WEBVTT - Interpol's Daniel Kessler 0:00:15.476 --> 0:00:22.676 Pushkin. Daniel Kessler grew up between London, Paris and DC, 0:00:22.956 --> 0:00:26.116 listening to his older brother's early UK punk and rock records. 0:00:26.556 --> 0:00:27.556 He picked up guitar. 0:00:27.356 --> 0:00:29.916 As a teenager the same day he quit skateboarding, and 0:00:29.916 --> 0:00:32.236 after moving to New York in the late nineties, set 0:00:32.236 --> 0:00:34.756 out to find musicians serious enough to start a band. 0:00:35.236 --> 0:00:37.596 Fast forward more than two decades later, Kessler remains the 0:00:37.676 --> 0:00:40.996 musical architect of the band Interpol, right in the foundation 0:00:41.076 --> 0:00:43.396 of the band's songs, often alone on a classical guitar 0:00:43.476 --> 0:00:46.956 before bringing them to his bandmates. The band has now 0:00:46.996 --> 0:00:50.156 made eight albums together, and their latest Demera Waste a Ton, 0:00:50.356 --> 0:00:52.596 is their first record made in New York in more 0:00:52.676 --> 0:00:55.516 than a decade. On today's episode, Lea Rose talks with 0:00:55.596 --> 0:00:57.956 Daniel Kesler about making the new album, the early days 0:00:57.996 --> 0:01:01.196 when Interpol played to almost nobody, a chance encounter with 0:01:01.236 --> 0:01:04.036 David Bowie before his show at Hammersteen Ballroom, in the 0:01:04.076 --> 0:01:07.396 creative routines, guitar, coffee and films that have kept him 0:01:07.436 --> 0:01:15.276 writing for nearly three gades. This is broken record, real musicians, 0:01:15.516 --> 0:01:24.076 real conversations. Here's Lea Rhodes with Daniel Kessler. 0:01:25.676 --> 0:01:29.316 I'm curious about the title of the new album, This 0:01:29.476 --> 0:01:32.316 Mirror Waste a Ton. It reminds me of the Public 0:01:32.436 --> 0:01:35.476 Enemy album The suziets a Ton. Does it have anything 0:01:35.516 --> 0:01:37.436 to do with that or is that just coincidence? 0:01:37.676 --> 0:01:38.676 Oh? Man, that's amazing. 0:01:40.756 --> 0:01:43.116 I wish I could say firmative on that one, but 0:01:43.156 --> 0:01:46.196 I don't think it does. I well, ask all about 0:01:46.236 --> 0:01:48.236 that in case it was somehow. You know, he really 0:01:48.276 --> 0:01:50.956 thinks of everything, and he's a massive hip hop fan, 0:01:51.036 --> 0:01:52.756 so it'd be amazing if that was actually some sort 0:01:52.796 --> 0:01:55.156 of subtext or something like that, or some conscious sort 0:01:55.156 --> 0:01:57.796 of decision. But I don't think so, because we you know, 0:01:57.836 --> 0:02:00.596 we cycled through several options before we landed on that one, 0:02:01.156 --> 0:02:03.396 and as soon as that one became a candidate or 0:02:03.476 --> 0:02:06.396 you know, just an idea, I think right there and 0:02:06.396 --> 0:02:06.916 then I was. 0:02:06.956 --> 0:02:08.716 I was sold right away. I was like, oh, not 0:02:08.756 --> 0:02:10.316 really have this one? I was. 0:02:10.756 --> 0:02:12.156 I was so in love with it. I really felt 0:02:12.156 --> 0:02:14.076 like on my listeners, really like what we've we've been 0:02:14.116 --> 0:02:16.236 going through this journey just to arrive at this title. 0:02:16.876 --> 0:02:20.516 So tell me the story of how this album started 0:02:20.556 --> 0:02:23.956 and how it came together and just how logistically you 0:02:23.996 --> 0:02:26.076 all work together at this point, because I think you're 0:02:26.116 --> 0:02:29.076 living in different countries, right. 0:02:30.156 --> 0:02:32.476 We are. I mean, you know, you know both Paul 0:02:32.476 --> 0:02:33.436 and I. 0:02:33.556 --> 0:02:36.556 Paul is predominatly in Berlin, still is a place in 0:02:36.556 --> 0:02:38.636 New York, and I spent my time between Barcelona and 0:02:38.636 --> 0:02:41.916 New York. Sam still in the States, and Brad the 0:02:41.996 --> 0:02:43.836 who played based on this record is in New York. 0:02:44.716 --> 0:02:46.316 But you know, we're still like a New York band, 0:02:46.476 --> 0:02:49.596 and we predominantly converge in New York. To Wright, it's 0:02:49.636 --> 0:02:51.756 been a miss since we had recorded New York until 0:02:51.836 --> 0:02:54.196 this our latest record, So that was sort of a 0:02:54.356 --> 0:02:56.916 wonderful homecoming and something great to do. And it's kind 0:02:56.916 --> 0:03:00.036 of crazy that it's been ten years. But so essentially, 0:03:00.556 --> 0:03:04.036 usually the songs begin with me. I'll just write at 0:03:04.036 --> 0:03:07.276 home on a classical guitar or sometimes on the piano 0:03:07.316 --> 0:03:10.636 as well, and then we'll get together and then we'll 0:03:10.876 --> 0:03:14.636 make them into interpol pieces of music together and so forth. 0:03:14.676 --> 0:03:17.756 So actually, the first time that we did get together 0:03:18.036 --> 0:03:20.836 in such capacity was really when we had already decided 0:03:20.876 --> 0:03:24.196 that we wanted to work with Andrew Wyatt, the producer 0:03:24.276 --> 0:03:27.716 who was a longtime friend to most of us separately, 0:03:28.916 --> 0:03:32.196 and Paul had worked with him on a track that 0:03:32.236 --> 0:03:34.356 he did with the on the record that he released 0:03:34.396 --> 0:03:37.956 with Rizzo, and he had a great experience, so he 0:03:38.036 --> 0:03:41.316 was very positive about that. He's such an incredible musician 0:03:41.756 --> 0:03:45.116 and obviously like really accomplished professionally, and I knew that 0:03:45.156 --> 0:03:49.316 he was also like just great with get a great year, 0:03:49.476 --> 0:03:54.356 great with keyboards, with a great pianist, great with arrangements 0:03:54.356 --> 0:03:55.556 and things like that, which was really. 0:03:55.476 --> 0:03:57.596 Intriguing to me and then for me, so I guess 0:03:57.596 --> 0:03:59.036 the thing that really attracted. 0:03:58.636 --> 0:04:00.516 Me to working with him was like what it will 0:04:00.516 --> 0:04:03.796 bring atmospherically and keyboards and orchestrations. That was like a 0:04:03.836 --> 0:04:06.476 really attractive point. I was hoping that he would jump 0:04:06.516 --> 0:04:09.076 on board, and he did so. April twenty twenty five 0:04:09.196 --> 0:04:12.476 was really the real beginning and which kind of, you know, 0:04:12.516 --> 0:04:14.516 we were off of the racist pretty quickly once. At 0:04:14.516 --> 0:04:16.316 that time, his studio was in the basement of his 0:04:16.356 --> 0:04:18.716 house in New York, and we just went there and 0:04:18.716 --> 0:04:21.596 we laid the ground. The first song that we worked 0:04:21.596 --> 0:04:25.156 on was Iron City, and it went pretty far, pretty deep, 0:04:25.916 --> 0:04:28.916 thank you, and it's it felt very different right from 0:04:28.916 --> 0:04:31.156 like day one with him there already felt like, wow, 0:04:31.156 --> 0:04:34.076 this is a very different vibe and feeling I wrote 0:04:34.116 --> 0:04:37.196 on the piano in that arrangement, but then Andrews started 0:04:37.236 --> 0:04:39.356 doing the things that Andrews just did to the track 0:04:39.396 --> 0:04:43.036 atmospherically and bye wise, and then Paul right away had them. 0:04:43.356 --> 0:04:45.236 I think he had the course like like within day 0:04:45.236 --> 0:04:47.396 one and day two with those lyrics of Iron City 0:04:47.756 --> 0:04:49.836 and the melody. So it's when when things are going 0:04:49.876 --> 0:04:51.276 like that, I think, you know, you're like in a 0:04:51.316 --> 0:04:55.116 good place and things feel very positive and then leaning Yeah, 0:04:55.316 --> 0:04:57.636 and then in the ensuing days we started working on 0:04:57.676 --> 0:05:00.876 what would become Wings on Fire, so rites of rained 0:05:00.956 --> 0:05:04.956 here and then actually the last track on the record, Sudden, 0:05:05.436 --> 0:05:07.596 which I recorded in Andrews's house on his piano in 0:05:07.636 --> 0:05:09.676 his living room, and then it was is great because 0:05:09.716 --> 0:05:12.556 it's like it's a residential house and at the end 0:05:12.676 --> 0:05:15.556 it was at dusk you could hear all these birds 0:05:15.556 --> 0:05:18.036 from street just doing their song. And it's at the 0:05:18.116 --> 0:05:19.796 very end of if you listen closely, at the end 0:05:19.836 --> 0:05:23.396 of the track, you can hear these bursts and yeah, 0:05:23.396 --> 0:05:25.876 it's like a nice sort of like little natural ambiance 0:05:25.876 --> 0:05:27.796 and something that you want to make sure preserves are 0:05:27.836 --> 0:05:30.076 up the recording process, and it doesn't get lost. 0:05:30.716 --> 0:05:32.756 I've heard you talk about the record and say that 0:05:32.796 --> 0:05:35.636 there's some things, some new sounds you wanted to bring in, 0:05:35.756 --> 0:05:39.636 and aesthetically it's a little bit different than past Interpol albums. 0:05:40.676 --> 0:05:42.956 Did you have a moment where you sort of like 0:05:43.076 --> 0:05:47.116 thought back over the catalog or listen to old recordings 0:05:47.276 --> 0:05:50.556 and consciously thought like, these are the things I want 0:05:50.596 --> 0:05:53.716 to bring in or was that a conversation with Andrew 0:05:53.796 --> 0:05:55.876 or did that sort of just evolve naturally. 0:05:56.556 --> 0:05:58.036 I think it really evolves naturally. 0:05:58.156 --> 0:06:02.676 I'm personally I'm best and I don't think conceptually too 0:06:02.756 --> 0:06:05.596 much about what I want to do, or I think 0:06:05.636 --> 0:06:08.276 when we don't discuss I mean maybe. 0:06:08.116 --> 0:06:10.956 I'm a little bit of a you know, I. 0:06:10.236 --> 0:06:12.076 Stick clear in my old way to something, but like 0:06:12.076 --> 0:06:15.076 I didn't, you know, we don't start talking about grandiose 0:06:15.116 --> 0:06:17.756 ideas or concepsual ideas rather than just do them. I 0:06:17.796 --> 0:06:19.996 love and we're just doing things, you know, and and 0:06:20.036 --> 0:06:23.116 if evolution naturally takes this course, the better. 0:06:23.236 --> 0:06:27.036 But you know, when it's more of like a conceptual conversation, 0:06:27.116 --> 0:06:27.636 I find. 0:06:27.476 --> 0:06:29.716 Those are harder to lift off versus the ones that 0:06:29.716 --> 0:06:31.716 we're actually just doing it. And I think we're kind 0:06:31.716 --> 0:06:33.316 of good at just mixing it up. And we're very 0:06:33.316 --> 0:06:36.596 different people, so we are mixing together. Usually the results 0:06:36.636 --> 0:06:39.876 can kind of go in different ways for me as 0:06:39.916 --> 0:06:42.316 far as like even just like the you know, the onset. 0:06:41.916 --> 0:06:42.556 Of just writing. 0:06:43.116 --> 0:06:44.916 I was pretty excited about some of the stuff that 0:06:44.916 --> 0:06:46.996 I was working on. I've written a little bit more 0:06:46.996 --> 0:06:48.676 previously on the piano, but it's not something I do 0:06:48.716 --> 0:06:50.516 all the time. So the fact that there's already three 0:06:50.516 --> 0:06:54.076 songs that felt very different for us, and then there's 0:06:54.116 --> 0:06:55.996 some songs as I was writing them, I felt like 0:06:56.076 --> 0:06:59.236 maybe the progression I kind of pushed myself a little 0:06:59.236 --> 0:07:01.396 bit further to maybe reinvent them, Like I felt like 0:07:01.476 --> 0:07:04.316 they're going down too much of a familiar road. So 0:07:04.356 --> 0:07:07.756 then I kind of reworked that and consequently came out 0:07:07.756 --> 0:07:10.396 with like new results, whether it was like weird sort 0:07:10.436 --> 0:07:13.876 of rhythm, sort of signatures or vibes, Like there's a 0:07:13.876 --> 0:07:16.356 few reinventions of the songs I can think of, just 0:07:16.436 --> 0:07:18.556 kind of found a different like avenue for them, you know. 0:07:19.356 --> 0:07:23.716 Cool. How have you noticed that your own personal musical 0:07:23.716 --> 0:07:27.516 tastes have changed since you know, starting the band. It's 0:07:27.556 --> 0:07:29.636 been like over thirty years. 0:07:29.476 --> 0:07:35.516 Right, Yeah, follow after that kind of sentence. 0:07:35.556 --> 0:07:39.356 You know, it's so crazy, but like, how have you 0:07:39.516 --> 0:07:43.036 seen like your own personal taste change, and how have 0:07:43.076 --> 0:07:46.116 you seen like Paul's taste change, And how has that 0:07:46.876 --> 0:07:50.276 influenced the music that you guys make together? And if 0:07:50.316 --> 0:07:52.996 those are sort of like divergent paths, like you said, 0:07:53.076 --> 0:07:56.676 everybody in the band is very different. Is it hard 0:07:56.676 --> 0:07:58.996 to settle into one sound? 0:07:59.956 --> 0:08:02.156 I mean, I mean maybe it is, but I think 0:08:02.156 --> 0:08:05.276 that's good. And I think it's something that I don't 0:08:05.716 --> 0:08:08.396 ever pay that much mind to whether you know, like 0:08:08.476 --> 0:08:11.196 a what kind of sound that might be, or whether 0:08:11.276 --> 0:08:13.396 this fits or whatnot. You know, if it feels good, 0:08:13.396 --> 0:08:15.036 it feels good. And I think we've always just kind 0:08:15.036 --> 0:08:18.196 of abided by that. You know, it's like Paul's influences. 0:08:18.236 --> 0:08:21.676 We have some overlap from you know, the early conversations 0:08:21.676 --> 0:08:23.196 when I first met him, you know, there were some 0:08:23.236 --> 0:08:24.156 overlaps and so forth. 0:08:24.156 --> 0:08:25.796 But he's always been like, you know, he's really really 0:08:25.836 --> 0:08:27.876 in the hip hop and masterdom when what he listens 0:08:27.916 --> 0:08:28.316 to the most. 0:08:28.356 --> 0:08:30.956 And that's been consistent since I've known him, and I 0:08:31.036 --> 0:08:33.556 probably listen less of hip hop than he doesn't. The 0:08:33.836 --> 0:08:36.156 great admiration for it. I just don't keep up on 0:08:36.276 --> 0:08:38.756 what's happening and so forth. He really keeps up on it. 0:08:38.796 --> 0:08:40.876 But you know, the over our history, there's been like 0:08:40.956 --> 0:08:43.716 bands that we traded or you know, like in the 0:08:43.756 --> 0:08:46.156 early days, I was working a record label and the 0:08:46.196 --> 0:08:48.596 record label is putting out the first mob Wie records 0:08:48.596 --> 0:08:50.916 and I got crazy for them, and I remember inducing 0:08:50.956 --> 0:08:52.756 it to Paul and we got to see some of 0:08:52.796 --> 0:08:55.076 their early concerts and become friends and all those kind 0:08:55.156 --> 0:08:57.836 of like moments. So that these were or like getting 0:08:57.876 --> 0:09:00.276 really in the can in the early days and doing 0:09:00.276 --> 0:09:01.996 the same thing as a band. You know, It's more 0:09:02.236 --> 0:09:04.836 I think we've always had like an openness for whatever 0:09:04.876 --> 0:09:06.716 feels good and whatever we like we like and we 0:09:06.756 --> 0:09:09.716 don't really think about how that fits as to technology 0:09:09.796 --> 0:09:12.156 and just the music world has changed so much from 0:09:12.596 --> 0:09:14.956 going to record stores and just really trusting, you know, 0:09:14.996 --> 0:09:17.916 when we started to go like other music or in 0:09:17.916 --> 0:09:21.476 New York City like the store yeah Mondo Kims also 0:09:21.516 --> 0:09:23.796 and so forth, and then that you trust the buyer 0:09:23.996 --> 0:09:26.156 there or something like that, and it might have been 0:09:26.196 --> 0:09:26.836 a nice time. 0:09:26.956 --> 0:09:29.876 Brad who plays bass Finer Pol was a buyer Mondo Kims. 0:09:31.276 --> 0:09:31.796 But you know, what I mean. 0:09:31.796 --> 0:09:33.476 They'd be like, oh, yeah, job, you could have had 0:09:33.516 --> 0:09:34.116 back then. 0:09:34.236 --> 0:09:35.876 You know what I mean, you know, and then they 0:09:35.876 --> 0:09:37.916 would have like a little like placard that would say 0:09:38.116 --> 0:09:39.596 check out this saying blah blah blah blah. 0:09:39.636 --> 0:09:41.796 And then you trust them and if you've won the 0:09:41.836 --> 0:09:43.476 clerks there would be like, oh, yeah, you really check 0:09:43.516 --> 0:09:45.596 this out. I think you'd like this. Then you go home. 0:09:45.716 --> 0:09:47.156 You develop a relationship with a record. 0:09:47.196 --> 0:09:48.956 Maybe at first you didn't love it, but then by 0:09:49.116 --> 0:09:52.116 listening five I should say you loved it, And I 0:09:52.156 --> 0:09:53.836 think we're in a very different nation of that. Maybe 0:09:53.876 --> 0:09:55.836 for me, I find a little overwhelming at times, so 0:09:56.276 --> 0:09:58.716 I don't come across music as much as like in 0:09:59.076 --> 0:10:01.316 that sort of pure format, which I think really suits me. 0:10:01.756 --> 0:10:03.236 So I don't want to have done a great job 0:10:03.276 --> 0:10:05.756 of like always finding new things they find me or 0:10:05.756 --> 0:10:08.036 I have friends who like circulate it. But I guess 0:10:08.356 --> 0:10:11.996 at the same time, like creativity, I don't find I 0:10:12.476 --> 0:10:15.276 needed to create. I kind of just love writing songs still, 0:10:15.316 --> 0:10:18.356 and that's like kind of crazy that I do enjoy 0:10:18.796 --> 0:10:20.316 as much now as I did when I was like 0:10:20.916 --> 0:10:22.876 certainly when the band started, but even as a teenager, 0:10:22.876 --> 0:10:24.156 it's really something I'd love to do. 0:10:24.196 --> 0:10:25.356 And when you're touring. 0:10:25.036 --> 0:10:27.036 As much as we do, I don't I don't get 0:10:27.076 --> 0:10:28.876 to do it all on the on the roads. When 0:10:28.876 --> 0:10:31.396 I'm at home finally like some space. It's like it's 0:10:31.396 --> 0:10:33.396 probably my favorite thing to do is pick up my 0:10:33.396 --> 0:10:35.716 class and guitar and just try to you know, start 0:10:35.756 --> 0:10:37.996 my day off that way. And when you come across 0:10:37.996 --> 0:10:39.916 something new that really you know, you're into and you 0:10:39.916 --> 0:10:41.876 want to develop, it's still like a feeling that I 0:10:41.916 --> 0:10:44.116 can relate to being a teenager and coming up with that's, 0:10:44.156 --> 0:10:46.036 you know, and it's something that hasn't really changed. 0:10:46.636 --> 0:10:48.996 That is so crazy, and what a gift that you're 0:10:49.036 --> 0:10:51.156 still into it, that it still brings you joy or 0:10:51.196 --> 0:10:54.476 it provides some sort of outlet for you. That's insane totally. 0:10:54.516 --> 0:10:56.236 And I don't take that for granted because there's very 0:10:56.276 --> 0:10:57.236 few things I think in. 0:10:57.156 --> 0:11:00.156 Life that you can sort of correlate to your teenage 0:11:00.396 --> 0:11:02.876 you know, years as far as that joy and it 0:11:02.876 --> 0:11:04.996 would still have that purity to it and it still 0:11:04.996 --> 0:11:07.356 would make as much sense. But it really does, and 0:11:07.356 --> 0:11:09.676 and these things can disappear, you can, you know, obviously, 0:11:09.836 --> 0:11:12.716 like many other elements in your lives change of it. Yeah, 0:11:12.716 --> 0:11:14.796 over that time, you know, and so do brand the 0:11:14.796 --> 0:11:16.596 sand will feel like you sti't relate to that sort 0:11:16.596 --> 0:11:19.156 of feeling where you don't you don't you don't yearn 0:11:19.196 --> 0:11:21.356 for it, or you just it's like the well feels dry. 0:11:21.436 --> 0:11:23.716 But it's a I really do feel like I really 0:11:23.716 --> 0:11:26.236 get I started every single day when I'm not on 0:11:26.276 --> 0:11:29.116 the road, just playing guitar, you know, drinking coffee and 0:11:29.196 --> 0:11:32.396 watching a film. That's really, Oh, that's the best. It's 0:11:32.396 --> 0:11:34.196 the best thing. Even if I feel like catching an 0:11:34.236 --> 0:11:37.036 early morning flight, I will still like allocate time for 0:11:37.436 --> 0:11:38.596 at least like thirty. 0:11:38.316 --> 0:11:39.116 Minutes to do this. 0:11:39.196 --> 0:11:41.396 It's really it's kind of insane, but I really just 0:11:41.516 --> 0:11:43.556 enjoy so much and it centers me, you know. 0:11:44.596 --> 0:11:47.276 So you wake up, you get your coffee, you play 0:11:47.316 --> 0:11:49.396 the guitar, and you watch a movie at the same time. 0:11:49.876 --> 0:11:51.356 I do forever. 0:11:53.396 --> 0:11:55.396 What do you focus more on the movie? Are you 0:11:55.436 --> 0:11:56.476 focused on the guitar? 0:11:57.156 --> 0:11:57.996 I really do both. 0:11:58.076 --> 0:12:01.916 It's really like it's I think the movie is more 0:12:01.956 --> 0:12:05.516 there to distract me from like the the weight of 0:12:05.556 --> 0:12:07.516 trying to write something or trying to do something. It's 0:12:07.556 --> 0:12:11.956 just more and it's also like visual stimulation and something yeah, 0:12:11.996 --> 0:12:14.836 and so I think the combination of the two sort 0:12:14.876 --> 0:12:17.076 of you know, and I started new link. Sometimes I'll 0:12:17.116 --> 0:12:18.916 just be newling on something that I've been working on, 0:12:19.036 --> 0:12:21.716 seeing if there's like a new passage or like a 0:12:21.756 --> 0:12:23.916 new way, like oh, a new park or something like that. 0:12:24.436 --> 0:12:27.276 And then sometimes quite more times than not, I'll just realize. 0:12:26.956 --> 0:12:28.956 I'm just watching a movie and playing guitar, and that's all. 0:12:28.956 --> 0:12:30.676 I'll be like, all right, guys, like, you know, get 0:12:30.716 --> 0:12:33.796 off your day and ever fishing tomorrow and seeing something 0:12:33.836 --> 0:12:34.476 else happens. 0:12:34.516 --> 0:12:36.956 But like it's it's still something I really enjoy doing. 0:12:36.956 --> 0:12:38.716 But then once in a while, it's like a nice life. 0:12:38.716 --> 0:12:39.076 I like that. 0:12:39.156 --> 0:12:40.516 It's amazing. It's amazing to me. 0:12:40.556 --> 0:12:42.276 It's like the luxury of not looking in time in 0:12:42.316 --> 0:12:44.156 the morning is something that I think I really longed 0:12:44.196 --> 0:12:47.276 for when I was working jobs, you know, like I 0:12:47.316 --> 0:12:49.516 really hope that one day I can sort of take 0:12:49.556 --> 0:12:52.076 the clock off and just play, you know, work on 0:12:52.196 --> 0:12:53.876 music in the mornings and not have to worry about 0:12:53.916 --> 0:12:57.076 being there. And I can vividly remember feeling that way 0:12:57.076 --> 0:12:59.036 while working jobs, that I just really want to be 0:12:59.076 --> 0:13:00.836 doing this. So it's it's not a loss to me 0:13:00.876 --> 0:13:02.876 that this is a real luxury they get to have 0:13:02.916 --> 0:13:03.556 in my life. 0:13:04.316 --> 0:13:06.836 So tell me about working jobs. Was this all before 0:13:06.916 --> 0:13:09.516 the band started or did you have you didn't have 0:13:09.516 --> 0:13:12.996 any sort of jobs like while Interpol was together. 0:13:12.796 --> 0:13:14.916 Right, yeah, yeah, yeah yeah. 0:13:14.996 --> 0:13:18.876 I started working right like the day after I graduated 0:13:18.916 --> 0:13:22.196 from university. I started working record labels, basically because I 0:13:22.596 --> 0:13:25.516 just I thought the autore really against me that I 0:13:25.556 --> 0:13:27.276 get to play music in my life, and I just 0:13:27.356 --> 0:13:28.836 joined the percentage, you know. 0:13:29.196 --> 0:13:30.476 Of the likelihood. 0:13:31.076 --> 0:13:33.036 So I just sort of well thought of like, well, 0:13:33.116 --> 0:13:34.596 if I have to work, I kind of want to 0:13:34.636 --> 0:13:37.036 work around, you know, music at the very least, and 0:13:37.076 --> 0:13:39.076 around music that I was passionate about that I liked. 0:13:39.116 --> 0:13:41.596 So if I have to give my time to to 0:13:41.596 --> 0:13:43.956 someone else into something else, I wanted to be around 0:13:43.956 --> 0:13:44.276 I wanted. 0:13:44.356 --> 0:13:46.876 I wanted to understand why, you know. And so I 0:13:46.916 --> 0:13:47.636 started working. 0:13:47.956 --> 0:13:50.356 My first real job was working this record company called 0:13:50.436 --> 0:13:53.116 jet Set, and it was a very small record company 0:13:53.156 --> 0:13:55.116 and so there was like a lot of responsibility, which 0:13:55.116 --> 0:13:55.396 is great. 0:13:55.396 --> 0:13:56.036 I learned so much. 0:13:56.076 --> 0:13:59.636 I did like all this dissitbution marketing and retail stuff 0:13:59.756 --> 0:14:03.676 and even like accounts receivable, like I did a whole 0:14:03.676 --> 0:14:04.396 bunch of I did, you know. 0:14:04.516 --> 0:14:05.996 But it was like, really, I learned so much. 0:14:06.036 --> 0:14:08.076 So it was like, I mean, no money, like negative money, 0:14:08.156 --> 0:14:10.236 but it was such a yeah. 0:14:10.516 --> 0:14:12.516 I was like a great education in itself, and I 0:14:12.596 --> 0:14:13.316 just learned, you know. 0:14:13.396 --> 0:14:15.236 Yeah, And then from there I just worked a different 0:14:15.436 --> 0:14:16.436 places along the way. 0:14:17.076 --> 0:14:19.156 My last job was working at Domino Records. 0:14:19.196 --> 0:14:21.596 And while I was working there as when you know, 0:14:21.596 --> 0:14:24.476 it's like towards even right before we started working on 0:14:24.716 --> 0:14:26.996 recording Tone of the Bride Lights, I was still working 0:14:27.196 --> 0:14:27.756 at Domino. 0:14:28.756 --> 0:14:30.636 So was it a big deal, like when you quit 0:14:30.716 --> 0:14:33.516 the job, was that a big deal? Or was it 0:14:33.556 --> 0:14:35.116 sort of like, I mean to try this out and 0:14:35.116 --> 0:14:36.196 I can always go back. 0:14:37.756 --> 0:14:39.996 I mean, you know, to me, my dream was always 0:14:40.116 --> 0:14:42.676 just to get to make a record. It was really 0:14:42.716 --> 0:14:45.196 like I it was, so it didn't come that easily. 0:14:45.316 --> 0:14:45.476 You know. 0:14:45.476 --> 0:14:47.276 We were we played off first show I think in 0:14:47.316 --> 0:14:48.636 March nineteen ninety eight. 0:14:49.436 --> 0:14:51.156 I think we didn't sign really. 0:14:51.516 --> 0:14:54.716 To our first record label deal until something like the 0:14:55.436 --> 0:14:57.476 fall of two thousand and one. And in that time, 0:14:57.516 --> 0:14:59.836 we played, you know, we made several demos, We played 0:15:00.396 --> 0:15:02.836 so many shows, and we didn't really change esthetically or 0:15:02.876 --> 0:15:05.436 sound wise, songs that are very first sema that we 0:15:05.516 --> 0:15:09.356 made in the summer of nineth ninety eight, or go 0:15:09.476 --> 0:15:11.956 on our very first record, like our very first single 0:15:12.036 --> 0:15:15.356 was on the very first seme of this PDA role 0:15:15.436 --> 0:15:18.756 and one other song, but you know, PDA Rowland or 0:15:18.756 --> 0:15:21.556 on our first record in PDA was our very first single. Granted, 0:15:21.716 --> 0:15:23.756 maybe we became better at playing those songs, but we 0:15:23.796 --> 0:15:25.636 already had a sense of who we were and what 0:15:25.676 --> 0:15:27.996 we were doing, and that's it's just the timing maybe 0:15:28.116 --> 0:15:32.556 wasn't right or just not that much interest. So so 0:15:32.636 --> 0:15:34.356 to me, I just kept like, you know, all these 0:15:34.356 --> 0:15:36.476 doors would be shut in our faces sort of speak, 0:15:36.516 --> 0:15:38.876 and no one was showing any interest, and you keep 0:15:38.916 --> 0:15:40.716 And I think that's something that really helped me was 0:15:40.756 --> 0:15:44.476 that having worked at record labels and understanding that record 0:15:44.556 --> 0:15:46.676 labels only have so much space, like new bands, and 0:15:46.676 --> 0:15:48.316 they have all these other bands that they keep putting, 0:15:48.316 --> 0:15:50.956 you know, the season bands that they released records of 0:15:50.996 --> 0:15:53.316 every few years and so forth, that the slots were 0:15:53.396 --> 0:15:55.676 just there, weren't that many available, and so we just 0:15:55.996 --> 0:15:57.796 had to be very patient about it, and I didn't 0:15:57.796 --> 0:16:00.996 take it too personally. But when we finally were signed 0:16:00.996 --> 0:16:03.716 and we were able to make, you know, our first record. 0:16:03.756 --> 0:16:05.876 To me, that was like as far as mine, my 0:16:05.996 --> 0:16:08.236 aspirations and my dream lench. You know, I didn't really 0:16:08.876 --> 0:16:11.116 spend four or five years with no one really showing 0:16:11.196 --> 0:16:14.396 much interest towards your band and being sort of you know, 0:16:14.476 --> 0:16:16.556 delusional to think all of a sudden that people would 0:16:16.596 --> 0:16:19.476 actually be into your the outbum that we finally put out. 0:16:19.476 --> 0:16:22.556 So I was really surprised that people were so receptive 0:16:22.596 --> 0:16:25.076 to our first record when they upon its release. 0:16:25.596 --> 0:16:27.836 Yeah, I feel like I would feel very dejected at 0:16:27.836 --> 0:16:29.996 that point, like Okay, we need to change the sound 0:16:30.156 --> 0:16:31.876 or we're obviously not doing something right. 0:16:32.716 --> 0:16:35.676 Well, you know, I mean that this is like I 0:16:35.796 --> 0:16:38.996 really love making music with these guys sincerely, and to 0:16:39.116 --> 0:16:41.236 me it was even I mean I felt like not 0:16:41.436 --> 0:16:43.876 I would never ever ever contemplate changing our sound because 0:16:43.876 --> 0:16:46.276 I really, to me, it's like, you know, you do 0:16:46.316 --> 0:16:50.236 this for yourselves, and you do this because you're expressing 0:16:50.276 --> 0:16:51.876 something that you need to get out and it feels 0:16:51.956 --> 0:16:54.556 grat in that rehearsal room. And then there was a 0:16:54.596 --> 0:16:56.956 moment where, you know the thing that I did feel 0:16:56.996 --> 0:17:00.156 like rejected like by the you know so much or 0:17:00.196 --> 0:17:02.956 dejected by so much rejections and so forth. But after 0:17:02.956 --> 0:17:04.796 a while you find, like some I think by going 0:17:04.796 --> 0:17:06.836 through that process, I think, you know, I found, at 0:17:06.876 --> 0:17:09.596 least for me, a little bit of an innerp Well, 0:17:09.676 --> 0:17:11.716 you know, I think I left a rehearsal number one 0:17:11.716 --> 0:17:14.476 winter day in Willisburg and just being like, I think 0:17:14.476 --> 0:17:17.116 we're working on something like NYC or something like that 0:17:17.156 --> 0:17:19.316 for our first record, and I felt it was all 0:17:19.356 --> 0:17:21.556 such a great feeling to leave a rehearsal where something 0:17:21.636 --> 0:17:23.476 just happened that you couldn't have predicted, and the song 0:17:23.596 --> 0:17:24.796 really took this form. 0:17:24.996 --> 0:17:27.396 And you just sort of had this feeling of like euphoria. 0:17:27.436 --> 0:17:30.116 And I remember like leaving me like so into it, 0:17:30.196 --> 0:17:32.316 but then also finding some sort of like inner piece 0:17:32.356 --> 0:17:35.276 that well, if no one ever hears this, no one ever, 0:17:35.476 --> 0:17:37.436 you know, seemed to be the path that we're on, 0:17:37.556 --> 0:17:39.596 it's okay, you know, at least I'm getting something out 0:17:39.596 --> 0:17:41.636 of this. And so I really did kind of like 0:17:41.716 --> 0:17:44.636 let myself feel that peace and sort of let go 0:17:44.676 --> 0:17:47.756 of the things I really can control. Yeah, And also 0:17:47.756 --> 0:17:50.476 there's also like an inner like side, like something inside 0:17:50.476 --> 0:17:53.596 of me I think so consciously, I think consciously actually 0:17:53.636 --> 0:17:56.516 felt like the hardest part was just finding people to 0:17:56.516 --> 0:17:58.556 start a bandwidth. It was really I think I'd been 0:17:59.036 --> 0:18:00.956 looking in New York for so long and I just 0:18:00.956 --> 0:18:04.196 couldn't find people who were maybe like serious about starting 0:18:04.196 --> 0:18:06.676 a band, or want to commit the time, or or 0:18:07.036 --> 0:18:09.876 or kindred spirits. And when you know, I finally found 0:18:09.916 --> 0:18:12.076 these people and I really felt like, well, we're doing 0:18:12.116 --> 0:18:14.676 something kind of special in this rehearsal room. I just 0:18:14.716 --> 0:18:16.476 felt like, well, this is actually the hardest part, and 0:18:16.596 --> 0:18:18.836 staying together is probably the hardest part. You know. I 0:18:18.836 --> 0:18:20.996 didn't It wasn't like I had faith that something good 0:18:21.076 --> 0:18:23.476 would come to be, you know, as far as like, 0:18:23.636 --> 0:18:25.236 you know, being a fan base out there. But I 0:18:25.316 --> 0:18:27.316 just really felt like, you know, just kind of saying 0:18:27.316 --> 0:18:28.836 together it was like the most important thing. 0:18:30.036 --> 0:18:32.716 We'll be back with more from Daniel Kessler after this break. 0:18:36.796 --> 0:18:39.076 Were there things that you felt like you had to 0:18:39.116 --> 0:18:42.556 do to sort of like nurture the relationships within the 0:18:42.596 --> 0:18:44.636 band or was that not even a thought back then? 0:18:44.716 --> 0:18:49.476 It was just keep working and keep playing together for sure. 0:18:49.756 --> 0:18:52.116 I mean, you know, I think young men in New 0:18:52.196 --> 0:18:56.396 York City with no money, you know, like rehearsals are 0:18:56.476 --> 0:19:01.716 costing money that people don't have everyone's really broke, you're 0:19:01.756 --> 0:19:03.836 not getting paid very much money from your jobs. 0:19:04.476 --> 0:19:06.916 Yeah, you know, some people maybe. 0:19:06.716 --> 0:19:08.356 Like were like I didn't never say that wanted to 0:19:08.356 --> 0:19:10.356 be in a band, you know, you know, I really 0:19:10.396 --> 0:19:11.796 wanted to be in a band. I really wanted to 0:19:11.796 --> 0:19:14.076 start a band. But yeah, I really kind of like 0:19:14.116 --> 0:19:17.956 approached everyone. So when things are not sort of building 0:19:18.036 --> 0:19:21.396 to some sort of like progression, you know, as far 0:19:21.436 --> 0:19:23.796 as like well more people coming to some of our shows, 0:19:23.916 --> 0:19:25.836 or now we have this opportunity to make a record 0:19:25.916 --> 0:19:28.316 after a while, as the you know, young men with 0:19:28.596 --> 0:19:31.396 you know, who are very talented in different aspirations, it's 0:19:31.436 --> 0:19:32.996 it's like they may be like, well, why am I 0:19:32.996 --> 0:19:36.636 saying all this money for not you know, and yeah, 0:19:36.676 --> 0:19:38.436 so there. I think there's definitely moments where I could 0:19:38.436 --> 0:19:40.516 have gone either way, and thankfully, you know, I think 0:19:40.556 --> 0:19:42.116 we would try to like talk it out. I think 0:19:42.156 --> 0:19:45.036 I think Papa was subconsciously we knew that we there 0:19:45.196 --> 0:19:47.196 was some special chemistry that was kind of. 0:19:47.676 --> 0:19:50.676 Harder to put into wars but difficult to like deny. 0:19:50.796 --> 0:19:52.476 Once we were playing music, it was really like you 0:19:52.476 --> 0:19:53.796 could see it and you could feel it. 0:19:53.796 --> 0:19:54.516 It was palpable. 0:19:55.716 --> 0:19:59.156 Was there a moment when you sort of felt like, Okay, 0:19:59.556 --> 0:20:01.996 this is going to work. We're going to start actually 0:20:01.996 --> 0:20:04.516 making money from this, this is going to grow. 0:20:06.196 --> 0:20:07.396 Ah. 0:20:07.636 --> 0:20:09.516 It just makes me laugh because I remember, like Carlos 0:20:09.636 --> 0:20:10.916 is also be like, can equit my job? 0:20:11.116 --> 0:20:13.036 Can equip my job, And it became sort of like 0:20:13.676 --> 0:20:15.916 an inside joke. You just say this forever. I don't know, 0:20:15.996 --> 0:20:17.476 and I know you remember what you did put his job. 0:20:17.476 --> 0:20:18.756 I don't know if it was like actually when we 0:20:18.756 --> 0:20:21.276 were doing a very first US tour or something, but 0:20:21.356 --> 0:20:23.596 it was it was along those lines. We were still 0:20:23.596 --> 0:20:25.236 on a van and everything like that, but it was 0:20:26.156 --> 0:20:28.556 I didn't know if, like, you know, working is an 0:20:28.596 --> 0:20:29.236 interesting word. 0:20:29.316 --> 0:20:31.756 I don't know if you ever like kind of know that, 0:20:31.836 --> 0:20:34.356 but those we're in it for this moment at the 0:20:34.476 --> 0:20:36.956 very least, you know, And then it just became sort 0:20:36.956 --> 0:20:39.116 of like that very first US tour in a van. 0:20:39.836 --> 0:20:41.916 You know, I think you did two nights at the 0:20:41.916 --> 0:20:44.556 Troubadour in la and and those sold out, and and 0:20:44.596 --> 0:20:46.236 you know, you're seeing things. Then you come back the 0:20:46.236 --> 0:20:48.836 next time and you're playing the next size up and 0:20:48.876 --> 0:20:50.676 so forth, and now you know you can see like 0:20:50.716 --> 0:20:53.516 a progression, and I think that was something helpful for 0:20:53.596 --> 0:20:55.956 us to see that there's like something building and so forth. 0:20:56.036 --> 0:20:58.796 And then you see like minded spirits at our shows 0:20:58.876 --> 0:21:01.516 and hanging out with them, and I think you kind 0:21:01.516 --> 0:21:04.916 of just got, you know, really into it and and 0:21:05.076 --> 0:21:08.156 uh yeah, and just like touring and traveling and just exploring. 0:21:09.556 --> 0:21:12.956 And then what about any early rock star moments where 0:21:12.996 --> 0:21:15.436 you were maybe backstage with people or people that you 0:21:15.476 --> 0:21:19.156 really admired, Like do you remember like anything that you 0:21:19.156 --> 0:21:21.396 were like WHOA like pinch me moments? 0:21:21.636 --> 0:21:24.596 I mean, the best one for sure for me, And 0:21:24.716 --> 0:21:26.476 I would imagine first, I mean, I can't speak for 0:21:26.476 --> 0:21:30.116 my badness, but it was we were playing early on 0:21:30.556 --> 0:21:32.356 It might have been at the very end of our 0:21:33.716 --> 0:21:36.036 touring on on Bright Lights, at the very beginning of 0:21:36.036 --> 0:21:37.996 touring on on Antics. So I have a two thousand 0:21:37.996 --> 0:21:41.396 and three or two thousand and four, but we were, uh, 0:21:41.556 --> 0:21:45.036 we had two nights at the Hammerston Ballroom and and 0:21:45.076 --> 0:21:46.996 it was very it was like a very last show 0:21:47.276 --> 0:21:50.196 of a of a North American tour and so we 0:21:50.316 --> 0:21:52.796 got you know, you're so excited to go it like 0:21:52.836 --> 0:21:55.796 hard partying days it too. Plus it's like you're so 0:21:55.956 --> 0:21:58.276 happy to be home. So that first night we went 0:21:58.316 --> 0:22:00.956 out and went out a little too hard. 0:22:01.276 --> 0:22:02.476 We're too happy to be home. 0:22:02.556 --> 0:22:06.116 And so the backstage scene before the night of like 0:22:06.156 --> 0:22:07.316 the second show, everyone. 0:22:07.156 --> 0:22:08.236 Was like just su pleated. 0:22:08.556 --> 0:22:10.276 It just didn't look like you're about to go play, 0:22:10.476 --> 0:22:12.276 you know, a rock show where just everyone was like 0:22:12.316 --> 0:22:16.476 it was like lethargic energy everywhere. And then we had 0:22:16.556 --> 0:22:20.756 like a lovely Scottish tour manager at that time, Pero. 0:22:20.876 --> 0:22:23.996 His name is Stevie Dreads and he's amazing, and and 0:22:24.436 --> 0:22:27.396 you just see Stevie's energy goes towards a door where 0:22:27.396 --> 0:22:29.476 it's like, I guess the presence was trying to enter it, 0:22:29.756 --> 0:22:31.876 and see he goes, sorry, mate, you can't come in, 0:22:32.596 --> 0:22:33.076 and then you. 0:22:33.116 --> 0:22:35.196 Just hear you don't see the person, you just here, 0:22:35.316 --> 0:22:36.996 but I'm David Bowie. 0:22:37.556 --> 0:22:40.236 And then you just see like Stevie Dreads just move 0:22:40.436 --> 0:22:42.516 like lather lays if he's like a door like open, 0:22:42.596 --> 0:22:45.116 sesame and sad, and he just gets out of the way. 0:22:45.156 --> 0:22:47.676 And then David Bowie comes in and you know he's 0:22:47.716 --> 0:22:50.596 like super affable, really kind, saying really nice things. It 0:22:50.636 --> 0:22:52.756 was actually I guess after our first record. He's talking 0:22:52.716 --> 0:22:55.916 about the first record and he's doing really warm, and 0:22:55.956 --> 0:22:58.436 he wants to say hello before the show because he 0:22:58.516 --> 0:23:00.396 had a young job at home and he wanted to 0:23:00.476 --> 0:23:02.156 get home before the end of the show or you 0:23:02.156 --> 0:23:03.716 would be able to say hello after it, and said 0:23:04.556 --> 0:23:06.676 we were aflord, you know, we were just so like 0:23:06.716 --> 0:23:08.756 we're just gondn't I remember Carlos was in the bathroom 0:23:08.756 --> 0:23:10.596 and there was like a little dark side of you 0:23:10.676 --> 0:23:12.076 is like I hope he just says in the bathroom, 0:23:12.156 --> 0:23:14.956 this is this crazy kind of moment accident right after 0:23:15.116 --> 0:23:17.636 David Aloady left and guess and tell him, but not yet. 0:23:17.756 --> 0:23:20.676 You know, he got I want him all to myself, Yeah, 0:23:21.876 --> 0:23:24.036 calmly sketch of some sort, but he uh no, but 0:23:24.196 --> 0:23:26.436 he got to. He accided matter as well. 0:23:26.476 --> 0:23:28.636 But it was just such a I don't think you 0:23:28.676 --> 0:23:31.156 can do any better that he's you know, one of 0:23:31.156 --> 0:23:34.956 the great artists of our times period and wow, just 0:23:35.156 --> 0:23:37.916 uh just wasn't expecting that, and you know, obviously really 0:23:37.916 --> 0:23:39.556 woke us up and fueled that show. 0:23:39.716 --> 0:23:41.076 Right, Yeah, that's like. 0:23:42.916 --> 0:23:44.876 Yeah, right, you're like you got an ivy all of 0:23:44.916 --> 0:23:48.796 a sudden, like, yeah, does that make you nervous to 0:23:48.836 --> 0:23:51.036 know that he's out there to perform you. 0:23:50.956 --> 0:23:53.676 Know the good thing about I think being and I 0:23:53.676 --> 0:23:56.356 felt the way even as it was unfolding. The good 0:23:56.356 --> 0:23:58.956 thing about like not having things happen too fast as 0:23:58.996 --> 0:24:01.636 a as a curve of class where we had these 0:24:01.676 --> 0:24:03.436 like you know, four years and no one wanted to 0:24:03.436 --> 0:24:04.516 sign us and so forth. 0:24:04.676 --> 0:24:06.956 I think it helps develop something within you. 0:24:07.116 --> 0:24:10.356 I feel like he's like a self preservation, some blinders 0:24:10.356 --> 0:24:12.276 on your eyes, something that just kind of makes you 0:24:12.316 --> 0:24:14.956 a little bit solid as far as just focusing on 0:24:15.476 --> 0:24:17.636 what you can control and just doing your things. So 0:24:18.156 --> 0:24:20.436 I don't really recall thinking too too much about it. 0:24:20.436 --> 0:24:22.156 I just recall just getting in the moment or just 0:24:22.196 --> 0:24:24.876 playing music. I do that, you know what I said, 0:24:24.916 --> 0:24:27.596 I really do. It feels like, really I'm happy things 0:24:27.596 --> 0:24:29.556 that not happened too fast for us. I'm happy that 0:24:30.476 --> 0:24:32.356 I wasn't like we put out a song like as 0:24:32.436 --> 0:24:34.156 like today, where you put out something else sudden just 0:24:34.156 --> 0:24:35.716 blows up and you have no time to sort of 0:24:35.716 --> 0:24:39.356 develop as a as a musician, as a band, as songwriters, 0:24:39.396 --> 0:24:41.636 and so forth, and then you start overthinking things. I 0:24:41.676 --> 0:24:44.236 was definitely worried in the early days of overthinking things 0:24:44.516 --> 0:24:46.276 that would give in the way of like me being 0:24:46.276 --> 0:24:48.316 able to write future songs, and I think having that 0:24:48.396 --> 0:24:51.716 time to see formulate and so forth that kind of 0:24:51.956 --> 0:24:54.436 secured something as far as just not thinking about anything 0:24:54.436 --> 0:24:56.036 when I'm like writing for you know, for instance, I 0:24:56.076 --> 0:24:58.876 don't think about anything. I don't think about whether people 0:24:58.916 --> 0:25:00.396 are going to like something or not like something. I 0:25:00.476 --> 0:25:02.316 just kind of just focus on whether I'm liking it, 0:25:02.356 --> 0:25:04.676 and the world just sort of like you know, falls 0:25:04.716 --> 0:25:05.396 to the backdraw. 0:25:06.036 --> 0:25:09.396 When did you first realize that you want I wanted 0:25:09.396 --> 0:25:11.796 to write songs or when did you start writing songs? 0:25:11.796 --> 0:25:14.356 And what was the inspiration for that? Was there other 0:25:14.436 --> 0:25:16.596 musical people in your family? Did you know people who 0:25:16.636 --> 0:25:17.436 were making music? 0:25:18.916 --> 0:25:20.636 Not really, I think for me, it's like you know, 0:25:20.636 --> 0:25:23.236 I have I guess like just music was also like 0:25:23.316 --> 0:25:26.916 such a strong position in my life and in my family. 0:25:26.956 --> 0:25:28.316 I have two older brothers. 0:25:28.356 --> 0:25:30.556 I was born in England, I lived there until six 0:25:30.636 --> 0:25:35.516 and my eldest brother somehow was extraordinarily passionate about music. 0:25:35.556 --> 0:25:37.476 I had this importance. So we eat the you know, 0:25:37.556 --> 0:25:38.356 me and my two buttons. 0:25:38.356 --> 0:25:40.796 We shared a room and bedroom together, so it's like 0:25:40.836 --> 0:25:43.756 I could just in my first musical memories just staring 0:25:43.756 --> 0:25:46.556 at this his side of the wall, you know, and 0:25:46.636 --> 0:25:48.996 just seeing all these like cutouts of like Paul Weller 0:25:49.156 --> 0:25:52.276 or countless other really using the Jam fan club. 0:25:52.316 --> 0:25:53.756 So there's like tons of like Jam stuff. 0:25:53.796 --> 0:25:55.756 So to me it was almost like this is my 0:25:55.796 --> 0:25:58.596 first not even like my first musical memories, my first 0:25:58.636 --> 0:26:01.556 life memories are staring at this wall, waking up and 0:26:01.596 --> 0:26:03.596 go and sleep and just you know, And so to me, 0:26:03.636 --> 0:26:05.796 it's almost like religion. You know, it's like if people 0:26:05.836 --> 0:26:08.236 have religious artifacts. I'm looking at this and thinking this 0:26:08.356 --> 0:26:10.876 is really serious. And then when I moved to I 0:26:10.916 --> 0:26:13.956 lived England until six, and then France i was eleven. 0:26:14.436 --> 0:26:16.796 And then when I moved to Washington, DC when I 0:26:16.836 --> 0:26:19.396 was eleven, I think just moving there and I was 0:26:19.396 --> 0:26:21.236 a skateboarder for a while, and then I quit doing 0:26:21.236 --> 0:26:23.556 that and then I started, you know, on the same 0:26:23.596 --> 0:26:26.516 day I quit skateboarding, I picked up playing guitar, and 0:26:26.516 --> 0:26:28.436 then I started learning how to write songs on my own, 0:26:28.516 --> 0:26:30.556 and that sort of I think I got something out 0:26:30.596 --> 0:26:33.276 of it, as like a ag sort of my teenager 0:26:33.436 --> 0:26:35.316 just kind of you know, making my own chords and 0:26:35.356 --> 0:26:38.316 then realizing that I really when I started trying to 0:26:38.316 --> 0:26:41.316 write songs, and you know, something happened for me in emotionally, 0:26:41.316 --> 0:26:42.676 I felt, you know, I felt a little bit better, 0:26:43.116 --> 0:26:45.556 if that makes sense, just like that sort of scapees 0:26:45.556 --> 0:26:47.636 and like writing songs of the night and feeling like. 0:26:47.836 --> 0:26:49.356 A little bit more whole by doing so. 0:26:50.596 --> 0:26:52.876 When you moved to d C when you were eleven, 0:26:52.956 --> 0:26:55.396 did you lock in with like the local music scene 0:26:55.516 --> 0:26:57.396 in DC at the time, Like what was going on 0:26:57.476 --> 0:26:58.196 musically there. 0:26:59.036 --> 0:27:01.516 I mean, I was in all of the music scene 0:27:01.516 --> 0:27:03.996 that for sure had a big inspiration. And I think 0:27:04.036 --> 0:27:07.316 also having come from like London and France and these 0:27:07.356 --> 0:27:10.556 two older brothers were really you know, very had like 0:27:10.596 --> 0:27:13.356 you know, a little strong pump rock energy and you know, 0:27:13.716 --> 0:27:16.156 underground energy that they took really seriously. And I think 0:27:16.556 --> 0:27:19.356 that in that time period, like in the UK and 0:27:19.396 --> 0:27:21.716 in France, you when you dressed a certain way, it's 0:27:21.716 --> 0:27:24.316 almost sort of like it meant something, you know. 0:27:24.236 --> 0:27:25.196 It wasn't. 0:27:24.636 --> 0:27:27.036 You're a bit of a tribe, you know, and you're 0:27:27.036 --> 0:27:29.156 also a bit of a target. It was serious work 0:27:29.156 --> 0:27:31.236 because of other people you encounter, other people that weren't 0:27:31.596 --> 0:27:33.356 of the same tribe like that, they could get it 0:27:33.396 --> 0:27:35.756 could get like sort of like violin and so forth. 0:27:35.836 --> 0:27:38.556 It was really a serious in a way that it 0:27:38.596 --> 0:27:40.396 is not now or it's just very different now. So 0:27:40.436 --> 0:27:42.276 in that sense, I think that also is like set 0:27:42.316 --> 0:27:44.916 of a seriousness with me too. And then moving to 0:27:45.156 --> 0:27:48.116 d C for sure. And also just like the in. 0:27:48.116 --> 0:27:51.236 The skateboarding world, you know, you start discovering like hardcore and. 0:27:51.156 --> 0:27:53.516 Not really in the hardcore and the d C and 0:27:53.516 --> 0:27:55.636 like the Discord stuff was a huge that's when I 0:27:55.676 --> 0:27:57.676 discovered that. I was like, I mean, I don't think 0:27:57.676 --> 0:28:00.636 I could think of a bigger influence if I had 0:28:00.676 --> 0:28:03.156 this single one band that had the biggest influence on 0:28:03.196 --> 0:28:05.596 me as a as a musician and me covered my 0:28:05.596 --> 0:28:07.156 own palf I would say fu Gassi by far. 0:28:07.556 --> 0:28:10.036 Yeah for sure. So what was your first band? When 0:28:10.036 --> 0:28:12.516 did you find guys to play with? 0:28:13.916 --> 0:28:15.836 I mean really Enterpolse really kind of like was the 0:28:15.876 --> 0:28:17.956 first like serious band, Like I did high school bands 0:28:18.196 --> 0:28:20.796 in DC, but you know, you did a few shows 0:28:20.796 --> 0:28:22.436 here and there and so forth, and it was kind 0:28:22.436 --> 0:28:24.236 of fun. But it's I think it's almost like sets 0:28:24.276 --> 0:28:25.836 you in the path to like learning how to play 0:28:25.876 --> 0:28:28.796 live and not being too nervous about it. But when 0:28:28.836 --> 0:28:30.876 I moved to New York, I really set my my 0:28:30.876 --> 0:28:34.196 my my goals were finally like, you know, a copper 0:28:34.196 --> 0:28:35.276 and serious band to play with. 0:28:35.956 --> 0:28:38.916 I heard that you you guys recorded antics like pretty 0:28:38.916 --> 0:28:42.916 close closely after the first album. When it came time 0:28:42.916 --> 0:28:46.236 to do the third album, did you ever experience like, oh, 0:28:46.276 --> 0:28:48.596 it's suddenly hard to write new songs. 0:28:50.556 --> 0:28:53.036 Observationally, I would say it didn't happen. 0:28:53.076 --> 0:28:55.596 I always kind of expected or knew that it could happen, 0:28:55.876 --> 0:28:57.996 you know, like I really I knew, you know, just 0:28:58.116 --> 0:29:01.396 musical issuy wise, like even like the the sophomore slump 0:29:01.436 --> 0:29:04.076 and so forthwarth people, I think those pitfalls are things 0:29:04.076 --> 0:29:07.076 that I was awareless. So I was trying to be mindful, 0:29:07.156 --> 0:29:09.796 like you know, so for instance, you know, as you mentioned, 0:29:10.436 --> 0:29:12.436 album and the album two are very close together. But 0:29:12.476 --> 0:29:13.956 that was something that was like I think we were 0:29:14.036 --> 0:29:17.196 very mindful of, like let's start working on album too 0:29:17.276 --> 0:29:19.356 while we're still touring on on Bright Lights. 0:29:19.436 --> 0:29:22.596 Let's just you know, not, let's not let's get ahead. 0:29:22.276 --> 0:29:24.276 Of all of this, like all these sort of cliches 0:29:24.356 --> 0:29:27.316 or you know, or these these these truths of the 0:29:27.396 --> 0:29:29.756 music and to stry, let's just like start writing stuff. 0:29:29.636 --> 0:29:30.716 We can really think about it. 0:29:30.756 --> 0:29:32.516 And so that's why we put those two records also 0:29:32.596 --> 0:29:35.756 close together, because we're quite ready, because we just continued 0:29:35.876 --> 0:29:39.876 and I think we're naturally progressing as musicians as songwriters 0:29:39.956 --> 0:29:44.396 while we're writing antics and so I think, you know, constantly, 0:29:44.436 --> 0:29:47.156 I've always been mindful of this so too. It's it's strange, 0:29:47.196 --> 0:29:49.436 like I think maybe after getting you know, through those 0:29:49.436 --> 0:29:52.196 first two records, something sort of just kind of happened naturally, 0:29:52.276 --> 0:29:54.596 so you just kind of got through us a storm 0:29:54.636 --> 0:29:55.996 and then you stopped thinking about it. 0:29:56.276 --> 0:29:58.556 And also what I was saying before about those first. 0:29:58.436 --> 0:30:01.316 Four years of just no one wanted to sign us, 0:30:01.356 --> 0:30:03.916 I think that really sort of gave us a just 0:30:03.956 --> 0:30:05.916 station period just to be kind of like, you know, 0:30:06.036 --> 0:30:08.356 even though we'd had changes and we had challenges along 0:30:08.396 --> 0:30:12.356 the way as band members, and I think we still 0:30:12.516 --> 0:30:14.716 had something kind of solid ones we were able to 0:30:14.756 --> 0:30:16.956 focus on underworking on new music. 0:30:17.036 --> 0:30:18.556 You know, we were never had like a big like 0:30:18.916 --> 0:30:22.276 writing droughts. You know, we've never been short on ideas. 0:30:22.516 --> 0:30:25.116 I mean, people might could, you know, could very they 0:30:25.156 --> 0:30:26.556 could be like, well, maybe should have taken a little 0:30:26.556 --> 0:30:28.516 bit longer or something like that. That's fair, but you know, 0:30:28.796 --> 0:30:30.396 for us, while we're working on things, I think we 0:30:30.516 --> 0:30:33.036 got pretty into what we're working on. So for even 0:30:33.076 --> 0:30:35.716 like album three, I think, you know, there's maybe a 0:30:35.756 --> 0:30:39.156 little bit more like things were happening behind the scenes 0:30:39.196 --> 0:30:40.956 in the band and so forth, you know, like the 0:30:41.036 --> 0:30:46.356 natural like challenges of like adults and yeah and so forth. 0:30:46.396 --> 0:30:48.436 But I don't think once we were in writing it 0:30:48.516 --> 0:30:50.836 was like challenging is you know. We might have had 0:30:50.876 --> 0:30:53.996 like more like conversations about directions and so forth, But 0:30:54.036 --> 0:30:56.036 for the most part, I think we always had a 0:30:56.116 --> 0:30:58.356 strong sense of like chemistry. It's just a matter of 0:30:58.436 --> 0:31:00.916 like maybe which direction we want to go to. But 0:31:00.996 --> 0:31:03.356 even like an album three, you know, I was happy 0:31:03.396 --> 0:31:05.556 what we're doing for album three. You know, It's interesting 0:31:05.596 --> 0:31:09.076 because I feel like maybe at the time, I mean 0:31:09.156 --> 0:31:10.356 it's like a while ago, but I feel like at 0:31:10.396 --> 0:31:12.676 the time people pile least there are these certain people 0:31:13.236 --> 0:31:15.516 I've never like really read much up press and stuff 0:31:15.516 --> 0:31:18.156 like this. I stopped reading press really on like touring 0:31:18.156 --> 0:31:20.276 on Turn of the Bright Lights because it just, I 0:31:20.276 --> 0:31:21.676 don't know, I felt like, this is not for me 0:31:21.756 --> 0:31:23.476 to read, It's for other people to read, you know 0:31:23.516 --> 0:31:25.276 what I mean. I don't want my feelings to be 0:31:25.316 --> 0:31:28.396 wrapped up on this of like anticipation if this is 0:31:28.436 --> 0:31:30.996 going to be a good review or bad review, because like, wait, 0:31:31.196 --> 0:31:33.156 what can I do now? Like I can just control 0:31:33.876 --> 0:31:35.996 writing music, recording music, and releasing it. 0:31:36.036 --> 0:31:37.916 But apart from that, it's like completely out in my hands. 0:31:37.916 --> 0:31:39.396 So like, oh, okay, so I'll just let go. 0:31:39.516 --> 0:31:41.596 And it felt as soon as I made that decision, 0:31:41.596 --> 0:31:44.436 it felt like the right one. So but on the 0:31:44.436 --> 0:31:46.396 album through, I probably felt like there's probably a little 0:31:46.436 --> 0:31:48.956 bit of like people not taking to the record, which 0:31:49.036 --> 0:31:50.756 might you know, I think sometimes that's just like part 0:31:50.796 --> 0:31:52.836 for the portion, and you come in with like a 0:31:52.836 --> 0:31:56.796 lot of attention on your first like you know, two actors, 0:31:56.876 --> 0:31:58.836 and there's a moment where especially I think back then 0:31:58.876 --> 0:32:02.156 with like the way the pendulum was like swing, I 0:32:02.236 --> 0:32:04.236 think those things might have happened around IBM three. 0:32:04.476 --> 0:32:06.716 It's always like there's a natural up and down, but 0:32:06.796 --> 0:32:10.356 sometimes it feels fabricated and it's like people are like 0:32:10.516 --> 0:32:12.876 chomping at the bit to write that story. You know. 0:32:13.476 --> 0:32:17.636 It's like that's a crazy instinct that humans have. 0:32:18.316 --> 0:32:20.436 It's weird, I mean, and you don't want any excuses 0:32:20.436 --> 0:32:22.996 because if someone's legitially like yo, I don't think this 0:32:23.116 --> 0:32:24.876 is a very good record, or I think like your 0:32:24.916 --> 0:32:27.796 other stuff is way better. That's completely a fair assessment, 0:32:28.076 --> 0:32:29.916 you know. That's like the beautiful thing about arts, Like 0:32:29.956 --> 0:32:32.356 everyone has a different opinion and that's like fair and 0:32:32.356 --> 0:32:35.516 no one is really wrong. It's a very subjective entity 0:32:35.756 --> 0:32:38.116 like thing media, whatever you know, and and so like. 0:32:38.476 --> 0:32:40.716 But at the same time, I think sometimes there is like. 0:32:40.676 --> 0:32:44.116 In probably like music, popular music criticism, this is maybe 0:32:44.116 --> 0:32:45.596 a little bit of like I'm tired of these guys 0:32:45.716 --> 0:32:47.916 or I'm tired of this, you know, versus giving it 0:32:47.956 --> 0:32:51.276 a real shake. I definitely remember hearing someone come up 0:32:51.316 --> 0:32:53.916 to me like years later and say like, oh, yeah, 0:32:53.916 --> 0:32:55.556 I didn't really like album three and I gave it 0:32:55.716 --> 0:32:57.956 like not a very good review or stuff. I can't 0:32:57.956 --> 0:32:59.876 remember the circumstances, but you know, when I went back 0:32:59.916 --> 0:33:01.636 and listened to it recently and it's actually pretty good, 0:33:01.636 --> 0:33:02.196 and I was like. 0:33:02.556 --> 0:33:04.356 Bro, get away from me. I'm like, I don't know, 0:33:04.476 --> 0:33:06.836 like I like, like, I don't know. It's like one 0:33:06.836 --> 0:33:07.596 thing to you, as I. 0:33:07.516 --> 0:33:09.036 Said, if you don't like it, I totally get that, 0:33:09.396 --> 0:33:12.356 but it's like I don't know to to do. That 0:33:12.516 --> 0:33:14.276 is not really I feel like, you know, or if 0:33:14.316 --> 0:33:16.396 you need a minute, maybe get a better assessment of 0:33:16.396 --> 0:33:18.596 it before you formulate an opinion. 0:33:19.076 --> 0:33:21.636 Yeah, that's the problem with that job is like oftentimes 0:33:21.636 --> 0:33:23.836 you only have a couple of days to listen to 0:33:23.876 --> 0:33:26.436 the album, to digest it, and then to sort of 0:33:26.476 --> 0:33:30.276 like barf out an opinion. But you're like you should 0:33:30.396 --> 0:33:32.516 to that guy, it's like, dude, can you like publish 0:33:32.516 --> 0:33:34.716 a new story, like an updated opinion? 0:33:35.676 --> 0:33:37.396 I mean, you know what that's actually like not a 0:33:37.396 --> 0:33:38.476 bad story. 0:33:38.196 --> 0:33:44.316 There, you know, like you know, but yeah. 0:33:42.076 --> 0:33:45.596 Yeah, yeah, it's so annoying. But do you find as 0:33:45.836 --> 0:33:47.996 just a fan of music and a listener, like, do 0:33:48.036 --> 0:33:51.356 you find yourself doing the same thing to other artists 0:33:51.436 --> 0:33:54.236 or other groups where you listen to something and you like, 0:33:54.356 --> 0:33:57.396 is your first reaction ever just to hate on it? 0:33:58.276 --> 0:34:00.396 Or do you feel like because you're in the industry, 0:34:00.436 --> 0:34:01.836 you're just naturally supportive. 0:34:03.076 --> 0:34:05.316 I don't know if I have one meaning or the other. 0:34:05.396 --> 0:34:07.276 I think it's also different times in your life and 0:34:07.316 --> 0:34:09.076 different ages in your life, you know what I mean. Like, 0:34:09.156 --> 0:34:12.196 there's like I certainly when I was like a you know, 0:34:12.356 --> 0:34:14.956 late teenager, early twenties, I think I probably formulate my 0:34:14.996 --> 0:34:16.076 opinions pretty quickly. 0:34:16.236 --> 0:34:18.956 And yeah, in a way that I certainly would not 0:34:18.996 --> 0:34:20.556 do now or I haven't done in a while. But 0:34:20.596 --> 0:34:21.876 like I think, especially. 0:34:21.476 --> 0:34:25.076 When you're like a you know, a late teenager, I 0:34:25.116 --> 0:34:27.316 do remember when like certain things were blowing up. I 0:34:27.356 --> 0:34:29.956 was already into like a lot of like hardcore kind 0:34:29.956 --> 0:34:31.596 of stuff when I was in high school, or underground 0:34:31.636 --> 0:34:34.236 kind of stuff, and then all of a sudden, Nirvana 0:34:34.276 --> 0:34:36.916 becomes like so massive, and all these bands becomes so massive, 0:34:36.916 --> 0:34:38.996 and everyone in your high school like likes, you know, 0:34:39.236 --> 0:34:41.116 this music that sounds pretty close to the things that 0:34:41.156 --> 0:34:44.636 you like. You've become like a proprietary like kind of standpoint, 0:34:44.676 --> 0:34:46.196 and you feel like a little bit of cross upon 0:34:46.316 --> 0:34:48.876 because this is like one of the elements that said 0:34:48.996 --> 0:34:51.076 you made you feel a little bit different, you know, 0:34:51.356 --> 0:34:52.796 in a way that I think is very different now 0:34:52.836 --> 0:34:54.916 than it was then. But but when I was a 0:34:54.996 --> 0:34:56.676 kid then it was like you'd have to really like 0:34:56.796 --> 0:34:58.676 dig dig dig to get some of the stuff. And 0:34:58.676 --> 0:35:01.436 all of a sudden it became so mainstream and in 0:35:01.476 --> 0:35:04.756 a very well earned and exciting way, like there's an 0:35:04.916 --> 0:35:08.836 undeniable and pure like Nirvana sounds amazing now too, you know, 0:35:08.836 --> 0:35:11.676 when I here like out there, it's like undeniable At 0:35:11.676 --> 0:35:13.436 that time, I think I probably had a hard time 0:35:13.476 --> 0:35:15.956 hearing it because it was just energy wise or closer 0:35:16.036 --> 0:35:17.796 things that I liked that I just kind of, you know, 0:35:17.996 --> 0:35:19.756 wanted to keep for myself. So it's just like an 0:35:19.796 --> 0:35:23.196 I hadn't heard Navana before they actually really blew up. 0:35:23.476 --> 0:35:25.556 I hadn't heard Bleachs and so forth. But it's like 0:35:25.996 --> 0:35:28.036 you hear it now, you know, and it's like, this 0:35:28.116 --> 0:35:33.196 is an undeniably incredible original band with these songs that 0:35:33.236 --> 0:35:35.876 are very singular and you know, like lyrics that are 0:35:35.916 --> 0:35:37.916 really one of a kind, and it's amazing that it 0:35:37.996 --> 0:35:41.996 actually resonated with like you know, popular culture and the masses. 0:35:41.996 --> 0:35:44.836 It's really because it's so unique sounding and in some 0:35:44.876 --> 0:35:48.156 ways it's it's a sounding that would be for so 0:35:48.196 --> 0:35:49.756 many people, you know what I mean. There's like something 0:35:49.796 --> 0:35:53.396 that's really like left of sensor. So it's actually looking back, 0:35:53.476 --> 0:35:55.636 it's an extraordinarily exciting moment. 0:35:55.436 --> 0:36:04.036 You know, one last break and moving back with Daniel Kessler, do. 0:36:03.996 --> 0:36:06.276 You think of like at this point, I know that 0:36:06.756 --> 0:36:09.716 you had a celebration. I think it waslast year, maybe 0:36:09.716 --> 0:36:13.956 a couple of years ago for antics, was it the 0:36:13.996 --> 0:36:16.116 twentieth anniversary. 0:36:15.916 --> 0:36:19.676 Or it was, Yeah, it was the twentieth and twenty twenty. 0:36:19.396 --> 0:36:24.596 Four, twenty twenty four. Okay, So at that point do 0:36:24.716 --> 0:36:28.556 you start to think of Interpol as a legacy band, Like, 0:36:28.596 --> 0:36:34.316 how does that sit with you? I wish that wasn't 0:36:34.316 --> 0:36:35.716 a bad thing, because no. 0:36:35.596 --> 0:36:39.356 I mean, in some ways it's an amazing heat. You know. 0:36:39.436 --> 0:36:41.396 It's like really and I mean what I say, like 0:36:41.436 --> 0:36:43.356 I never got further than my sort of dreaming about 0:36:43.396 --> 0:36:46.396 making out one. I feel like it feels so close 0:36:46.396 --> 0:36:49.476 to me when I think of those of that feeling 0:36:49.556 --> 0:36:52.676 somehow I really think about playing the Troubadour. It's really 0:36:52.676 --> 0:36:54.676 strange because I feel like that like when we had 0:36:54.676 --> 0:36:56.716 this two shows there and playing it and it was 0:36:56.756 --> 0:36:59.996 like really like I really dawned to me, like wow, 0:37:00.036 --> 0:37:01.836 this is really happening right now, and those all those 0:37:01.956 --> 0:37:04.236 those times not that long ago, people just for showing 0:37:04.276 --> 0:37:06.676 no interests and like we have these two sold out shows. 0:37:07.956 --> 0:37:09.556 But to me, it was like, wow, that was like 0:37:09.596 --> 0:37:11.836 my dream. And so that was like and I just 0:37:11.916 --> 0:37:14.836 never anything after that. Als felt like bonus, it really 0:37:14.836 --> 0:37:16.716 did like soon after that and then here we are 0:37:16.716 --> 0:37:17.156 on an album. 0:37:17.196 --> 0:37:19.436 A that's a lot of years of bonus. 0:37:19.756 --> 0:37:22.076 It's like yeah, but you know, the thing about it 0:37:22.116 --> 0:37:24.996 is like I guess it's absolutely and it's like so 0:37:25.036 --> 0:37:27.196 it's one part of me like that's just really crazy, 0:37:27.196 --> 0:37:29.436 and I guess some ways, like lots of life has 0:37:29.436 --> 0:37:32.596 been lived since then, you you know, by doing this, 0:37:32.716 --> 0:37:35.316 you know, I've got to explore the world, meet people 0:37:35.316 --> 0:37:37.396 from all over the world, have many different life experiences. 0:37:37.476 --> 0:37:39.676 So in that sense, it's really the band's giving you 0:37:39.716 --> 0:37:42.316 so much. But then you make a record like the 0:37:42.316 --> 0:37:44.516 record we just made, or every time we write songs, 0:37:45.236 --> 0:37:49.676 you have this urgency and this uh in the songwriting together, 0:37:49.796 --> 0:37:52.076 you have this chemistry and it's kind of undeniable, and 0:37:52.116 --> 0:37:54.756 it's never like it it never feels like work. 0:37:54.796 --> 0:37:57.716 It's more of just like you feel it. It's like invigorating, 0:37:57.756 --> 0:37:58.356 it's visceral. 0:37:58.476 --> 0:38:01.796 It's like all these things and in some ways is 0:38:01.876 --> 0:38:04.396 there's a commonality because that to like how it was 0:38:05.116 --> 0:38:07.396 when we first started like writing songs and realizing that 0:38:07.396 --> 0:38:10.116 there's like this chemistry that hasn't really changed that much. 0:38:10.156 --> 0:38:13.196 And that's again like going back to these things can dissipate, 0:38:13.236 --> 0:38:13.796 they can just go. 0:38:13.756 --> 0:38:15.516 Away and be very understandable. 0:38:16.676 --> 0:38:18.796 They you know, and if it started feeling like a 0:38:18.876 --> 0:38:21.316 job then, you know, like and so forth, But it's 0:38:21.396 --> 0:38:23.396 never felt like a job. It's never felt like something. 0:38:23.436 --> 0:38:26.396 We don't start making records. We feel like we're writing 0:38:26.436 --> 0:38:28.116 songs because we feel like we need to go do this. 0:38:28.236 --> 0:38:30.676 We can start touring. We've never thought about those terms 0:38:30.676 --> 0:38:33.956 you write. We're still abandoned. Still write songs together and 0:38:34.276 --> 0:38:36.516 make records because I feel like it's just a it's 0:38:36.556 --> 0:38:39.476 just this energy, this chemistry is just really like pure 0:38:39.516 --> 0:38:41.636 and it's just it's undeniable, and it's really get so 0:38:41.676 --> 0:38:43.516 much out of it, and it's passionate, and you feel 0:38:43.516 --> 0:38:46.356 like you can do something better than what you done previously. 0:38:46.516 --> 0:38:49.756 But you just feel like this evolution is so happening 0:38:49.756 --> 0:38:50.476 while we're doing this. 0:38:50.516 --> 0:38:52.236 So to me, it's like as long as that's feeling 0:38:52.436 --> 0:38:54.076 is still there, and then that's kind of what you're 0:38:54.316 --> 0:38:54.836 focused on. 0:38:54.956 --> 0:38:57.516 So it's almost like I think to myself. 0:38:57.196 --> 0:38:59.076 Maybe, like, you know, there'll be a time where I'll 0:38:59.076 --> 0:39:00.676 look back about some of these things that we've done 0:39:00.716 --> 0:39:03.276 and so forth, and you know, but that's it's not right. 0:39:03.356 --> 0:39:04.996 It's not now in that sense, you know, but it's 0:39:04.996 --> 0:39:05.636 also true. 0:39:05.716 --> 0:39:07.836 It's like it's been a long time, So if not, 0:39:07.996 --> 0:39:10.436 and if probably probably been saying a version of this 0:39:11.036 --> 0:39:13.516 to myself for a very long time. But I think 0:39:13.556 --> 0:39:16.316 in some ways, I think I don't think about it 0:39:16.356 --> 0:39:18.716 that much because I just want to keep going forward because. 0:39:18.516 --> 0:39:20.396 I really do believe in what we're doing. 0:39:20.476 --> 0:39:23.356 And if I ever felt like trying or like there 0:39:23.436 --> 0:39:26.156 was a drought in the songwriting or the chemistry shows 0:39:26.196 --> 0:39:28.956 the there, then you know, I'm we would definitely take 0:39:28.996 --> 0:39:31.636 a big pause. We definitely would take a moment. We 0:39:31.676 --> 0:39:34.236 definitely would never force anything. But it's kind of insane 0:39:34.276 --> 0:39:36.756 to me that actually that has never been and on 0:39:36.796 --> 0:39:39.716 the slightest round it that's abelt very Yeah, it felt 0:39:39.716 --> 0:39:41.316 really amazing in the moments, you know, and it felt 0:39:41.396 --> 0:39:44.356 very exciting, and we wasn't even belaboring. We didn't spend 0:39:44.716 --> 0:39:46.836 a ton of time working in these songs were writing 0:39:46.876 --> 0:39:48.956 and before we started recording them. So I think if 0:39:48.996 --> 0:39:51.516 you're having moments like this that are feeling very like 0:39:51.596 --> 0:39:54.996 good energy, positive and you're getting excited, and you kind 0:39:54.996 --> 0:39:57.716 of more focus on that than what you've already accomplished. 0:39:58.116 --> 0:40:01.436 Yeah, yeah, yeah, of course for the new album, was 0:40:01.476 --> 0:40:04.436 there any more of those sort of like magical moments 0:40:04.476 --> 0:40:08.316 that you remember when something really started to come together 0:40:08.556 --> 0:40:09.756 and feel complete. 0:40:10.516 --> 0:40:11.916 I think it's a couple of times. I feel like 0:40:11.996 --> 0:40:14.916 when we were doing like the Burden Serpent, just towards 0:40:14.956 --> 0:40:17.076 the end of the record, that one does something. I 0:40:17.076 --> 0:40:18.876 know when I was like that was the one song 0:40:18.916 --> 0:40:20.796 that I think when I was writing the main Progression, 0:40:20.836 --> 0:40:23.956 I had it in a very different kind of mode. 0:40:24.036 --> 0:40:26.436 It was almost maybe a little bit more like it 0:40:26.596 --> 0:40:28.716 just felt like maybe like more rocky, and all of 0:40:28.716 --> 0:40:30.436 a sudden I started playing with like the sort of 0:40:30.516 --> 0:40:33.676 rhythm of it, and I feel like that sort of 0:40:33.716 --> 0:40:35.036 kind of so for me, I was getting kind of 0:40:35.036 --> 0:40:36.956 excited about like, oh what this could be. And then 0:40:36.996 --> 0:40:39.036 when we started working on it as a unit in 0:40:39.076 --> 0:40:42.116 the rehearsal room, I just feeling the excitement of the 0:40:42.236 --> 0:40:44.316 energy and so forth, and feeling realized. 0:40:44.316 --> 0:40:45.716 I think that was like a good indication. 0:40:46.276 --> 0:40:48.676 I think this mirror weighs a ton of the title 0:40:48.756 --> 0:40:51.556 track when that started growing in the studio. I mean, 0:40:51.756 --> 0:40:53.916 a really great moment for me is just like sitting 0:40:53.916 --> 0:40:56.756 there with Andrew's work and someone's atmospheres that are happening 0:40:56.836 --> 0:41:01.156 in the song and the courses and Paulosis right next 0:41:01.196 --> 0:41:03.316 to me at that moment is you know, to me, 0:41:03.316 --> 0:41:06.236 I felt like, that's almost become like an instrumental piece 0:41:06.236 --> 0:41:08.636 of music. But then pauls whom my left and he 0:41:08.796 --> 0:41:10.516 was like writing in a notebook, and then all of 0:41:10.556 --> 0:41:12.076 a sudden he ran to the he had like a 0:41:12.116 --> 0:41:14.956 little studio in the back of Madrew's studio, like a 0:41:14.956 --> 0:41:17.796 little working room. And then two hours later I walked 0:41:17.836 --> 0:41:20.476 in and he played me some of the vocals that 0:41:20.556 --> 0:41:22.756 he had just recorded and and right there and then 0:41:22.796 --> 0:41:24.556 you're like, oh, so this is definitely not gonna become 0:41:24.596 --> 0:41:27.716 an instrumental because these vocals are too good and now 0:41:27.836 --> 0:41:29.556 these and these melodies are too amazing. 0:41:29.756 --> 0:41:31.996 And then even then I'm pretty sure he just in 0:41:32.036 --> 0:41:34.916 that one moment he'd written this may of waste a 0:41:34.916 --> 0:41:36.796 ton That lyric was already there, so like right there, 0:41:36.796 --> 0:41:38.756 you're like, what is that? Like that just jumps out 0:41:38.796 --> 0:41:39.036 at you. 0:41:39.276 --> 0:41:41.836 So those are really exciting kind of like visceral moments, 0:41:41.876 --> 0:41:44.076 I would say, you know, but there's a lot of 0:41:44.076 --> 0:41:45.876 them on the record, Like even like even like a 0:41:45.916 --> 0:41:47.516 song that's probably a little more of like an Interpols 0:41:47.556 --> 0:41:49.956 song like c out Loud, uh that that was like 0:41:49.956 --> 0:41:52.356 a really fun one put together and find the jam 0:41:52.396 --> 0:41:53.436 on and stuff like that. 0:41:53.396 --> 0:41:55.236 Or wake up too. 0:41:55.476 --> 0:41:57.396 That's you know, that feels like a you know, sort 0:41:57.396 --> 0:41:59.076 of like kind of like my guitarist a little bit 0:41:59.116 --> 0:42:01.196 like almost like a West African kind of like guitar 0:42:01.276 --> 0:42:04.236 sort of inscribed you know, rhythm and then like you know, 0:42:04.356 --> 0:42:04.796 just the song. 0:42:04.836 --> 0:42:07.036 Playing that together, like the energy and so forth was 0:42:07.076 --> 0:42:07.516 really fun. 0:42:08.716 --> 0:42:11.396 It sounds like the song sort of evolve a lot 0:42:11.716 --> 0:42:14.436 from the time you bring them in into the band. 0:42:15.196 --> 0:42:17.516 Are there any that you were sort of surprised by 0:42:17.636 --> 0:42:20.756 or went in a direction that was extremely satisfying? 0:42:21.996 --> 0:42:24.036 I mean this countless because I think it's like, as 0:42:24.116 --> 0:42:27.116 much as maybe the songs tend to begin with me, 0:42:27.156 --> 0:42:29.956 for the most part, the thing that makes them so 0:42:29.996 --> 0:42:32.836 exciting is like I would never predict where they're going 0:42:32.916 --> 0:42:33.116 to go. 0:42:33.396 --> 0:42:35.276 And and that's like something that I wanted from the 0:42:35.356 --> 0:42:37.996 very beginning of the band, and it still happens now 0:42:38.076 --> 0:42:39.796 and it becomes all of our songs, Like as soon 0:42:39.836 --> 0:42:42.196 as I put onto the floor of the rehearsal room, 0:42:42.276 --> 0:42:43.276 so I'm. 0:42:43.196 --> 0:42:44.916 On the slaves record this, you know all of them. 0:42:44.956 --> 0:42:46.596 I can say that for sure. It's because as soon 0:42:46.596 --> 0:42:46.956 as like. 0:42:46.916 --> 0:42:49.396 You know what, Paul, I might do something, and then 0:42:49.396 --> 0:42:52.716 Paul might do something. Sam might be more influenced by 0:42:52.756 --> 0:42:55.556 what Paul's doing than I was doing. Brad now has 0:42:55.596 --> 0:42:58.156 been like writing with us as well playing bass. It's all, 0:42:58.276 --> 0:42:59.836 you know, And I think to me, that's the idea 0:42:59.876 --> 0:43:02.356 is like now the unpredictability of what the end result 0:43:02.356 --> 0:43:04.036 of what we're going to settle on, who's going to 0:43:04.076 --> 0:43:06.276 inspire by who and what which I guess in some 0:43:06.316 --> 0:43:07.876 ways you could say, well that's maybe like a lot 0:43:07.916 --> 0:43:09.756 of bands, so for ours, I think gets made it 0:43:09.876 --> 0:43:13.036 less of you really don't know where this is really 0:43:13.076 --> 0:43:15.756 going to set upon, you know, but I think, you know, 0:43:15.796 --> 0:43:18.796 even like working again like The Burden Serpent, like a well, 0:43:18.876 --> 0:43:20.956 like working on this one and working with Andrew who's 0:43:20.996 --> 0:43:24.716 just like such a orchestration whiz and a musical wiz 0:43:24.716 --> 0:43:27.156 and just you know those you know, just music so 0:43:27.516 --> 0:43:30.916 well from like a compositional standpoint, so he added all 0:43:30.916 --> 0:43:34.076 these great sounds where it's the outro of that song 0:43:34.156 --> 0:43:36.356 and it sort of just has this like it just 0:43:36.356 --> 0:43:38.356 feels like you just enter it to this other world. 0:43:38.356 --> 0:43:40.636 It has another worldliness in a way that's just like 0:43:40.716 --> 0:43:44.156 it's like exotic. This is like certainly there's some sounds 0:43:44.156 --> 0:43:46.876 on that section of song that I've never been on you know, 0:43:47.556 --> 0:43:51.156 any other interpol, yeah, crass, And it's just sort of 0:43:51.196 --> 0:43:53.676 like unexpected from where you're going from from where you've 0:43:53.716 --> 0:43:55.196 already been through this journey, and then all of a 0:43:55.196 --> 0:43:56.356 sudden you're in this like plane. 0:43:56.476 --> 0:43:59.156 I look at this, like this open field of these. 0:43:59.036 --> 0:44:01.316 Like little exotic animals just hopping up and down, and 0:44:01.356 --> 0:44:03.076 this is sort of like an amazing place to be. 0:44:03.196 --> 0:44:06.036 And so I love the fact that that was created, 0:44:06.076 --> 0:44:07.996 in the fact that we were all like really receptive 0:44:07.996 --> 0:44:08.996 to that, versus. 0:44:08.676 --> 0:44:10.156 Being like no, no, no, no, that can't be on 0:44:10.196 --> 0:44:10.876 an imple record. 0:44:10.916 --> 0:44:12.676 It's more like, yes, I can be in an a 0:44:12.756 --> 0:44:14.476 pole record, and it's like it should be. And so 0:44:15.396 --> 0:44:16.956 these are things in some ways where a now that 0:44:17.036 --> 0:44:19.276 have it, you know, existed like I would say, like 0:44:19.316 --> 0:44:22.276 you know, from NYC from the first record too on, 0:44:22.516 --> 0:44:24.996 you know, I love to admire like on our very 0:44:24.996 --> 0:44:27.796 first track, Pioneer to the Falls, like that song it's 0:44:27.916 --> 0:44:29.516 I you know, I still love playing a song and 0:44:29.956 --> 0:44:33.076 the compositionally, there's also like some orchestral elements in it 0:44:33.156 --> 0:44:35.476 that we're not so obviously be on an in apole 0:44:36.036 --> 0:44:38.036 track as if you were like based on when the 0:44:38.076 --> 0:44:39.636 first two records sounded like. 0:44:39.716 --> 0:44:40.556 So I don't. 0:44:40.556 --> 0:44:42.316 I think there's also been things that we've tried to 0:44:42.356 --> 0:44:45.476 be open to and and uh. 0:44:45.276 --> 0:44:47.276 And it's something like you not have not push ourselves. 0:44:47.316 --> 0:44:49.076 I think these are just tastes that we've always had, 0:44:49.116 --> 0:44:51.476 and so when we've encountered like a situation where we 0:44:51.516 --> 0:44:54.196 can go there or be including them, it's just it's 0:44:54.276 --> 0:44:56.036 just felt great. And as long as it's not like 0:44:56.116 --> 0:44:57.996 forced onto it as much as like, oh no, this 0:44:58.076 --> 0:45:00.676 is a it makes sense that we've arrived at this 0:45:00.916 --> 0:45:04.396 like destined, you know, destination. And I think on this 0:45:04.516 --> 0:45:06.436 latest record there's like a lot of examples on that, 0:45:06.596 --> 0:45:09.396 like just every track has so many more key and 0:45:09.436 --> 0:45:12.676 we've ever had on previous records and sounds and so forth. 0:45:12.716 --> 0:45:15.276 And I think that was definitely something that Andrew wanted 0:45:15.316 --> 0:45:17.276 to bring forth and those and for me, that was 0:45:17.316 --> 0:45:19.396 exactly what I was hoping that he would introduce. 0:45:20.636 --> 0:45:22.796 Have you started thinking about the next album yet? Are 0:45:22.796 --> 0:45:25.356 you still just locked in on on this one? 0:45:26.516 --> 0:45:28.836 I mean, I think I love writing music, so I'm all, 0:45:28.916 --> 0:45:30.716 you know, like a little like animal. I think I'm 0:45:30.716 --> 0:45:32.476 always like kind of like always like trying to like 0:45:32.556 --> 0:45:35.156 chisel away and work on stuff. So it's like, as 0:45:35.516 --> 0:45:38.636 I I'm so now, like every moment that I'm not 0:45:38.716 --> 0:45:41.156 on the road, I followed ever routine that I was 0:45:41.396 --> 0:45:43.356 you know, speaking of, and just try to like, you know, 0:45:43.476 --> 0:45:46.316 I think I probably I mean there's a degree of 0:45:46.316 --> 0:45:48.556 like I like having something that's going on that I'm 0:45:48.596 --> 0:45:50.796 like excited about that I want to kind of keep 0:45:50.916 --> 0:45:51.236 you know. 0:45:51.236 --> 0:45:53.236 Nurturing and trying to building and so forth. 0:45:53.356 --> 0:45:56.356 And I feel that way now certainly, But then you 0:45:56.436 --> 0:45:58.036 also want to be open. 0:45:58.236 --> 0:46:00.276 Well maybe there's even more that you can do, you know, 0:46:00.356 --> 0:46:02.996 you don't want to. It's nice to have those like things. 0:46:02.796 --> 0:46:05.756 That you're already the concerting on, but it's also like, well, 0:46:05.796 --> 0:46:07.756 let's get through those things, because then you can have 0:46:07.796 --> 0:46:10.756 like an open palette and you never know what's going 0:46:10.756 --> 0:46:12.956 to get introduced. And I think that's part of like 0:46:13.116 --> 0:46:15.436 the exciting element of trying to do this. You want, 0:46:15.516 --> 0:46:18.236 you know, stay unexpected and what all of a sudden 0:46:18.276 --> 0:46:20.156 you find yourself like working on the like where did 0:46:20.156 --> 0:46:22.796 this come from? You know? And those are those are 0:46:22.836 --> 0:46:25.476 the things that I feel like very alluring and you 0:46:25.516 --> 0:46:27.676 hope for you know, and you can't for me at least, 0:46:27.676 --> 0:46:29.396 I can't really force them. I think there's certain people 0:46:29.396 --> 0:46:32.116 who can just write, you know, ten hours a day 0:46:32.156 --> 0:46:34.236 and have like a hundred songs a year. 0:46:34.956 --> 0:46:36.676 I'm not quite like that, I think. I like, you know, 0:46:36.676 --> 0:46:37.236 I'm a little bit. 0:46:37.196 --> 0:46:39.316 More like a fisherman and it just puts a fishing 0:46:39.396 --> 0:46:41.316 rod in the water and then hope something bites and 0:46:41.396 --> 0:46:42.556 you never know when it does. 0:46:42.596 --> 0:46:45.316 But the important thing is to go fishing every day. 0:46:45.796 --> 0:46:48.036 Do you pick up the guitar at any other points 0:46:48.116 --> 0:46:50.356 during the day or is it strictly the morning routine 0:46:50.396 --> 0:46:52.316 with the coffee in the film? 0:46:52.596 --> 0:46:55.076 Uh, you know, it's it's I will do. 0:46:55.156 --> 0:46:56.996 Like over times, I realized I just don't have the 0:46:57.036 --> 0:47:00.036 same like obviously, you know, like as far as writing, Yeah, 0:47:00.036 --> 0:47:02.796 I don't have the same sort of like connection as 0:47:02.796 --> 0:47:04.316 far as like creativity. 0:47:04.676 --> 0:47:05.036 Obviously. 0:47:05.076 --> 0:47:07.236 You can play shows at night, you know, like sometimes 0:47:07.236 --> 0:47:08.956 super late at night and so forth, So it's not 0:47:10.196 --> 0:47:11.596 that's just but that's like a different thing. 0:47:11.636 --> 0:47:13.636 That's like an emotional like release. 0:47:13.716 --> 0:47:16.676 You know, And but you know, it's like I can 0:47:16.796 --> 0:47:18.836 I in the afternoons or other times a day if 0:47:18.836 --> 0:47:21.436 I'm like more like recording on my own where I 0:47:21.476 --> 0:47:22.916 might you know, I know what I want to do. 0:47:23.076 --> 0:47:25.996 It's a matter of like exercising it better, like I 0:47:25.996 --> 0:47:27.596 can do things like that, and I do do that, 0:47:27.636 --> 0:47:28.716 but it's as far as creating. 0:47:28.916 --> 0:47:30.596 I don't know why, but I guess it's like this 0:47:30.676 --> 0:47:31.996 is something that I just realized for me. 0:47:32.156 --> 0:47:34.076 And everyone's wired a little bit differently, but I realized 0:47:34.076 --> 0:47:36.036 that for me a long time ago, and then I 0:47:36.076 --> 0:47:37.836 guess it's like that, you know, friends of mine had 0:47:37.876 --> 0:47:40.396 told me that a lot of creative people over history, 0:47:40.476 --> 0:47:42.516 not just music, that's just kind of like they have 0:47:42.636 --> 0:47:44.476 their own patterns. And I remember seeing this film with 0:47:45.676 --> 0:47:48.356 the director Bergman talking about his routine and you're just 0:47:48.356 --> 0:47:50.636 like really regimented about it, and it was like something 0:47:50.716 --> 0:47:52.636 like the morning time, like nine to noon, he would 0:47:52.636 --> 0:47:55.316 just like lock himself in a study and work on 0:47:55.316 --> 0:47:57.836 on whatever is working on and so forth, like and 0:47:57.876 --> 0:47:59.996 I think there's something about like those kind of routines 0:48:00.036 --> 0:48:02.516 that do make sense to me, like I do identify 0:48:02.596 --> 0:48:04.956 with and yeah, yeah, those patterns. 0:48:04.996 --> 0:48:07.556 You know, it feels good to have a pattern too, 0:48:07.676 --> 0:48:09.676 or have sort of like something you can look forward 0:48:09.716 --> 0:48:12.516 to in a schedule totally. 0:48:12.636 --> 0:48:14.756 I think it centers you a little bit. But it's, uh, 0:48:14.956 --> 0:48:15.676 I think that's to me. 0:48:15.716 --> 0:48:18.436 It's like, that's why it's like having no clock and 0:48:18.516 --> 0:48:19.996 I think not, I don't turn on. 0:48:19.956 --> 0:48:22.556 My phone, I don't I don't look at the world. 0:48:22.676 --> 0:48:25.316 It's just yeah, to me, that's like the biggest luxury 0:48:25.316 --> 0:48:27.436 I can have in those like you know, in this morning, 0:48:27.476 --> 0:48:30.036 So I truly I treasure them. 0:48:30.356 --> 0:48:31.676 I don't want to put you on the spot. But 0:48:31.716 --> 0:48:35.316 because you say film and not movies, I feel like 0:48:35.436 --> 0:48:37.796 you might have some really good recommendations. Do you have 0:48:37.956 --> 0:48:42.956 just like a couple films that you would recommend or 0:48:42.996 --> 0:48:45.476 that you just love or that you could go back 0:48:45.516 --> 0:48:47.516 to or that people should see. 0:48:48.156 --> 0:48:50.236 Yeah, I mean there's so many, and I'm like it's 0:48:50.276 --> 0:48:51.796 like souls in those moments that you're like. 0:48:52.556 --> 0:48:55.356 I I hate when people ask me questions like this, 0:48:55.516 --> 0:48:56.156 but I. 0:48:56.076 --> 0:48:58.596 Feel like one the one I was mentioned for the 0:48:58.636 --> 0:49:01.676 Passengers are really a unique one. It's because it's like, uh, 0:49:02.036 --> 0:49:05.116 I think Jack Nicholson stars in it, and it's like 0:49:05.276 --> 0:49:07.116 right sick, Yeah, I think he made it like the 0:49:07.196 --> 0:49:09.356 year right after trying to town Sui's you know, he's 0:49:10.196 --> 0:49:12.196 one of you know, world's most famous actors, and yet 0:49:12.236 --> 0:49:15.516 he's making this sort of really by today's standard, should 0:49:15.556 --> 0:49:17.676 be considered a like an independent film, like an art 0:49:17.676 --> 0:49:20.676 house film. And it's shot in I think a shot 0:49:20.716 --> 0:49:25.276 in North Africa, in Barcelona for sure, in in London too, 0:49:25.636 --> 0:49:29.636 but it's also right it's like the year before Franco 0:49:29.916 --> 0:49:31.756 dies of the year, you know, so it's like it's 0:49:31.796 --> 0:49:32.636 like a unique. 0:49:32.436 --> 0:49:33.156 Time and history. 0:49:33.196 --> 0:49:35.316 The scenes places, so you'll see parts of Barcelona in 0:49:35.356 --> 0:49:38.316 a way that like you know, treasure of these galludy buildings. 0:49:38.316 --> 0:49:40.556 And there's also so much space in the film itself. 0:49:40.596 --> 0:49:44.116 There's like it's like a atmospheric like ambient space. There's 0:49:44.196 --> 0:49:46.556 like not it's not flood to a dialogue, but there's 0:49:46.596 --> 0:49:48.036 a plot and there's like a little bit of a 0:49:48.076 --> 0:49:51.356 mystery to it. And uh Antonioni's one of my favorite 0:49:51.356 --> 0:49:53.436 directors and just so like just and he has a 0:49:53.516 --> 0:49:57.116 sense of cultivating like atmosphere that just really it's like meditative, 0:49:57.196 --> 0:49:59.276 you know. It's really it's a great film to see 0:49:59.316 --> 0:50:00.956 in the movie theater if you ever have the opportunity, 0:50:01.036 --> 0:50:02.676 Like there's over like a retrospect, so. 0:50:02.676 --> 0:50:06.476 That film, I do I love bad Land is. 0:50:06.436 --> 0:50:08.356 Like you know by you know, Terrence Mallet's fairst film 0:50:08.396 --> 0:50:10.476 was a film that was like I can go back 0:50:10.516 --> 0:50:12.596 to every few years for sure that I you know, 0:50:12.636 --> 0:50:15.916 I really love I feel like The Phantom Spread, you know, I. 0:50:15.916 --> 0:50:18.116 Feel like that's actually like a really like a perfect film. 0:50:18.396 --> 0:50:20.996 There's so many films all over the place, so it 0:50:20.996 --> 0:50:23.316 seems from marriage Bart Bergman's like, amazing, I'll say a 0:50:23.316 --> 0:50:23.796 different thing. 0:50:23.876 --> 0:50:25.436 And I also to you know, what I really love 0:50:25.516 --> 0:50:30.276 is Fastbenders, Uh, Ali. 0:50:30.276 --> 0:50:32.676 Fury, It's The Soul. That's a really great film. It's 0:50:32.676 --> 0:50:35.956 like really different from his work, is like it just 0:50:35.956 --> 0:50:39.236 has a different vibe. But there's something so tinmeless about 0:50:39.276 --> 0:50:44.676 this story, sadly true about human nature, and it read 0:50:44.756 --> 0:50:47.996 you know, it's made like early seventies, but somehow it's 0:50:48.036 --> 0:50:50.596 there's a commonality that resonates to say as much as 0:50:50.636 --> 0:50:52.956 it would then, but there's also a sweetness and a 0:50:52.956 --> 0:50:56.796 love story to it as well. And yeah, I can 0:50:56.916 --> 0:50:58.396 go back and watch that film every few years too. 0:50:58.396 --> 0:51:01.236 Ali Fears The Soul and I love Tony Tony Irtman too. 0:51:01.236 --> 0:51:02.436 It's a great film to the came a couple of 0:51:02.476 --> 0:51:02.876 years ago. 0:51:03.796 --> 0:51:06.316 Cool Okay, I'm watching all of them because I'm in 0:51:06.316 --> 0:51:06.876 a slump. 0:51:07.436 --> 0:51:09.396 Oh yeah, if you haven't seen some of the Tony 0:51:09.476 --> 0:51:10.316 Ergan's really good too. 0:51:10.836 --> 0:51:15.236 Yeah. Is there anything else about the new album you 0:51:15.276 --> 0:51:16.876 want to talk about? Or do you want to talk 0:51:16.916 --> 0:51:19.116 about the tour? Is there anything you wanted to sort 0:51:19.156 --> 0:51:21.236 of get in before we sign off? 0:51:22.436 --> 0:51:23.036 Just really excited. 0:51:23.036 --> 0:51:24.756 I mean, I know it's probably like the job of 0:51:24.836 --> 0:51:26.756 like a you know, I think of a band to 0:51:26.836 --> 0:51:29.436 be sort of raw rah rah on you know, the 0:51:29.556 --> 0:51:31.356 new record and so forth, but it was really like 0:51:31.396 --> 0:51:34.716 something that we felt like really great about and it 0:51:34.796 --> 0:51:37.396 just felt like sometimes I think you it's such a 0:51:37.436 --> 0:51:41.836 I remember something like reading this interviewsue with Kee from 0:51:41.836 --> 0:51:44.596 Gods like years ago, or seeing something I don't remember 0:51:44.636 --> 0:51:46.756 how long ago was, but something he said really resonated 0:51:46.756 --> 0:51:48.116 to me in a way that maybe even then I 0:51:48.156 --> 0:51:51.316 didn't understand because I hadn't I don't know what stage 0:51:51.356 --> 0:51:53.196 of recording I was at, but it was something about 0:51:53.316 --> 0:51:56.036 I think along the lines of like when you record 0:51:56.076 --> 0:51:59.436 a song or whatever, like the version of the recording. 0:51:58.956 --> 0:52:00.996 That you make becomes the song. 0:52:01.196 --> 0:52:03.196 You know, maybe you play the like countless other times, 0:52:03.196 --> 0:52:06.556 and that recording is the song, you know, and sometimes 0:52:06.596 --> 0:52:09.676 like that version that can go on away. You know, 0:52:09.716 --> 0:52:12.836 you write a song, you rehearse it a lot of times, 0:52:12.876 --> 0:52:15.676 and that maybe you know, everything can go any resurrection 0:52:15.796 --> 0:52:17.356 when you're making a record, you know what I mean. 0:52:17.356 --> 0:52:20.316 But whatever version you released becomes the song itself. 0:52:20.396 --> 0:52:22.396 So it's like, yeah, I don't know if that makes sense, 0:52:22.396 --> 0:52:23.916 but to me, that really resonated. 0:52:23.956 --> 0:52:26.156 I was like, oh, wow, okay, that's actually like really and. 0:52:26.156 --> 0:52:28.476 I think it would take from someone who's who's done 0:52:28.556 --> 0:52:30.316 this that you understand or you know, to feel it 0:52:30.316 --> 0:52:33.956 because you're like, wow, that's really becomes like maybe you 0:52:33.996 --> 0:52:35.676 had an off day that one day, or maybe like 0:52:35.996 --> 0:52:37.796 two days later when better, or maybe if you had 0:52:37.836 --> 0:52:39.956 just done this one of a thing. It really takes 0:52:39.996 --> 0:52:42.956 like a piece like finding peace, being like, well, this 0:52:43.036 --> 0:52:45.356 is what we said and this is the document that 0:52:45.396 --> 0:52:47.436 we made, and therefore we need to move on. 0:52:47.596 --> 0:52:49.516 And I think that's what you have to eventually do. 0:52:50.036 --> 0:52:51.476 I think of the making of this record, though, I 0:52:51.476 --> 0:52:53.556 felt like really like really good. 0:52:53.396 --> 0:52:56.236 About everything, all of our choices, and we certainly had 0:52:56.276 --> 0:52:58.716 like you know, some hurdles along the way and so 0:52:58.756 --> 0:53:00.236 forth that we had to take, you know, make and 0:53:01.396 --> 0:53:03.076 but I feel like just the record we made, it's 0:53:03.076 --> 0:53:06.316 like a really cohesive album. And obviously we're the same people. 0:53:06.356 --> 0:53:07.996 We're so in a pool, and you know we're gonna 0:53:08.036 --> 0:53:10.916 have the sexibility will be there, you know, and may 0:53:10.916 --> 0:53:11.796 be recognizable. 0:53:11.836 --> 0:53:13.756 But I do think it's like an evolution. 0:53:13.996 --> 0:53:16.596 I think it's a progressive record and I don't know, 0:53:16.636 --> 0:53:18.356 it feels like a great next chapter for us, and 0:53:18.396 --> 0:53:21.276 also one that just like really felt like nothing is 0:53:21.316 --> 0:53:22.956 forced about it. Just probably this is like what we 0:53:23.036 --> 0:53:24.676 said next, and this is something that I think we've 0:53:24.676 --> 0:53:27.356 been aspiring to say for a while and I think 0:53:27.356 --> 0:53:29.036 we've arrived with this with this album. 0:53:29.876 --> 0:53:32.436 Yeah, I agree, it's a really really good Interpol album. 0:53:32.836 --> 0:53:35.556 And I saw I know you don't pay attention to critics, 0:53:35.596 --> 0:53:38.676 but I did see the Guardian called it your masterpiece. 0:53:40.676 --> 0:53:43.396 I had just heard that they had actually hears that word. 0:53:43.436 --> 0:53:45.516 And this is such a while that. I mean, it's 0:53:45.556 --> 0:53:47.636 like where your brain's like, wait what you know, you know, 0:53:49.756 --> 0:53:51.996 I'll take it. But that's really amazing the year, you know, 0:53:52.196 --> 0:53:52.916 that's really. 0:53:53.076 --> 0:53:55.436 Yeah, best of luck with all of it, have fun 0:53:55.476 --> 0:53:57.956 on tour, and thank you so much for doing this. 0:53:57.996 --> 0:53:59.676 I appreciate your time, Thank you. 0:53:59.756 --> 0:54:01.356 So Lovely, a chatting fun. 0:54:04.236 --> 0:54:06.396 An episode description, you'll find a link to a playlist 0:54:06.396 --> 0:54:08.436 of our favorite in a poll songs. You should to 0:54:08.476 --> 0:54:11.156 check out YouTube dot com slash Broken Record podcast to 0:54:11.196 --> 0:54:13.956 see all of our video interviews, and be sure to 0:54:13.996 --> 0:54:17.076 follow us on Instagram at the Broken Record pot. Broken 0:54:17.116 --> 0:54:19.476 Record is produced and edited by Leah Rose, with marketing 0:54:19.476 --> 0:54:22.396 and help from Eric Sandler and Jordan McMillan. Our engineer 0:54:22.476 --> 0:54:26.316 is Ben Tom Broken Record is a production of Pushkin Industries. 0:54:26.476 --> 0:54:28.956 If you love this show and others from Pushkin, consider 0:54:28.996 --> 0:54:32.556 subscribing to Pushkin Plus. Pushkin Plus is a podcast subscription 0:54:32.596 --> 0:54:35.356 that offers bonus content and ad free listening for four 0:54:35.516 --> 0:54:37.796 ninety nine a month. Look for Pushkin Plus on Apple 0:54:37.836 --> 0:54:41.276 podcast subscriptions. And if you like this show, please remember 0:54:41.356 --> 0:54:43.436 to share, rate, and review us on your podcast app. 0:54:43.716 --> 0:54:46.236 Our theme music's by Kenny Beats. I'm justin Richmond.