42:11,396
Speaker 3: It sounds like the song sort of evolve a lot

995
00:42:11,716 --> 00:42:14,436
Speaker 3: from the time you bring them in into the band.

996
00:42:15,196 --> 00:42:17,516
Speaker 3: Are there any that you were sort of surprised by

997
00:42:17,636 --> 00:42:20,756
Speaker 3: or went in a direction that was extremely satisfying?

998
00:42:21,996 --> 00:42:24,036
Speaker 2: I mean this countless because I think it's like, as

999
00:42:24,116 --> 00:42:27,116
Speaker 2: much as maybe the songs tend to begin with me,

1000
00:42:27,156 --> 00:42:29,956
Speaker 2: for the most part, the thing that makes them so

1001
00:42:29,996 --> 00:42:32,836
Speaker 2: exciting is like I would never predict where they're going

1002
00:42:32,916 --> 00:42:33,116
Speaker 2: to go.

1003
00:42:33,396 --> 00:42:35,276
Speaker 4: And and that's like something that I wanted from the

1004
00:42:35,356 --> 00:42:37,996
Speaker 4: very beginning of the band, and it still happens now

1005
00:42:38,076 --> 00:42:39,796
Speaker 4: and it becomes all of our songs, Like as soon

1006
00:42:39,836 --> 00:42:42,196
Speaker 4: as I put onto the floor of the rehearsal room,

1007
00:42:42,276 --> 00:42:43,276
Speaker 4: so I'm.

1008
00:42:43,196 --> 00:42:44,916
Speaker 2: On the slaves record this, you know all of them.

1009
00:42:44,956 --> 00:42:46,596
Speaker 2: I can say that for sure. It's because as soon

1010
00:42:46,596 --> 00:42:46,956
Speaker 2: as like.

1011
00:42:46,916 --> 00:42:49,396
Speaker 4: You know what, Paul, I might do something, and then

1012
00:42:49,396 --> 00:42:52,716
Speaker 4: Paul might do something. Sam might be more influenced by

1013
00:42:52,756 --> 00:42:55,556
Speaker 4: what Paul's doing than I was doing. Brad now has

1014
00:42:55,596 --> 00:42:58,156
Speaker 4: been like writing with us as well playing bass. It's all,

1015
00:42:58,276 --> 00:42:59,836
Speaker 4: you know, And I think to me, that's the idea

1016
00:42:59,876 --> 00:43:02,356
Speaker 4: is like now the unpredictability of what the end result

1017
00:43:02,356 --> 00:43:04,036
Speaker 4: of what we're going to settle on, who's going to

1018
00:43:04,076 --> 00:43:06,276
Speaker 4: inspire by who and what which I guess in some

1019
00:43:06,316 --> 00:43:07,876
Speaker 4: ways you could say, well that's maybe like a lot

1020
00:43:07,916 --> 00:43:09,756
Speaker 4: of bands, so for ours, I think gets made it

1021
00:43:09,876 --> 00:43:13,036
Speaker 4: less of you really don't know where this is really

1022
00:43:13,076 --> 00:43:15,756
Speaker 4: going to set upon, you know, but I think, you know,

1023
00:43:15,796 --> 00:43:18,796
Speaker 4: even like working again like The Burden Serpent, like a well,

1024
00:43:18,876 --> 00:43:20,956
Speaker 4: like working on this one and working with Andrew who's

1025
00:43:20,996 --> 00:43:24,716
Speaker 4: just like such a orchestration whiz and a musical wiz

1026
00:43:24,716 --> 00:43:27,156
Speaker 4: and just you know those you know, just music so

1027
00:43:27,516 --> 00:43:30,916
Speaker 4: well from like a compositional standpoint, so he added all

1028
00:43:30,916 --> 00:43:34,076
Speaker 4: these great sounds where it's the outro of that song

1029
00:43:34,156 --> 00:43:36,356
Speaker 4: and it sort of just has this like it just

1030
00:43:36,356 --> 00:43:38,356
Speaker 4: feels like you just enter it to this other world.

1031
00:43:38,356 --> 00:43:40,636
Speaker 4: It has another worldliness in a way that's just like

1032
00:43:40,716 --> 00:43:44,156
Speaker 4: it's like exotic. This is like certainly there's some sounds

1033
00:43:44,156 --> 00:43:46,876
Speaker 4: on that section of song that I've never been on you know,

1034
00:43:47,556 --> 00:43:51,156
Speaker 4: any other interpol, yeah, crass, And it's just sort of

1035
00:43:51,196 --> 00:43:53,676
Speaker 4: like unexpected from where you're going from from where you've

1036
00:43:53,716 --> 00:43:55,196
Speaker 4: already been through this journey, and then all of a

1037
00:43:55,196 --> 00:43:56,356
Speaker 4: sudden you're in this like plane.

1038
00:43:56,476 --> 00:43:59,156
Speaker 2: I look at this, like this open field of these.

1039
00:43:59,036 --> 00:44:01,316
Speaker 4: Like little exotic animals just hopping up and down, and

1040
00:44:01,356 --> 00:44:03,076
Speaker 4: this is sort of like an amazing place to be.

1041
00:44:03,196 --> 00:44:06,036
Speaker 4: And so I love the fact that that was created,

1042
00:44:06,076 --> 00:44:07,996
Speaker 4: in the fact that we were all like really receptive

1043
00:44:07,996 --> 00:44:08,996
Speaker 4: to that, versus.

1044
00:44:08,676 --> 00:44:10,156
Speaker 2: Being like no, no, no, no, that can't be on

1045
00:44:10,196 --> 00:44:10,876
Speaker 2: an imple record.

1046
00:44:10,916 --> 00:44:12,676
Speaker 4: It's more like, yes, I can be in an a

1047
00:44:12,756 --> 00:44:14,476
Speaker 4: pole record, and it's like it should be. And so

1048
00:44:15,396 --> 00:44:16,956
Speaker 4: these are things in some ways where a now that

1049
00:44:17,036 --> 00:44:19,276
Speaker 4: have it, you know, existed like I would say, like

1050
00:44:19,316 --> 00:44:22,276
Speaker 4: you know, from NYC from the first record too on,

1051
00:44:22,516 --> 00:44:24,996
Speaker 4: you know, I love to admire like on our very

1052
00:44:24,996 --> 00:44:27,796
Speaker 4: first track, Pioneer to the Falls, like that song it's

1053
00:44:27,916 --> 00:44:29,516
Speaker 4: I you know, I still love playing a song and

1054
00:44:29,956 --> 00:44:33,076
Speaker 4: the compositionally, there's also like some orchestral elements in it

1055
00:44:33,156 --> 00:44:35,476
Speaker 4: that we're not so obviously be on an in apole

1056
00:44:36,036 --> 00:44:38,036
Speaker 4: track as if you were like based on when the

1057
00:44:38,076 --> 00:44:39,636
Speaker 4: first two records sounded like.

1058
00:44:39,716 --> 00:44:40,556
Speaker 2: So I don't.

1059
00:44:40,556 --> 00:44:42,316
Speaker 4: I think there's also been things that we've tried to

1060
00:44:42,356 --> 00:44:45,476
Speaker 4: be open to and and uh.

1061
00:44:45,276 --> 00:44:47,276
Speaker 2: And it's something like you not have not push ourselves.

1062
00:44:47,316 --> 00:44:49,076
Speaker 4: I think these are just tastes that we've always had,

1063
00:44:49,116 --> 00:44:51,476
Speaker 4: and so when we've encountered like a situation where we

1064
00:44:51,516 --> 00:44:54,196
Speaker 4: can go there or be including them, it's just it's

1065
00:44:54,276 --> 00:44:56,036
Speaker 4: just felt great. And as long as it's not like

1066
00:44:56,116 --> 00:44:57,996
Speaker 4: forced onto it as much as like, oh no, this

1067
00:44:58,076 --> 00:45:00,676
Speaker 4: is a it makes sense that we've arrived at this

1068
00:45:00,916 --> 00:45:04,396
Speaker 4: like destined, you know, destination. And I think on this

1069
00:45:04,516 --> 00:45:06,436
Speaker 4: latest record there's like a lot of examples on that,

1070
00:45:06,596 --> 00:45:09,396
Speaker 4: like just every track has so many more key and

1071
00:45:09,436 --> 00:45:12,676
Speaker 4: we've ever had on previous records and sounds and so forth.

1072
00:45:12,716 --> 00:45:15,276
Speaker 4: And I think that was definitely something that Andrew wanted

1073
00:45:15,316 --> 00:45:17,276
Speaker 4: to bring forth and those and for me, that was

1074
00:45:17,316 --> 00:45:19,396
Speaker 4: exactly what I was hoping that he would introduce.

1075
00:45:20,636 --> 00:45:22,796
Speaker 3: Have you started thinking about the next album yet? Are

1076
00:45:22,796 --> 00:45:25,356
Speaker 3: you still just locked in on on this one?

1077
00:45:26,516 --> 00:45:28,836
Speaker 4: I mean, I think I love writing music, so I'm all,

1078
00:45:28,916 --> 00:45:30,716
Speaker 4: you know, like a little like animal. I think I'm

1079
00:45:30,716 --> 00:45:32,476
Speaker 4: always like kind of like always like trying to like

1080
00:45:32,556 --> 00:45:35,156
Speaker 4: chisel away and work on stuff. So it's like, as

1081
00:45:35,516 --> 00:45:38,636
Speaker 4: I I'm so now, like every moment that I'm not

1082
00:45:38,716 --> 00:45:41,156
Speaker 4: on the road, I followed ever routine that I was

1083
00:45:41,396 --> 00:45:43,356
Speaker 4: you know, speaking of, and just try to like, you know,

1084
00:45:43,476 --> 00:45:46,316
Speaker 4: I think I probably I mean there's a degree of

1085
00:45:46,316 --> 00:45:48,556
Speaker 4: like I like having something that's going on that I'm

1086
00:45:48,596 --> 00:45:50,796
Speaker 4: like excited about that I want to kind of keep

1087
00:45:50,916 --> 00:45:51,236
Speaker 4: you know.

1088
00:45:51,236 --> 00:45:53,236
Speaker 2: Nurturing and trying to building and so forth.

1089
00:45:53,356 --> 00:45:56,356
Speaker 4: And I feel that way now certainly, But then you

1090
00:45:56,436 --> 00:45:58,036
Speaker 4: also want to be open.

1091
00:45:58,236 --> 00:46:00,276
Speaker 2: Well maybe there's even more that you can do, you know,

1092
00:46:00,356 --> 00:46:02,996
Speaker 2: you don't want to. It's nice to have those like things.

1093
00:46:02,796 --> 00:46:05,756
Speaker 4: That you're already the concerting on, but it's also like, well,

1094
00:46:05,796 --> 00:46:07,756
Speaker 4: let's get through those things, because then you can have

1095
00:46:07,796 --> 00:46:10,756
Speaker 4: like an open palette and you never know what's going

1096
00:46:10,756 --> 00:46:12,956
Speaker 4: to get introduced. And I think that's part of like

1097
00:46:13,116 --> 00:46:15,436
Speaker 4: the exciting element of trying to do this. You want,

1098
00:46:15,516 --> 00:46:18,236
Speaker 4: you know, stay unexpected and what all of a sudden

1099
00:46:18,276 --> 00:46:20,156
Speaker 4: you find yourself like working on the like where did

1100
00:46:20,156 --> 00:46:22,796
Speaker 4: this come from? You know? And those are those are

1101
00:46:22,836 --> 00:46:25,476
Speaker 4: the things that I feel like very alluring and you

1102
00:46:25,516 --> 00:46:27,676
Speaker 4: hope for you know, and you can't for me at least,

1103
00:46:27,676 --> 00:46:29,396
Speaker 4: I can't really force them. I think there's certain people

1104
00:46:29,396 --> 00:46:32,116
Speaker 4: who can just write, you know, ten hours a day

1105
00:46:32,156 --> 00:46:34,236
Speaker 4: and have like a hundred songs a year.

1106
00:46:34,956 --> 00:46:36,676
Speaker 2: I'm not quite like that, I think. I like, you know,

1107
00:46:36,676 --> 00:46:37,236
Speaker 2: I'm a little bit.

1108
00:46:37,196 --> 00:46:39,316
Speaker 4: More like a fisherman and it just puts a fishing

1109
00:46:39,396 --> 00:46:41,316
Speaker 4: rod in the water and then hope something bites and

1110
00:46:41,396 --> 00:46:42,556
Speaker 4: you never know when it does.

1111
00:46:42,596 --> 00:46:45,316
Speaker 2: But the important thing is to go fishing every day.

1112
00:46:45,796 --> 00:46:48,036
Speaker 3: Do you pick up the guitar at any other points

1113
00:46:48,116 --> 00:46:50,356
Speaker 3: during the day or is it strictly the morning routine

1114
00:46:50,396 --> 00:46:52,316
Speaker 3: with the coffee in the film?

1115
00:46:52,596 --> 00:46:55,076
Speaker 2: Uh, you know, it's it's I will do.

1116
00:46:55,156 --> 00:46:56,996
Speaker 4: Like over times, I realized I just don't have the

1117
00:46:57,036 --> 00:47:00,036
Speaker 4: same like obviously, you know, like as far as writing, Yeah,

1118
00:47:00,036 --> 00:47:02,796
Speaker 4: I don't have the same sort of like connection as

1119
00:47:02,796 --> 00:47:04,316
Speaker 4: far as like creativity.

1120
00:47:04,676 --> 00:47:05,036
Speaker 2: Obviously.

1121
00:47:05,076 --> 00:47:07,236
Speaker 4: You can play shows at night, you know, like sometimes

1122
00:47:07,236 --> 00:47:08,956
Speaker 4: super late at night and so forth, So it's not

1123
00:47:10,196 --> 00:47:11,596
Speaker 4: that's just but that's like a different thing.

1124
00:47:11,636 --> 00:47:13,636
Speaker 2: That's like an emotional like release.

1125
00:47:13,716 --> 00:47:16,676
Speaker 4: You know, And but you know, it's like I can

1126
00:47:16,796 --> 00:47:18,836
Speaker 4: I in the afternoons or other times a day if

1127
00:47:18,836 --> 00:47:21,436
Speaker 4: I'm like more like recording on my own where I

1128
00:47:21,476 --> 00:47:22,916
Speaker 4: might you know, I know what I want to do.

1129
00:47:23,076 --> 00:47:25,996
Speaker 4: It's a matter of like exercising it better, like I

1130
00:47:25,996 --> 00:47:27,596
Speaker 4: can do things like that, and I do do that,

1131
00:47:27,636 --> 00:47:28,716
Speaker 4: but it's as far as creating.

1132
00:47:28,916 --> 00:47:30,596
Speaker 2: I don't know why, but I guess it's like this

1133
00:47:30,676 --> 00:47:31,996
Speaker 2: is something that I just realized for me.

1134
00:47:32,156 --> 00:47:34,076
Speaker 4: And everyone's wired a little bit differently, but I realized

1135
00:47:34,076 --> 00:47:36,036
Speaker 4: that for me a long time ago, and then I

1136
00:47:36,076 --> 00:47:37,836
Speaker 4: guess it's like that, you know, friends of mine had

1137
00:47:37,876 --> 00:47:40,396
Speaker 4: told me that a lot of creative people over history,

1138
00:47:40,476 --> 00:47:42,516
Speaker 4: not just music, that's just kind of like they have

1139
00:47:42,636 --> 00:47:44,476
Speaker 4: their own patterns. And I remember seeing this film with

1140
00:47:45,676 --> 00:47:48,356
Speaker 4: the director Bergman talking about his routine and you're just

1141
00:47:48,356 --> 00:47:50,636
Speaker 4: like really regimented about it, and it was like something

1142
00:47:50,716 --> 00:47:52,636
Speaker 4: like the morning time, like nine to noon, he would

1143
00:47:52,636 --> 00:47:55,316
Speaker 4: just like lock himself in a study and work on

1144
00:47:55,316 --> 00:47:57,836
Speaker 4: on whatever is working on and so forth, like and

1145
00:47:57,876 --> 00:47:59,996
Speaker 4: I think there's something about like those kind of routines

1146
00:48:00,036 --> 00:48:02,516
Speaker 4: that do make sense to me, like I do identify

1147
00:48:02,596 --> 00:48:04,956
Speaker 4: with and yeah, yeah, those patterns.

1148
00:48:04,996 --> 00:48:07,556
Speaker 3: You know, it feels good to have a pattern too,

1149
00:48:07,676 --> 00:48:09,676
Speaker 3: or have sort of like something you can look forward

1150
00:48:09,716 --> 00:48:12,516
Speaker 3: to in a schedule totally.

1151
00:48:12,636 --> 00:48:14,756
Speaker 2: I think it centers you a little bit. But it's, uh,

1152
00:48:14,956 --> 00:48:15,676
Speaker 2: I think that's to me.

1153
00:48:15,716 --> 00:48:18,436
Speaker 4: It's like, that's why it's like having no clock and

1154
00:48:18,516 --> 00:48:19,996
Speaker 4: I think not, I don't turn on.

1155
00:48:19,956 --> 00:48:22,556
Speaker 2: My phone, I don't I don't look at the world.

1156
00:48:22,676 --> 00:48:25,316
Speaker 4: It's just yeah, to me, that's like the biggest luxury

1157
00:48:25,316 --> 00:48:27,436
Speaker 4: I can have in those like you know, in this morning,

1158
00:48:27,476 --> 00:48:30,036
Speaker 4: So I truly I treasure them.

1159
00:48:30,356 --> 00:48:31,676
Speaker 3: I don't want to put you on the spot. But

1160
00:48:31,716 --> 00:48:35,316
Speaker 3: because you say film and not movies, I feel like

1161
00:48:35,436 --> 00:48:37,796
Speaker 3: you might have some really good recommendations. Do you have

1162
00:48:37,956 --> 00:48:42,956
Speaker 3: just like a couple films that you would recommend or

1163
00:48:42,996 --> 00:48:45,476
Speaker 3: that you just love or that you could go back

1164
00:48:45,516 --> 00:48:47,516
Speaker 3: to or that people should see.

1165
00:48:48,156 --> 00:48:50,236
Speaker 2: Yeah, I mean there's so many, and I'm like it's

1166
00:48:50,276 --> 00:48:51,796
Speaker 2: like souls in those moments that you're like.

1167
00:48:52,556 --> 00:48:55,356
Speaker 3: I I hate when people ask me questions like this,

1168
00:48:55,516 --> 00:48:56,156
Speaker 3: but I.

1169
00:48:56,076 --> 00:48:58,596
Speaker 4: Feel like one the one I was mentioned for the

1170
00:48:58,636 --> 00:49:01,676
Speaker 4: Passengers are really a unique one. It's because it's like, uh,

1171
00:49:02,036 --> 00:49:05,116
Speaker 4: I think Jack Nicholson stars in it, and it's like

1172
00:49:05,276 --> 00:49:07,116
Speaker 4: right sick, Yeah, I think he made it like the

1173
00:49:07,196 --> 00:49:09,356
Speaker 4: year right after trying to town Sui's you know, he's

1174
00:49:10,196 --> 00:49:12,196
Speaker 4: one of you know, world's most famous actors, and yet

1175
00:49:12,236 --> 00:49:15,516
Speaker 4: he's making this sort of really by today's standard, should

1176
00:49:15,556 --> 00:49:17,676
Speaker 4: be considered a like an independent film, like an art

1177
00:49:17,676 --> 00:49:20,676
Speaker 4: house film. And it's shot in I think a shot

1178
00:49:20,716 --> 00:49:25,276
Speaker 4: in North Africa, in Barcelona for sure, in in London too,

1179
00:49:25,636 --> 00:49:29,636
Speaker 4: but it's also right it's like the year before Franco

1180
00:49:29,916 --> 00:49:31,756
Speaker 4: dies of the year, you know, so it's like it's

1181
00:49:31,796 --> 00:49:32,636
Speaker 4: like a unique.

1182
00:49:32,436 --> 00:49:33,156
Speaker 2: Time and history.

1183
00:49:33,196 --> 00:49:35,316
Speaker 4: The scenes places, so you'll see parts of Barcelona in

1184
00:49:35,356 --> 00:49:38,316
Speaker 4: a way that like you know, treasure of these galludy buildings.

1185
00:49:38,316 --> 00:49:40,556
Speaker 4: And there's also so much space in the film itself.

1186
00:49:40,596 --> 00:49:44,116
Speaker 4: There's like it's like a atmospheric like ambient space. There's

1187
00:49:44,196 --> 00:49:46,556
Speaker 4: like not it's not flood to a dialogue, but there's

1188
00:49:46,596 --> 00:49:48,036
Speaker 4: a plot and there's like a little bit of a

1189
00:49:48,076 --> 00:49:51,356
Speaker 4: mystery to it. And uh Antonioni's one of my favorite

1190
00:49:51,356 --> 00:49:53,436
Speaker 4: directors and just so like just and he has a

1191
00:49:53,516 --> 00:49:57,116
Speaker 4: sense of cultivating like atmosphere that just really it's like meditative,

1192
00:49:57,196 --> 00:49:59,276
Speaker 4: you know. It's really it's a great film to see

1193
00:49:59,316 --> 00:50:00,956
Speaker 4: in the movie theater if you ever have the opportunity,

1194
00:50:01,036 --> 00:50:02,676
Speaker 4: Like there's over like a retrospect, so.

1195
00:50:02,676 --> 00:50:06,476
Speaker 2: That film, I do I love bad Land is.

1196
00:50:06,436 --> 00:50:08,356
Speaker 4: Like you know by you know, Terrence Mallet's fairst film

1197
00:50:08,396 --> 00:50:10,476
Speaker 4: was a film that was like I can go back

1198
00:50:10,516 --> 00:50:12,596
Speaker 4: to every few years for sure that I you know,

1199
00:50:12,636 --> 00:50:15,916
Speaker 4: I really love I feel like The Phantom Spread, you know, I.

1200
00:50:15,916 --> 00:50:18,116
Speaker 2: Feel like that's actually like a really like a perfect film.

1201
00:50:18,396 --> 00:50:20,996
Speaker 4: There's so many films all over the place, so it

1202
00:50:20,996 --> 00:50:23,316
Speaker 4: seems from marriage Bart Bergman's like, amazing, I'll say a

1203
00:50:23,316 --> 00:50:23,796
Speaker 4: different thing.

1204
00:50:23,876 --> 00:50:25,436
Speaker 2: And I also to you know, what I really love

1205
00:50:25,516 --> 00:50:30,276
Speaker 2: is Fastbenders, Uh, Ali.

1206
00:50:30,276 --> 00:50:32,676
Speaker 4: Fury, It's The Soul. That's a really great film. It's

1207
00:50:32,676 --> 00:50:35,956
Speaker 4: like really different from his work, is like it just

1208
00:50:35,956 --> 00:50:39,236
Speaker 4: has a different vibe. But there's something so tinmeless about

1209
00:50:39,276 --> 00:50:44,676
Speaker 4: this story, sadly true about human nature, and it read

1210
00:50:44,756 --> 00:50:47,996
Speaker 4: you know, it's made like early seventies, but somehow it's

1211
00:50:48,036 --> 00:50:50,596
Speaker 4: there's a commonality that resonates to say as much as

1212
00:50:50,636 --> 00:50:52,956
Speaker 4: it would then, but there's also a sweetness and a

1213
00:50:52,956 --> 00:50:56,796
Speaker 4: love story to it as well. And yeah, I can

1214
00:50:56,916 --> 00:50:58,396
Speaker 4: go back and watch that film every few years too.

1215
00:50:58,396 --> 00:51:01,236
Speaker 4: Ali Fears The Soul and I love Tony Tony Irtman too.

1216
00:51:01,236 --> 00:51:02,436
Speaker 4: It's a great film to the came a couple of

1217
00:51:02,476 --> 00:51:02,876
Speaker 4: years ago.

1218
00:51:03,796 --> 00:51:06,316
Speaker 3: Cool Okay, I'm watching all of them because I'm in

1219
00:51:06,316 --> 00:51:06,876
Speaker 3: a slump.

1220
00:51:07,436 --> 00:51:09,396
Speaker 2: Oh yeah, if you haven't seen some of the Tony

1221
00:51:09,476 --> 00:51:10,316
Speaker 2: Ergan's really good too.

1222
00:51:10,836 --> 00:51:15,236
Speaker 3: Yeah. Is there anything else about the new album you

1223
00:51:15,276 --> 00:51:16,876
Speaker 3: want to talk about? Or do you want to talk

1224
00:51:16,916 --> 00:51:19,116
Speaker 3: about the tour? Is there anything you wanted to sort

1225
00:51:19,156 --> 00:51:21,236
Speaker 3: of get in before we sign off?

1226
00:51:22,436 --> 00:51:23,036
Speaker 2: Just really excited.

1227
00:51:23,036 --> 00:51:24,756
Speaker 4: I mean, I know it's probably like the job of

1228
00:51:24,836 --> 00:51:26,756
Speaker 4: like a you know, I think of a band to

1229
00:51:26,836 --> 00:51:29,436
Speaker 4: be sort of raw rah rah on you know, the

1230
00:51:29,556 --> 00:51:31,356
Speaker 4: new record and so forth, but it was really like

1231
00:51:31,396 --> 00:51:34,716
Speaker 4: something that we felt like really great about and it

1232
00:51:34,796 --> 00:51:37,396
Speaker 4: just felt like sometimes I think you it's such a

1233
00:51:37,436 --> 00:51:41,836
Speaker 4: I remember something like reading this interviewsue with Kee from

1234
00:51:41,836 --> 00:51:44,596
Speaker 4: Gods like years ago, or seeing something I don't remember

1235
00:51:44,636 --> 00:51:46,756
Speaker 4: how long ago was, but something he said really resonated

1236
00:51:46,756 --> 00:51:48,116
Speaker 4: to me in a way that maybe even then I

1237
00:51:48,156 --> 00:51:51,316
Speaker 4: didn't understand because I hadn't I don't know what stage

1238
00:51:51,356 --> 00:51:53,196
Speaker 4: of recording I was at, but it was something about

1239
00:51:53,316 --> 00:51:56,036
Speaker 4: I think along the lines of like when you record

1240
00:51:56,076 --> 00:51:59,436
Speaker 4: a song or whatever, like the version of the recording.

1241
00:51:58,956 --> 00:52:00,996
Speaker 2: That you make becomes the song.

1242
00:52:01,196 --> 00:52:03,196
Speaker 4: You know, maybe you play the like countless other times,

1243
00:52:03,196 --> 00:52:06,556
Speaker 4: and that recording is the song, you know, and sometimes

1244
00:52:06,596 --> 00:52:09,676
Speaker 4: like that version that can go on away. You know,

1245
00:52:09,716 --> 00:52:12,836
Speaker 4: you write a song, you rehearse it a lot of times,

1246
00:52:12,876 --> 00:52:15,676
Speaker 4: and that maybe you know, everything can go any resurrection

1247
00:52:15,796 --> 00:52:17,356
Speaker 4: when you're making a record, you know what I mean.

1248
00:52:17,356 --> 00:52:20,316
Speaker 2: But whatever version you released becomes the song itself.

1249
00:52:20,396 --> 00:52:22,396
Speaker 4: So it's like, yeah, I don't know if that makes sense,

1250
00:52:22,396 --> 00:52:23,916
Speaker 4: but to me, that really resonated.

1251
00:52:23,956 --> 00:52:26,156
Speaker 2: I was like, oh, wow, okay, that's actually like really and.

1252
00:52:26,156 --> 00:52:28,476
Speaker 4: I think it would take from someone who's who's done

1253
00:52:28,556 --> 00:52:30,316
Speaker 4: this that you understand or you know, to feel it

1254
00:52:30,316 --> 00:52:33,956
Speaker 4: because you're like, wow, that's really becomes like maybe you

1255
00:52:33,996 --> 00:52:35,676
Speaker 4: had an off day that one day, or maybe like

1256
00:52:35,996 --> 00:52:37,796
Speaker 4: two days later when better, or maybe if you had

1257
00:52:37,836 --> 00:52:39,956
Speaker 4: just done this one of a thing. It really takes

1258
00:52:39,996 --> 00:52:42,956
Speaker 4: like a piece like finding peace, being like, well, this

1259
00:52:43,036 --> 00:52:45,356
Speaker 4: is what we said and this is the document that

1260
00:52:45,396 --> 00:52:47,436
Speaker 4: we made, and therefore we need to move on.

1261
00:52:47,596 --> 00:52:49,516
Speaker 2: And I think that's what you have to eventually do.

1262
00:52:50,036 --> 00:52:51,476
Speaker 2: I think of the making of this record, though, I

1263
00:52:51,476 --> 00:52:53,556
Speaker 2: felt like really like really good.

1264
00:52:53,396 --> 00:52:56,236
Speaker 4: About everything, all of our choices, and we certainly had

1265
00:52:56,276 --> 00:52:58,716
Speaker 4: like you know, some hurdles along the way and so

1266
00:52:58,756 --> 00:53:00,236
Speaker 4: forth that we had to take, you know, make and

1267
00:53:01,396 --> 00:53:03,076
Speaker 4: but I feel like just the record we made, it's

1268
00:53:03,076 --> 00:53:06,316
Speaker 4: like a really cohesive album. And obviously we're the same people.

1269
00:53:06,356 --> 00:53:07,996
Speaker 4: We're so in a pool, and you know we're gonna

1270
00:53:08,036 --> 00:53:10,916
Speaker 4: have the sexibility will be there, you know, and may

1271
00:53:10,916 --> 00:53:11,796
Speaker 4: be recognizable.

1272
00:53:11,836 --> 00:53:13,756
Speaker 2: But I do think it's like an evolution.

1273
00:53:13,996 --> 00:53:16,596
Speaker 4: I think it's a progressive record and I don't know,

1274
00:53:16,636 --> 00:53:18,356
Speaker 4: it feels like a great next chapter for us, and

1275
00:53:18,396 --> 00:53:21,276
Speaker 4: also one that just like really felt like nothing is

1276
00:53:21,316 --> 00:53:22,956
Speaker 4: forced about it. Just probably this is like what we

1277
00:53:23,036 --> 00:53:24,676
Speaker 4: said next, and this is something that I think we've

1278
00:53:24,676 --> 00:53:27,356
Speaker 4: been aspiring to say for a while and I think

1279
00:53:27,356 --> 00:53:29,036
Speaker 4: we've arrived with this with this album.

1280
00:53:29,876 --> 00:53:32,436
Speaker 3: Yeah, I agree, it's a really really good Interpol album.

1281
00:53:32,836 --> 00:53:35,556
Speaker 3: And I saw I know you don't pay attention to critics,

1282
00:53:35,596 --> 00:53:38,676
Speaker 3: but I did see the Guardian called it your masterpiece.

1283
00:53:40,676 --> 00:53:43,396
Speaker 4: I had just heard that they had actually hears that word.

1284
00:53:43,436 --> 00:53:45,516
Speaker 4: And this is such a while that. I mean, it's

1285
00:53:45,556 --> 00:53:47,636
Speaker 4: like where your brain's like, wait what you know, you know,

1286
00:53:49,756 --> 00:53:51,996
Speaker 4: I'll take it. But that's really amazing the year, you know,

1287
00:53:52,196 --> 00:53:52,916
Speaker 4: that's really.

1288
00:53:53,076 --> 00:53:55,436
Speaker 3: Yeah, best of luck with all of it, have fun

1289
00:53:55,476 --> 00:53:57,956
Speaker 3: on tour, and thank you so much for doing this.

1290
00:53:57,996 --> 00:53:59,676
Speaker 3: I appreciate your time, Thank you.

1291
00:53:59,756 --> 00:54:01,356
Speaker 2: So Lovely, a chatting fun.

1292
00:54:04,236 --> 00:54:06,396
Speaker 1: An episode description, you'll find a link to a playlist

1293
00:54:06,396 --> 00:54:08,436
Speaker 1: of our favorite in a poll songs. You should to

1294
00:54:08,476 --> 00:54:11,156
Speaker 1: check out YouTube dot com slash Broken Record podcast to

1295
00:54:11,196 --> 00:54:13,956
Speaker 1: see all of our video interviews, and be sure to

1296
00:54:13,996 --> 00:54:17,076
Speaker 1: follow us on Instagram at the Broken Record pot. Broken

1297
00:54:17,116 --> 00:54:19,476
Speaker 1: Record is produced and edited by Leah Rose, with marketing

1298
00:54:19,476 --> 00:54:22,396
Speaker 1: and help from Eric Sandler and Jordan McMillan. Our engineer

1299
00:54:22,476 --> 00:54:26,316
Speaker 1: is Ben Tom Broken Record is a production of Pushkin Industries.

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Speaker 1: Our theme music's by Kenny Beats. I'm justin Richmond.