1
00:00:00,160 --> 00:00:09,680
Speaker 1: Quest Love Supreme is a production of iHeartRadio. Ladies and gentlemen,

2
00:00:09,760 --> 00:00:12,120
Speaker 1: welcome to another episode of.

3
00:00:12,160 --> 00:00:13,119
Speaker 2: Quest Love Supreme.

4
00:00:13,440 --> 00:00:19,279
Speaker 1: I'm your host Quest Love with Us. We have Fragmented Supremest.

5
00:00:19,480 --> 00:00:21,680
Speaker 1: We got Fantego over in the house. What's up, brother,

6
00:00:21,800 --> 00:00:22,840
Speaker 1: I'm still here, man.

7
00:00:22,680 --> 00:00:23,200
Speaker 3: What up?

8
00:00:23,239 --> 00:00:23,520
Speaker 4: What up?

9
00:00:23,600 --> 00:00:26,920
Speaker 5: We're here, sugar Steve, Yep, I'm not fragmented. I've never

10
00:00:26,920 --> 00:00:28,680
Speaker 5: missed a show except the ones you told me not

11
00:00:28,760 --> 00:00:33,720
Speaker 5: to attend. Wait, when did I ban you, Steve that

12
00:00:34,159 --> 00:00:35,400
Speaker 5: purple roundtable joint?

13
00:00:36,760 --> 00:00:40,720
Speaker 2: Oh you're holding that against me? Yes, but let's move on.

14
00:00:43,520 --> 00:00:44,280
Speaker 2: That's fired.

15
00:00:44,320 --> 00:00:50,440
Speaker 1: In the interact, Ladies and gentlemen, I will say that probably.

16
00:00:51,560 --> 00:00:55,400
Speaker 2: Our guests have single handedly at least changed.

17
00:00:55,480 --> 00:00:58,160
Speaker 1: And I'm making this introduction person, I'm making it about me,

18
00:00:58,360 --> 00:00:59,480
Speaker 1: not about you or the audience.

19
00:01:00,040 --> 00:01:01,160
Speaker 2: I'll say that our guest.

20
00:01:00,960 --> 00:01:05,080
Speaker 1: Today is single handedly probably changed my trajectory or changed

21
00:01:05,120 --> 00:01:08,479
Speaker 1: my perspective on how to deliver music.

22
00:01:09,160 --> 00:01:10,880
Speaker 2: And that's pretty much all I can say.

23
00:01:12,640 --> 00:01:17,320
Speaker 1: I heard their debut album and it just cracked my skull,

24
00:01:17,680 --> 00:01:20,560
Speaker 1: cracked all of our skulls open in a way that

25
00:01:20,680 --> 00:01:26,320
Speaker 1: really hasn't really hasn't done that probably since the days

26
00:01:26,319 --> 00:01:30,720
Speaker 1: of Prime Bomb Squad productions of like Public Enemy and

27
00:01:30,760 --> 00:01:34,880
Speaker 1: Ice Cube, or even the three feet hind rising in

28
00:01:34,959 --> 00:01:38,920
Speaker 1: Daylight Soul's Dead albums of the early nineties. I'll say

29
00:01:38,959 --> 00:01:42,720
Speaker 1: that Rick Rubin has taught us on the show that

30
00:01:42,920 --> 00:01:48,480
Speaker 1: editing is necessary for smart pop music making, and you know,

31
00:01:48,520 --> 00:01:53,240
Speaker 1: the ability to leave the basic necessities for you know,

32
00:01:53,600 --> 00:01:55,480
Speaker 1: for the most part of that theory. You know, with

33
00:01:55,560 --> 00:01:59,040
Speaker 1: self editing has worked miracles for pop music in the

34
00:01:59,160 --> 00:02:02,280
Speaker 1: last seven the year. But our guests have done the

35
00:02:02,280 --> 00:02:06,680
Speaker 1: opposite of that, and they've left no stone unturned.

36
00:02:07,040 --> 00:02:09,360
Speaker 2: As far as a sonic landscape.

37
00:02:09,760 --> 00:02:13,799
Speaker 1: Thereforeever classic debut album, now twenty twenty years old, called

38
00:02:13,840 --> 00:02:17,640
Speaker 1: Since I Left You is probably personally one of my

39
00:02:17,880 --> 00:02:22,960
Speaker 1: top ten favorite albums of all times, with over one

40
00:02:23,080 --> 00:02:27,400
Speaker 1: thousand mind staggering samples and soundbites. I'm an invest We

41
00:02:27,480 --> 00:02:30,680
Speaker 1: all gotta investigate how this was made. When he found

42
00:02:30,720 --> 00:02:32,160
Speaker 1: out that they wanted to come on the show, it

43
00:02:32,880 --> 00:02:38,000
Speaker 1: was an instant yes on my part. Yeah, I'm just

44
00:02:38,680 --> 00:02:41,240
Speaker 1: honored they're here to share their story with us, because

45
00:02:41,280 --> 00:02:44,120
Speaker 1: I don't even know if I can properly explain to

46
00:02:44,200 --> 00:02:47,880
Speaker 1: you how important there art is. But Ladies and gentlemen,

47
00:02:47,919 --> 00:02:51,000
Speaker 1: please welcome the Quest of Supreme the Avalanches.

48
00:02:51,560 --> 00:02:53,080
Speaker 2: We have Robbie and Tony.

49
00:02:53,520 --> 00:03:00,640
Speaker 1: Robbie, what's your last Nameta, Robbie Taita, Welcome.

50
00:03:05,240 --> 00:03:06,160
Speaker 2: Where are you right now?

51
00:03:06,600 --> 00:03:07,320
Speaker 6: Where an?

52
00:03:08,520 --> 00:03:10,080
Speaker 2: How is it over there right now?

53
00:03:10,680 --> 00:03:12,760
Speaker 6: Yeah, it's pretty good. We had we had like a

54
00:03:12,800 --> 00:03:17,520
Speaker 6: really hard lockdown last year, but we're coming out of

55
00:03:17,520 --> 00:03:18,960
Speaker 6: it now. It's just really good. We just played our

56
00:03:19,000 --> 00:03:24,839
Speaker 6: first live show in you know, three years on Friday, like, yeah, oh,

57
00:03:24,960 --> 00:03:28,880
Speaker 6: it was incredible. It was it was so amazing, you know,

58
00:03:29,000 --> 00:03:33,760
Speaker 6: just to be with the people again, and you know,

59
00:03:34,240 --> 00:03:35,720
Speaker 6: I don't know, it was just it just felt like

60
00:03:35,800 --> 00:03:38,480
Speaker 6: at the start it felt really strange, like you know,

61
00:03:38,600 --> 00:03:40,560
Speaker 6: it's a little bit rusty, but then you kind of

62
00:03:40,840 --> 00:03:42,720
Speaker 6: get into it for twenty minutes and you're like, I

63
00:03:42,760 --> 00:03:45,119
Speaker 6: remember what it's like and instead of being scared, it's

64
00:03:45,160 --> 00:03:49,320
Speaker 6: like this joyous experience and yeah, I mean we've just

65
00:03:49,360 --> 00:03:51,000
Speaker 6: missed it so much. So it was so good.

66
00:03:51,480 --> 00:03:54,600
Speaker 1: So it's hard like working your muscle memory for what

67
00:03:54,720 --> 00:03:57,560
Speaker 1: the show was when you well with this particular show,

68
00:03:57,800 --> 00:04:01,200
Speaker 1: was it was it craft it from scratch or was

69
00:04:01,240 --> 00:04:05,480
Speaker 1: it the show that you were developing around the time

70
00:04:05,520 --> 00:04:07,560
Speaker 1: when covid first hit us.

71
00:04:08,320 --> 00:04:10,640
Speaker 3: No, it was from scratch, so it was a lot.

72
00:04:10,680 --> 00:04:14,120
Speaker 3: It was like our hometown first show back, brand new show.

73
00:04:15,280 --> 00:04:17,800
Speaker 3: All the equipment too, has been like in storage and

74
00:04:17,839 --> 00:04:19,800
Speaker 3: all covered in dust, and you know, it's like.

75
00:04:20,440 --> 00:04:21,080
Speaker 4: It was like.

76
00:04:22,760 --> 00:04:27,320
Speaker 6: Family and friends. Yeah. Yeah, we had a few technical

77
00:04:27,320 --> 00:04:29,920
Speaker 6: issues that we that we were that seems like every

78
00:04:30,080 --> 00:04:32,160
Speaker 6: like whenever there's a first show, there's always a few

79
00:04:32,200 --> 00:04:34,800
Speaker 6: things that go down or go wrong. But in the

80
00:04:34,880 --> 00:04:37,400
Speaker 6: end it was it was really incredible and we got

81
00:04:37,400 --> 00:04:38,680
Speaker 6: so much love from the audience.

82
00:04:38,720 --> 00:04:44,760
Speaker 1: And I would imagine that the amount of research that

83
00:04:44,839 --> 00:04:47,599
Speaker 1: you have to put into your product as far as

84
00:04:48,880 --> 00:04:53,080
Speaker 1: your creativity is concerned. That I mean, was this time

85
00:04:53,160 --> 00:04:56,600
Speaker 1: off with Covid. Was it a total time off for

86
00:04:57,760 --> 00:04:59,640
Speaker 1: you guys, or was it just like okay, let's go

87
00:04:59,680 --> 00:05:01,840
Speaker 1: back to would sad and create new product or did

88
00:05:01,839 --> 00:05:06,600
Speaker 1: you just stop period and just you know, kind of

89
00:05:07,560 --> 00:05:09,680
Speaker 1: see what happens until the world opens.

90
00:05:10,640 --> 00:05:11,240
Speaker 4: It was tough.

91
00:05:11,279 --> 00:05:13,480
Speaker 3: I mean, we went we were finishing an album as

92
00:05:14,200 --> 00:05:17,600
Speaker 3: Covid hit, and we kind of got that done and

93
00:05:17,640 --> 00:05:20,920
Speaker 3: got that, got that ready to go. But like Melbourne's Lockdown,

94
00:05:20,960 --> 00:05:22,680
Speaker 3: we're in it for like two hundred days. It was

95
00:05:22,720 --> 00:05:24,279
Speaker 3: one of the hardest lockdowns.

96
00:05:23,839 --> 00:05:24,240
Speaker 4: In the world.

97
00:05:24,320 --> 00:05:26,800
Speaker 3: And you couldn't you could only leave your house for

98
00:05:26,800 --> 00:05:28,360
Speaker 3: an hour a day.

99
00:05:29,160 --> 00:05:32,279
Speaker 4: There's a curfew in the evenings. Couldn't go from.

100
00:05:32,160 --> 00:05:36,279
Speaker 6: Eight pm till five am. You couldn't go outside your house.

101
00:05:36,520 --> 00:05:37,560
Speaker 2: Will you guys get it right?

102
00:05:39,839 --> 00:05:41,920
Speaker 1: You actually did it right, and you know, the world

103
00:05:41,960 --> 00:05:44,800
Speaker 1: would have actually caught up to you guys. And yeah,

104
00:05:44,839 --> 00:05:47,480
Speaker 1: because after some point, once we saw your numbers go down,

105
00:05:47,560 --> 00:05:50,200
Speaker 1: and then like a whole bunch of movie productions and

106
00:05:50,320 --> 00:05:53,040
Speaker 1: a lot of my friends in the industry, we're going

107
00:05:53,080 --> 00:05:55,800
Speaker 1: to melt, you know, going over over there, to Australia,

108
00:05:56,120 --> 00:05:59,360
Speaker 1: to New Zealand, over the Zealand. You guys are just

109
00:05:59,640 --> 00:06:04,080
Speaker 1: doing it right. So but yeah, you had to be

110
00:06:04,120 --> 00:06:04,680
Speaker 1: strict with it.

111
00:06:05,040 --> 00:06:05,920
Speaker 4: We had to be strict.

112
00:06:05,960 --> 00:06:07,400
Speaker 3: I mean the payoff was like we got to do

113
00:06:07,440 --> 00:06:10,039
Speaker 3: a show, you know, like now you know, and things

114
00:06:10,080 --> 00:06:12,080
Speaker 3: are opening up. But at the time it was hard

115
00:06:12,160 --> 00:06:15,080
Speaker 3: and we thought, well, we've got all this pre time

116
00:06:15,120 --> 00:06:17,400
Speaker 3: will be creative. But it was pretty intense and the

117
00:06:17,440 --> 00:06:21,320
Speaker 3: city was, you know, a ghost town. And really it

118
00:06:21,400 --> 00:06:24,080
Speaker 3: made me learn how much that we rely on the

119
00:06:24,080 --> 00:06:27,800
Speaker 3: collective energy and other people to feed our creativity. So

120
00:06:27,880 --> 00:06:29,800
Speaker 3: even though we had this spare time, like we didn't

121
00:06:29,800 --> 00:06:32,280
Speaker 3: write a lot last year because it was just kind

122
00:06:32,279 --> 00:06:33,640
Speaker 3: of getting through day by day.

123
00:06:33,720 --> 00:06:34,800
Speaker 4: You know, the lockdown was.

124
00:06:36,800 --> 00:06:37,920
Speaker 6: I'm very uninspiring.

125
00:06:38,800 --> 00:06:42,039
Speaker 1: Yeah, well, I was going to say, you know, I

126
00:06:42,080 --> 00:06:44,240
Speaker 1: still want to jump right to since I left you,

127
00:06:44,279 --> 00:06:47,320
Speaker 1: but I do because I don't know about guys personally.

128
00:06:47,880 --> 00:06:49,680
Speaker 2: I do want to know the origins of.

129
00:06:51,839 --> 00:06:54,560
Speaker 1: The group and of you two musically before you even

130
00:06:54,720 --> 00:06:57,600
Speaker 1: like what built to that moment. Could you just give

131
00:06:57,680 --> 00:07:02,919
Speaker 1: us a basic kind of an overlay of what your

132
00:07:03,040 --> 00:07:07,120
Speaker 1: lives were into creatively, like growing up, well, both of

133
00:07:07,160 --> 00:07:09,840
Speaker 1: you were DJs for starters, Like what got you interested

134
00:07:09,880 --> 00:07:10,840
Speaker 1: in DJ culture?

135
00:07:10,920 --> 00:07:13,239
Speaker 2: Like how did it hit you over there?

136
00:07:13,800 --> 00:07:17,800
Speaker 3: We actually, uh, well, we grew up in different suburbs

137
00:07:17,800 --> 00:07:20,119
Speaker 3: of Melbourne and then both ended up in the same

138
00:07:20,240 --> 00:07:22,680
Speaker 3: country town during high school and that's where we met

139
00:07:22,960 --> 00:07:26,720
Speaker 3: and became friends. And we weren't DJs initially. We were

140
00:07:26,800 --> 00:07:29,680
Speaker 3: like bad punk musicians.

141
00:07:29,160 --> 00:07:34,600
Speaker 6: And punk musicians. We say punk because we were so bad.

142
00:07:35,160 --> 00:07:38,400
Speaker 4: Yeah, it was noise, noise.

143
00:07:38,840 --> 00:07:42,520
Speaker 1: It's kind of like the Beastie Boys story, like boys, Yeah, yeah,

144
00:07:42,520 --> 00:07:43,200
Speaker 1: they started off.

145
00:07:43,080 --> 00:07:46,440
Speaker 3: Punk and then you know that's right, and we So

146
00:07:46,480 --> 00:07:48,600
Speaker 3: we were just I mean, I had no money or whatever,

147
00:07:48,640 --> 00:07:51,600
Speaker 3: so we were buying old guitars and broken guitars and

148
00:07:51,680 --> 00:07:53,680
Speaker 3: organs in junk stores, and then we started to find

149
00:07:53,720 --> 00:07:56,280
Speaker 3: all these old records and it just sort of grew

150
00:07:56,360 --> 00:08:00,360
Speaker 3: from there. I was doing it called a film school

151
00:08:00,640 --> 00:08:04,520
Speaker 3: course at university, and they had a big studio for

152
00:08:04,640 --> 00:08:08,240
Speaker 3: all the film scores, and of course everybody doing that

153
00:08:08,280 --> 00:08:10,960
Speaker 3: course wanted to be like a famous director, so nobody

154
00:08:10,960 --> 00:08:13,120
Speaker 3: wanted to do the soundtrack. So I just had the

155
00:08:13,160 --> 00:08:15,840
Speaker 3: studio to myself for like three years, and there was

156
00:08:15,880 --> 00:08:18,560
Speaker 3: an old end sonic sampler in there that I learned

157
00:08:18,560 --> 00:08:21,400
Speaker 3: how to use and started sampling all these junk store

158
00:08:21,400 --> 00:08:23,080
Speaker 3: records and it just grew from there.

159
00:08:23,160 --> 00:08:23,440
Speaker 4: Really.

160
00:08:23,960 --> 00:08:26,840
Speaker 1: Yeah, So how were you when you made the transition

161
00:08:27,000 --> 00:08:32,240
Speaker 1: to DJ oriented music, like away from punk and more

162
00:08:32,280 --> 00:08:34,319
Speaker 1: into what we now know is DJ culture.

163
00:08:35,080 --> 00:08:38,000
Speaker 3: I guess it was like a gradual process between the

164
00:08:38,040 --> 00:08:41,280
Speaker 3: ages of like sixteen and twenty.

165
00:08:41,960 --> 00:08:45,280
Speaker 2: Okay, okay, Was there a particular record that just spoke

166
00:08:45,360 --> 00:08:48,320
Speaker 2: to you that said, like, Okay, this is the direction

167
00:08:48,559 --> 00:08:51,720
Speaker 2: I want to go personally for both of you. Was

168
00:08:51,760 --> 00:08:55,280
Speaker 2: there like one particular album that was for me?

169
00:08:55,840 --> 00:08:59,319
Speaker 3: It was like some of Prince Paul's productions, the Bomb Squad,

170
00:08:59,360 --> 00:09:00,000
Speaker 3: the things you meant.

171
00:09:00,480 --> 00:09:03,920
Speaker 7: Yeah, yeah, So Princeville, he just remixed Since I Left You.

172
00:09:04,120 --> 00:09:04,720
Speaker 7: That was excellent.

173
00:09:06,559 --> 00:09:07,280
Speaker 4: Yeah.

174
00:09:07,320 --> 00:09:10,360
Speaker 3: And because you know, like the records were finding in

175
00:09:10,440 --> 00:09:13,000
Speaker 3: junk stores were just strange, weird records. They weren't like

176
00:09:13,120 --> 00:09:16,720
Speaker 3: sort of cool, like a lot of the beautiful funk

177
00:09:16,760 --> 00:09:18,920
Speaker 3: and soul records from the States never made it out here,

178
00:09:18,960 --> 00:09:22,120
Speaker 3: you know, so we were they were junk store records.

179
00:09:21,960 --> 00:09:23,840
Speaker 6: It's a lot of music.

180
00:09:24,400 --> 00:09:26,839
Speaker 4: Exotic and strange stuff like that.

181
00:09:26,920 --> 00:09:29,960
Speaker 3: And Prince Paul, I think, showed us that, you know,

182
00:09:30,000 --> 00:09:32,400
Speaker 3: you can use anything and you can make music with

183
00:09:32,520 --> 00:09:35,480
Speaker 3: humor from from all these different bits and pieces, and

184
00:09:35,520 --> 00:09:37,920
Speaker 3: we were like, we can do that, you know. And

185
00:09:38,040 --> 00:09:41,080
Speaker 3: also we love like the Beach Boys and seventies rock

186
00:09:41,120 --> 00:09:43,040
Speaker 3: and stuff, so we thought, would imagine if we like

187
00:09:43,960 --> 00:09:46,439
Speaker 3: take his sort of approach, but like try and make

188
00:09:46,520 --> 00:09:47,440
Speaker 3: like pop songs with it.

189
00:09:47,480 --> 00:09:48,959
Speaker 4: And that's how the whole idea began.

190
00:09:50,400 --> 00:09:54,000
Speaker 2: So how did you two meet each other at high school?

191
00:09:54,440 --> 00:09:58,080
Speaker 6: We met in high school. I was from Melbourne and

192
00:09:58,240 --> 00:10:03,040
Speaker 6: at eighteen went and moved to the country town where

193
00:10:03,040 --> 00:10:04,640
Speaker 6: I met Robbie and it was It was a very

194
00:10:05,720 --> 00:10:08,880
Speaker 6: very for the for the early nineties, very backward kind

195
00:10:08,920 --> 00:10:13,200
Speaker 6: of place like Country Victoria and sorry. It was just

196
00:10:13,240 --> 00:10:15,679
Speaker 6: like a lot of football players and they were all

197
00:10:15,679 --> 00:10:19,040
Speaker 6: the cool people and stuff like that, and like so

198
00:10:19,160 --> 00:10:21,400
Speaker 6: the music people who are into music kind of gravitated

199
00:10:21,440 --> 00:10:25,200
Speaker 6: to each other. So so we kind of started hanging out.

200
00:10:25,280 --> 00:10:28,240
Speaker 6: And the first thing I remember that Robbie was like,

201
00:10:28,280 --> 00:10:30,120
Speaker 6: I was into all types of music, but he played

202
00:10:30,120 --> 00:10:33,480
Speaker 6: me my Bloody Valentine and that just kind of broke

203
00:10:33,559 --> 00:10:37,000
Speaker 6: my brain of like what the hell is this? And

204
00:10:37,040 --> 00:10:39,480
Speaker 6: I was like, all right, this is this is really cool.

205
00:10:39,760 --> 00:10:42,480
Speaker 6: I think I like this guy. I think I like

206
00:10:42,559 --> 00:10:45,760
Speaker 6: his taste in music. And so so from then then

207
00:10:45,800 --> 00:10:47,480
Speaker 6: on we kind of, you know, just had a few

208
00:10:47,760 --> 00:10:50,360
Speaker 6: other little small bands that we were in, and then

209
00:10:50,360 --> 00:10:53,880
Speaker 6: we both moved back down to Melbourne and started you know,

210
00:10:53,960 --> 00:10:58,280
Speaker 6: doing the punk thing just in our land room really badly,

211
00:10:58,360 --> 00:11:00,000
Speaker 6: and it just kind of grew from there.

212
00:11:00,880 --> 00:11:02,959
Speaker 7: Did y'all were y'all in of y'all folks involved in

213
00:11:03,080 --> 00:11:05,800
Speaker 7: music in any way? Or what did your parents do?

214
00:11:06,720 --> 00:11:12,280
Speaker 3: No? I mean my father would. My mom was a teacher,

215
00:11:12,280 --> 00:11:14,800
Speaker 3: but I did. I do remember being fascinated with my

216
00:11:15,600 --> 00:11:18,280
Speaker 3: father's record collection when I was a little kid, and

217
00:11:18,559 --> 00:11:21,520
Speaker 3: when he would let me, like, you know, handle the records,

218
00:11:21,520 --> 00:11:24,280
Speaker 3: I was obsessed with the line of notes and you

219
00:11:24,320 --> 00:11:26,800
Speaker 3: know he had he was like into like the band

220
00:11:26,840 --> 00:11:27,720
Speaker 3: and Bob Gil.

221
00:11:27,520 --> 00:11:29,760
Speaker 4: And the Neil Young and and all that stuff.

222
00:11:30,200 --> 00:11:31,400
Speaker 2: Single songwriter stuff.

223
00:11:31,640 --> 00:11:33,240
Speaker 4: That's right, gotcha.

224
00:11:34,240 --> 00:11:36,480
Speaker 2: I know that because you guys.

225
00:11:38,200 --> 00:11:42,720
Speaker 1: Developed early like pre I guess what ninety three ninety

226
00:11:42,720 --> 00:11:44,880
Speaker 1: four is when you guys first started.

227
00:11:45,200 --> 00:11:47,880
Speaker 2: So without sort of like culture.

228
00:11:47,600 --> 00:11:53,040
Speaker 1: Colonialism, well not culture colonialism, but just the the idea

229
00:11:53,080 --> 00:11:56,320
Speaker 1: of like you know, now with the Internet, someone could

230
00:11:56,320 --> 00:11:58,640
Speaker 1: release something in the entire world get it at the

231
00:11:58,679 --> 00:12:04,480
Speaker 1: same time where you know, really before in nineteen ninety seven,

232
00:12:05,000 --> 00:12:07,680
Speaker 1: like just it was regionalism, like certain parts of the

233
00:12:07,679 --> 00:12:10,480
Speaker 1: world had certain types of music or whatnot. Now I

234
00:12:10,559 --> 00:12:14,560
Speaker 1: know for Australia kind of the inside joke. And again

235
00:12:14,600 --> 00:12:17,800
Speaker 1: this is before like the really the age of the

236
00:12:18,200 --> 00:12:22,480
Speaker 1: internet spreading becoming law. Like a lot of groups that

237
00:12:22,600 --> 00:12:27,880
Speaker 1: were wildly popular from America that were wildly popular in

238
00:12:27,920 --> 00:12:31,640
Speaker 1: Australia really weren't that big in America. And I always

239
00:12:31,640 --> 00:12:34,880
Speaker 1: wanted to know I never got to talk to anyone

240
00:12:35,000 --> 00:12:39,040
Speaker 1: like specifically from Australia or New Zealand to find out why.

241
00:12:39,240 --> 00:12:42,280
Speaker 1: Like I'll say that there was a point where like

242
00:12:42,400 --> 00:12:47,840
Speaker 1: the Jurassic Five, pre Fergie, Black Eye Peas, Ben Harper,

243
00:12:48,559 --> 00:12:52,040
Speaker 1: like those acts could damn near sell out stadiums, and

244
00:12:52,080 --> 00:12:54,880
Speaker 1: we'd heard about the United States, like yo, man, do

245
00:12:54,920 --> 00:12:56,480
Speaker 1: you know the Black Eyed Peas could sell out a

246
00:12:56,520 --> 00:13:01,600
Speaker 1: stadium in Australia. And this is again back when they

247
00:13:01,600 --> 00:13:04,120
Speaker 1: were just like a club act, like up bar. You

248
00:13:04,120 --> 00:13:06,880
Speaker 1: know that that's why, but what what?

249
00:13:06,880 --> 00:13:07,440
Speaker 2: What is it?

250
00:13:07,800 --> 00:13:12,360
Speaker 1: I noticed with Australia especially for their their embracing of

251
00:13:12,400 --> 00:13:15,600
Speaker 1: like soul music, Like you guys have that big giant

252
00:13:15,640 --> 00:13:18,720
Speaker 1: soul festival down there where you know, you guys have

253
00:13:18,800 --> 00:13:21,400
Speaker 1: this this this festival for soul music that's sort of

254
00:13:21,480 --> 00:13:25,400
Speaker 1: like Coachella, but it's just like all Neil soul artists

255
00:13:25,400 --> 00:13:30,359
Speaker 1: and even now everybody from Kim like and again I've

256
00:13:31,280 --> 00:13:33,800
Speaker 1: my friends have told me that, you know, New Zealand

257
00:13:34,160 --> 00:13:39,520
Speaker 1: and Australia, like we tend to lump just that entire

258
00:13:39,559 --> 00:13:40,360
Speaker 1: area one thing.

259
00:13:40,440 --> 00:13:43,280
Speaker 2: But you know, I see the right and you guys

260
00:13:43,320 --> 00:13:47,040
Speaker 2: are like, we're not the same. But but there's.

261
00:13:46,880 --> 00:13:50,280
Speaker 1: So many like minded cool artists from down there that

262
00:13:50,320 --> 00:13:53,400
Speaker 1: were like influenced by a certain type of soul music

263
00:13:53,440 --> 00:13:56,600
Speaker 1: that's very niche to us here, Like what what was

264
00:13:56,640 --> 00:14:00,400
Speaker 1: the what's the radio like there? Like what is it

265
00:14:00,440 --> 00:14:04,960
Speaker 1: that turns you turn people onto that particular type of

266
00:14:04,960 --> 00:14:08,079
Speaker 1: soul music? Whereas now years later, like a lot of

267
00:14:08,120 --> 00:14:11,679
Speaker 1: these acts are coming out that are like really incredible,

268
00:14:11,679 --> 00:14:12,560
Speaker 1: like Hiatus.

269
00:14:12,280 --> 00:14:12,880
Speaker 2: Coyote and.

270
00:14:14,360 --> 00:14:17,840
Speaker 1: A Theme a Billion, But yeah, what is it about?

271
00:14:18,000 --> 00:14:19,360
Speaker 1: What was the music atmosphere?

272
00:14:19,400 --> 00:14:22,040
Speaker 3: Like it's a rock culture, I would say, like when

273
00:14:22,080 --> 00:14:25,359
Speaker 3: we were starting out, so it's like there's the pub venues.

274
00:14:26,000 --> 00:14:28,120
Speaker 4: You know, there's a very heavy drinking culture in Australia.

275
00:14:28,160 --> 00:14:30,800
Speaker 3: There's the pub venues and all the bands that we

276
00:14:30,840 --> 00:14:32,800
Speaker 3: grew up with came through this pub scene. It's like

277
00:14:32,840 --> 00:14:35,600
Speaker 3: hard rock and roll, like ACDC and this kind of thing.

278
00:14:36,400 --> 00:14:38,520
Speaker 3: I guess there's the Bad Seeds. You came in the

279
00:14:38,560 --> 00:14:40,920
Speaker 3: Bad Seeds as well, or the Birthday Party came out

280
00:14:40,960 --> 00:14:45,080
Speaker 3: of that sort of dark pub scene as well in Melbourne.

281
00:14:45,200 --> 00:14:48,200
Speaker 3: But then something started to change in the nineties exactly

282
00:14:48,240 --> 00:14:50,120
Speaker 3: like you're talking about. And I think it was just

283
00:14:50,920 --> 00:14:53,440
Speaker 3: it was pre internet, but people just just this passion

284
00:14:53,480 --> 00:14:55,560
Speaker 3: for music that wasn't like that.

285
00:14:57,160 --> 00:14:59,480
Speaker 4: And something just started beautiful to started to grow. I

286
00:14:59,480 --> 00:15:01,520
Speaker 4: don't know how happened, but.

287
00:15:01,600 --> 00:15:05,040
Speaker 6: It was very very like when we started playing. You know,

288
00:15:05,080 --> 00:15:09,080
Speaker 6: every band we played, which was just two guitars, bass player, drums,

289
00:15:09,600 --> 00:15:11,800
Speaker 6: and so we rock up with a sampler and the

290
00:15:11,880 --> 00:15:13,200
Speaker 6: sound people were like, what's this?

291
00:15:13,360 --> 00:15:14,360
Speaker 2: What do we do?

292
00:15:14,960 --> 00:15:17,720
Speaker 6: And no one knew what it was. So I was

293
00:15:17,760 --> 00:15:19,400
Speaker 6: like in that in that way we were kind of

294
00:15:19,440 --> 00:15:23,160
Speaker 6: breaking ground in this country as far as like every

295
00:15:23,160 --> 00:15:26,120
Speaker 6: little festival we'd do, it's like every band was the

296
00:15:26,120 --> 00:15:29,120
Speaker 6: same guitar, drums, everything like that, and then we just

297
00:15:29,160 --> 00:15:32,760
Speaker 6: have you know S nine hundred sampler and some shitty

298
00:15:32,920 --> 00:15:37,840
Speaker 6: organs that work sometimes and didn't and so so yeah,

299
00:15:38,040 --> 00:15:40,400
Speaker 6: to your question, it was a very rock and roll

300
00:15:41,160 --> 00:15:43,240
Speaker 6: culture back then in Australia.

301
00:15:43,960 --> 00:15:46,520
Speaker 2: So the was the S nine hundred. Was that did

302
00:15:46,520 --> 00:15:49,560
Speaker 2: your your weapon? That was the jam?

303
00:15:49,640 --> 00:15:54,120
Speaker 7: Yeah? Yeah, then they came with the nine fifty, the

304
00:15:54,200 --> 00:15:56,760
Speaker 7: nine fifty, I think that was the one that the

305
00:15:56,840 --> 00:15:57,680
Speaker 7: nine fifty.

306
00:15:59,320 --> 00:16:00,000
Speaker 4: We were loading.

307
00:16:00,200 --> 00:16:02,720
Speaker 3: We were loading off the songs off floppy disc. When

308
00:16:02,720 --> 00:16:05,120
Speaker 3: we played live, every song was on a different flopping.

309
00:16:05,520 --> 00:16:07,680
Speaker 6: So we'd stop a song and then have to load

310
00:16:07,760 --> 00:16:10,280
Speaker 6: for forty five seconds and just sit down and silence

311
00:16:12,120 --> 00:16:15,520
Speaker 6: or just try and make up some stupid banter in between.

312
00:16:19,040 --> 00:16:26,920
Speaker 2: Again again you guys and DiAngelo. Okay, that's good. To

313
00:16:26,960 --> 00:16:29,440
Speaker 2: this day, the Angelo still uses floppy disk I didn't

314
00:16:29,440 --> 00:16:32,680
Speaker 2: even know that. Oh wow that that can that still

315
00:16:32,800 --> 00:16:36,280
Speaker 2: and know they still made them? Yeah, you know how drive.

316
00:16:38,080 --> 00:16:41,760
Speaker 6: We had to search the internet to find floppy discs.

317
00:16:42,120 --> 00:16:43,600
Speaker 4: We just did. Yeah.

318
00:16:43,760 --> 00:16:46,200
Speaker 2: Wait, so to this day you still use it. That's

319
00:16:46,240 --> 00:16:46,680
Speaker 2: your weapon.

320
00:16:47,080 --> 00:16:49,640
Speaker 3: When we were going to pull out the old samplers

321
00:16:49,640 --> 00:16:51,440
Speaker 3: for this show that we just did so we wanted

322
00:16:51,480 --> 00:16:54,680
Speaker 3: to bring back and really show how we made the music.

323
00:16:54,720 --> 00:16:56,680
Speaker 4: But we couldn't find floppy discs anyway.

324
00:16:58,560 --> 00:17:00,760
Speaker 3: Tiny had to order them online and arrived like two

325
00:17:00,800 --> 00:17:02,400
Speaker 3: days before the show, just in time.

326
00:17:02,600 --> 00:17:06,680
Speaker 2: So wow, Really we're not using that.

327
00:17:06,800 --> 00:17:09,440
Speaker 6: We're kind of using computers and now as our main

328
00:17:09,880 --> 00:17:12,600
Speaker 6: backing tracks, so we're not relying on the forty five

329
00:17:12,640 --> 00:17:15,560
Speaker 6: second loads anymore. But we use the sample is just

330
00:17:15,560 --> 00:17:18,800
Speaker 6: a triggle samples during the show because that's the way

331
00:17:18,840 --> 00:17:20,280
Speaker 6: we used to do it. I mean, and it's such

332
00:17:20,320 --> 00:17:21,200
Speaker 6: a fun you know.

333
00:17:22,760 --> 00:17:22,960
Speaker 4: It.

334
00:17:23,720 --> 00:17:26,359
Speaker 1: What was the period of which you guys discovered like

335
00:17:26,520 --> 00:17:31,800
Speaker 1: breakbeat culture and as far as like at least I

336
00:17:31,840 --> 00:17:34,040
Speaker 1: would like to think that you guys, you know, had

337
00:17:34,040 --> 00:17:36,520
Speaker 1: to put a lot of time in researching like all

338
00:17:36,560 --> 00:17:41,120
Speaker 1: the sounds and for you know, for your arsenal of sounds,

339
00:17:41,640 --> 00:17:44,960
Speaker 1: your drums, your samples and whatnot. So at what point

340
00:17:45,320 --> 00:17:48,760
Speaker 1: did you guys discover or at least like do away

341
00:17:48,800 --> 00:17:53,360
Speaker 1: with kind of your rock backdrop and get to what

342
00:17:53,400 --> 00:17:54,800
Speaker 1: we know is like breakbe culture.

343
00:17:55,880 --> 00:17:59,360
Speaker 3: I think it was like a gradual process and all

344
00:17:59,359 --> 00:18:02,960
Speaker 3: of a sudden realized, like I think we had, you know,

345
00:18:03,000 --> 00:18:06,639
Speaker 3: all these big sounds and big dreams in our heads,

346
00:18:06,680 --> 00:18:09,280
Speaker 3: but you know, no money, and then you start sampling

347
00:18:09,280 --> 00:18:11,719
Speaker 3: an old orchestral record, because a lot of the records

348
00:18:11,760 --> 00:18:15,280
Speaker 3: that we were finding junk stores were like schmaltzy kind

349
00:18:15,280 --> 00:18:19,399
Speaker 3: of like junk like Fifth Andres, Galant strings and games

350
00:18:20,520 --> 00:18:22,520
Speaker 3: all that stuff. But but we were we could find

351
00:18:22,560 --> 00:18:25,440
Speaker 3: beautiful little bits and then realized we can create these

352
00:18:26,280 --> 00:18:30,200
Speaker 3: you know, big sounds with you know, for from a

353
00:18:30,240 --> 00:18:33,679
Speaker 3: two dollar record. And we gradually realized, look, we're not

354
00:18:33,800 --> 00:18:37,240
Speaker 3: great musicians, that are, and we can't sing, but maybe

355
00:18:37,280 --> 00:18:40,480
Speaker 3: we can invent our own little world if we don't,

356
00:18:40,480 --> 00:18:42,680
Speaker 3: if we just use samples, And it sort of grew

357
00:18:42,760 --> 00:18:46,000
Speaker 3: from there, and then you know, a whole bunch of

358
00:18:46,040 --> 00:18:51,960
Speaker 3: records were coming out, Like the Gust Brothers produced the record,

359
00:18:52,880 --> 00:18:55,359
Speaker 3: and you know, there were early Chemical Brothers records, and

360
00:18:55,400 --> 00:18:56,919
Speaker 3: all these records had breakbeats.

361
00:18:56,960 --> 00:18:57,360
Speaker 4: There was.

362
00:19:00,359 --> 00:19:04,680
Speaker 3: Yeah, Daylight Soul, and even like the Fart Side Records

363
00:19:04,720 --> 00:19:08,679
Speaker 3: and all these kind of early hip hop records, and

364
00:19:08,680 --> 00:19:11,080
Speaker 3: we kind of in our you know, it's because we're

365
00:19:11,119 --> 00:19:16,399
Speaker 3: so geographically removed from the rest of the world. You know,

366
00:19:16,400 --> 00:19:19,399
Speaker 3: we would just get strange little influences coming through before

367
00:19:19,440 --> 00:19:23,639
Speaker 3: the Internet, So in some way we'd way like a

368
00:19:23,720 --> 00:19:25,480
Speaker 3: bit of Prince Paul, a bit of the Bomb Squad,

369
00:19:25,480 --> 00:19:26,840
Speaker 3: a bit of the Beach Boys, a bit of my

370
00:19:26,920 --> 00:19:30,560
Speaker 3: Bloody Valentine. All kind of made sense to us, and

371
00:19:32,160 --> 00:19:34,520
Speaker 3: we just kind of started developing our own sound from there.

372
00:19:35,760 --> 00:19:40,040
Speaker 1: When you formed the group, was it instantaneous that you

373
00:19:40,119 --> 00:19:44,080
Speaker 1: called yourself the Avalanches or were you just like you know,

374
00:19:44,200 --> 00:19:47,639
Speaker 1: DJ Robbie, DJ Tony.

375
00:19:52,640 --> 00:19:56,040
Speaker 6: We had a few we had a few name incarnations

376
00:19:56,520 --> 00:19:58,800
Speaker 6: before we came up with the Avalanches.

377
00:20:00,359 --> 00:20:02,760
Speaker 3: The Avalanche's name was actually on it was the surf

378
00:20:02,840 --> 00:20:04,800
Speaker 3: rock group from the fifties, one of these bands we

379
00:20:04,880 --> 00:20:06,840
Speaker 3: sampled and then and we used to change our name

380
00:20:06,880 --> 00:20:09,840
Speaker 3: every time we played, and that that one just stuck.

381
00:20:10,280 --> 00:20:12,920
Speaker 2: It just stuck. Oh, just randomly.

382
00:20:14,920 --> 00:20:17,640
Speaker 6: Maybe we had a good gig the day that we

383
00:20:17,800 --> 00:20:20,239
Speaker 6: called ourselves the Avalanches, and we went, this is an

384
00:20:20,240 --> 00:20:23,320
Speaker 6: open We'll stick with this name because I think we

385
00:20:23,560 --> 00:20:26,240
Speaker 6: had a few gigs where we were different names.

386
00:20:26,280 --> 00:20:32,520
Speaker 1: So what was the first product that you guys worked

387
00:20:32,560 --> 00:20:36,320
Speaker 1: on when you decided to form the Avalanches.

388
00:20:37,160 --> 00:20:40,480
Speaker 3: It was like, I think it was a mixtape we

389
00:20:40,560 --> 00:20:43,480
Speaker 3: made in the studio. I was talking about it the

390
00:20:43,760 --> 00:20:47,000
Speaker 3: film school studio that was made to send around to

391
00:20:47,160 --> 00:20:50,600
Speaker 3: various promoters to try and get a gig, try and

392
00:20:50,640 --> 00:20:53,880
Speaker 3: get shows. And then I think they pulled a couple

393
00:20:53,920 --> 00:20:55,520
Speaker 3: of tracks off that and our friend pulled it out

394
00:20:55,520 --> 00:20:57,639
Speaker 3: as our first seven inch that was called rock City.

395
00:20:58,560 --> 00:20:59,919
Speaker 4: Yeah, I think that was the first release.

396
00:21:00,720 --> 00:21:07,879
Speaker 1: Yeah, yeah, even then, Like was your theory? What was

397
00:21:07,920 --> 00:21:12,800
Speaker 1: the theory based on how to create the music? I

398
00:21:12,840 --> 00:21:16,600
Speaker 1: know a lot of times, especially with where we are

399
00:21:16,640 --> 00:21:20,880
Speaker 1: today with hip hop culture in America, you know, and

400
00:21:21,680 --> 00:21:25,359
Speaker 1: I won't say that flipping samples of course, you know,

401
00:21:25,400 --> 00:21:28,240
Speaker 1: flipping is a way of survival to at least avoid

402
00:21:29,320 --> 00:21:32,960
Speaker 1: you know, lawsuits are getting caught out there, But I

403
00:21:32,960 --> 00:21:37,879
Speaker 1: mean there's there's definitely a slew of producers that flip

404
00:21:38,000 --> 00:21:40,119
Speaker 1: just for the sport of it, you know, especially like

405
00:21:40,440 --> 00:21:43,880
Speaker 1: these post J Dilla times where he could take something

406
00:21:43,960 --> 00:21:46,119
Speaker 1: make it so unrecognizable that you don't know it.

407
00:21:46,200 --> 00:21:49,280
Speaker 2: So but for you guys, like, were you.

408
00:21:49,200 --> 00:21:54,640
Speaker 1: Guys even aware of kind of sample cultured almost being

409
00:21:54,800 --> 00:21:58,919
Speaker 1: endangered species in the mid to late nineties to the

410
00:21:58,920 --> 00:22:02,160
Speaker 1: point where you know, now a lot of the backdrop

411
00:22:02,280 --> 00:22:04,520
Speaker 1: from America is far from that.

412
00:22:04,840 --> 00:22:07,439
Speaker 2: But were you guys aware of it then or was

413
00:22:07,480 --> 00:22:08,840
Speaker 2: it just you.

414
00:22:08,800 --> 00:22:13,320
Speaker 3: Know, well, I think we were aware that the records

415
00:22:13,440 --> 00:22:18,720
Speaker 3: that were made in that way that that were rare

416
00:22:18,960 --> 00:22:21,879
Speaker 3: and were and you know, to find find them they

417
00:22:21,880 --> 00:22:24,000
Speaker 3: would like sort of these gems that would stick out,

418
00:22:24,080 --> 00:22:27,560
Speaker 3: like if a well made sample based record is just

419
00:22:27,600 --> 00:22:29,800
Speaker 3: like such a beautiful thing and they don't come along

420
00:22:29,840 --> 00:22:32,880
Speaker 3: all the time, you know. But we were we kind

421
00:22:32,880 --> 00:22:35,439
Speaker 3: of thought, no, like, we're a million miles from anywhere,

422
00:22:35,480 --> 00:22:37,560
Speaker 3: no one's ever going to hear this, so well, we

423
00:22:37,560 --> 00:22:40,679
Speaker 3: can just sample anything, and it's we were just.

424
00:22:40,680 --> 00:22:47,560
Speaker 7: Doing ourselves famous last words, I was going to say, it's.

425
00:22:47,400 --> 00:22:50,159
Speaker 1: Funny that he said that all the way in Australia

426
00:22:50,200 --> 00:22:54,480
Speaker 1: because that's also where I was when I decided to

427
00:22:55,080 --> 00:22:59,959
Speaker 1: play Really Love, because I quite I didn't understand.

428
00:23:01,600 --> 00:23:02,680
Speaker 2: It was going everywhere.

429
00:23:02,840 --> 00:23:05,080
Speaker 1: Yeah, I thought it was on something like local underground

430
00:23:05,200 --> 00:23:07,720
Speaker 1: radio station that the world wouldn't hear of, and then

431
00:23:09,040 --> 00:23:09,960
Speaker 1: that shit happened.

432
00:23:10,040 --> 00:23:11,560
Speaker 2: Yeah, we've kind.

433
00:23:11,400 --> 00:23:13,440
Speaker 6: Of got the same attitude to samples of just like,

434
00:23:13,800 --> 00:23:15,200
Speaker 6: we'll just use it and see.

435
00:23:15,000 --> 00:23:15,960
Speaker 2: What nobody.

436
00:23:18,720 --> 00:23:20,800
Speaker 6: It's you can't tell?

437
00:23:22,119 --> 00:23:25,080
Speaker 1: Okay, so let's let's we're twenty five minutes and let's

438
00:23:25,080 --> 00:23:30,879
Speaker 1: cut to the goddamn chase. How just that's my first

439
00:23:30,960 --> 00:23:35,560
Speaker 1: question is how can you tell us the story of

440
00:23:35,760 --> 00:23:36,879
Speaker 1: Since I Left You?

441
00:23:37,920 --> 00:23:39,240
Speaker 2: And it's hard to explain.

442
00:23:39,359 --> 00:23:42,240
Speaker 1: It's really hard, even when you know that album is

443
00:23:42,280 --> 00:23:45,919
Speaker 1: so perfect to me that even when I explain to

444
00:23:46,000 --> 00:23:50,679
Speaker 1: people who are, you know, just casual music listeners, like,

445
00:23:50,680 --> 00:23:55,520
Speaker 1: they're still not getting the genius that every last thing

446
00:23:55,600 --> 00:23:59,320
Speaker 1: you hear had to be manipulated and edited in a

447
00:23:59,359 --> 00:24:04,719
Speaker 1: way so that it fits melodically structurally. So tell us

448
00:24:04,800 --> 00:24:09,439
Speaker 1: the beginning of how you guys even thought to meet this,

449
00:24:09,440 --> 00:24:10,879
Speaker 1: this this classic album.

450
00:24:11,640 --> 00:24:14,280
Speaker 3: I think we I mean, I let Tony jump in,

451
00:24:14,320 --> 00:24:18,000
Speaker 3: but we were kind of doing gigs in these rock venues.

452
00:24:18,200 --> 00:24:21,760
Speaker 3: We're using samplers and our friend Darren would emc over

453
00:24:21,800 --> 00:24:23,800
Speaker 3: the top and we had some live drums, and as

454
00:24:23,840 --> 00:24:27,439
Speaker 3: we got into the studio more we realized it sounds

455
00:24:27,440 --> 00:24:29,760
Speaker 3: so much cooler if we just remove ourselves from it.

456
00:24:29,840 --> 00:24:32,440
Speaker 3: You'll remove our voices, remove any live drums, and we'll

457
00:24:32,520 --> 00:24:37,440
Speaker 3: do it just with samples. And it was almost like there.

458
00:24:37,400 --> 00:24:39,680
Speaker 6: Was a bad beast I always or something to start

459
00:24:39,680 --> 00:24:43,359
Speaker 6: off with this kind of wrapping that was a little

460
00:24:43,359 --> 00:24:47,920
Speaker 6: bit Doctor Octagon kind of lyrics and a big kind

461
00:24:47,920 --> 00:24:50,200
Speaker 6: of beast, and it was, you know, some cool stuff.

462
00:24:50,200 --> 00:24:51,760
Speaker 6: But then we did, you know, it was like, let's

463
00:24:51,800 --> 00:24:54,800
Speaker 6: just make all the malady samples and use no voice.

464
00:24:56,200 --> 00:24:59,080
Speaker 7: How long was that a process of working on that record?

465
00:24:59,119 --> 00:24:59,800
Speaker 7: How long did it take you out?

466
00:24:59,800 --> 00:25:03,840
Speaker 3: To me, probably like eighteen intense months, but there was

467
00:25:03,960 --> 00:25:08,920
Speaker 3: like maybe three or four years of like collecting samples before.

468
00:25:08,680 --> 00:25:09,879
Speaker 4: Then and finding your way.

469
00:25:10,040 --> 00:25:13,560
Speaker 3: And then it's almost like there's this I mean, there's

470
00:25:13,560 --> 00:25:15,680
Speaker 3: two sides to it. There's the technical side of how

471
00:25:15,720 --> 00:25:18,560
Speaker 3: you actually make it with the samplers or whatever that

472
00:25:18,600 --> 00:25:20,719
Speaker 3: we can talk about, but the other side of like

473
00:25:21,520 --> 00:25:24,199
Speaker 3: how you think, how you know, how you conceive it

474
00:25:24,320 --> 00:25:26,480
Speaker 3: or the feeling behind it is harder to talk about

475
00:25:26,520 --> 00:25:29,119
Speaker 3: it because it's like we just hit this period of

476
00:25:29,160 --> 00:25:32,600
Speaker 3: a beautiful flow and it was really just a love

477
00:25:32,600 --> 00:25:35,080
Speaker 3: for music and discovery. And when I listen to it now,

478
00:25:35,119 --> 00:25:37,320
Speaker 3: that's what I can hear. I can hear like a

479
00:25:37,359 --> 00:25:40,760
Speaker 3: twenty one year old me just so in love with music,

480
00:25:41,280 --> 00:25:45,920
Speaker 3: sampling and discovering strange old records that that I think

481
00:25:45,920 --> 00:25:49,800
Speaker 3: that joy is just still what people can It's infectious.

482
00:25:49,840 --> 00:25:51,160
Speaker 6: You definitely not true.

483
00:25:51,760 --> 00:25:53,520
Speaker 2: Yeah, it definitely came through for me. I think.

484
00:25:53,600 --> 00:25:56,080
Speaker 7: You know, at the time when I discovered you guys,

485
00:25:56,640 --> 00:25:57,720
Speaker 7: this was when my.

486
00:25:57,680 --> 00:26:00,040
Speaker 2: Band Little Brother, we had put out our first record.

487
00:26:00,040 --> 00:26:05,119
Speaker 7: Listening and a mirror actually had listed his uh I

488
00:26:05,160 --> 00:26:06,800
Speaker 7: guess the top albums he was listening to at the

489
00:26:06,800 --> 00:26:10,359
Speaker 7: time in uh in Rolling Stone and so he listed

490
00:26:10,440 --> 00:26:13,600
Speaker 7: like like fifty cent Little Brother and then you know,

491
00:26:13,640 --> 00:26:15,439
Speaker 7: the Avalanche since I left you, And I was like,

492
00:26:15,480 --> 00:26:17,560
Speaker 7: all right, if he if they on the same list

493
00:26:17,600 --> 00:26:19,560
Speaker 7: with us, I know I should bang it. So these

494
00:26:19,560 --> 00:26:23,119
Speaker 7: motherfuckers got to have something. So I'm like, so, I'm like,

495
00:26:23,400 --> 00:26:27,199
Speaker 7: that's how you got straight up? Yeah, I mean that

496
00:26:27,280 --> 00:26:28,760
Speaker 7: was how I actually listened to him, like I had

497
00:26:28,800 --> 00:26:31,800
Speaker 7: always seen, but like you said, you know, y'all kind

498
00:26:31,800 --> 00:26:34,080
Speaker 7: of the rock culture and enjoyed, so I just thought

499
00:26:34,080 --> 00:26:35,479
Speaker 7: they were like a rock band. I thought they all

500
00:26:35,600 --> 00:26:37,760
Speaker 7: was kind of like The Strokes or like right, because

501
00:26:37,800 --> 00:26:39,959
Speaker 7: that was around that time, you know, I thought it

502
00:26:40,000 --> 00:26:42,160
Speaker 7: was just that kind of you know, that that rock

503
00:26:42,440 --> 00:26:44,439
Speaker 7: revival shit that was popping at the time. So I

504
00:26:44,440 --> 00:26:45,960
Speaker 7: was like, all right, this is just another rock band.

505
00:26:46,160 --> 00:26:49,120
Speaker 7: But then I heard the album and I hadn't heard anything.

506
00:26:49,160 --> 00:26:51,280
Speaker 7: I just went into it blind. I was like, all right, well,

507
00:26:51,320 --> 00:26:53,800
Speaker 7: let me check it out. And man, that shit blew

508
00:26:53,840 --> 00:26:55,600
Speaker 7: me the fuck away. And the thing about it, like

509
00:26:55,680 --> 00:26:58,879
Speaker 7: up until that point, you know, introducing by DJ Shadow,

510
00:26:58,920 --> 00:27:00,720
Speaker 7: I mean, we grew up on Bombs Squad and like

511
00:27:00,800 --> 00:27:03,200
Speaker 7: Prince Paul and all these guys, Dust Brothers, all those

512
00:27:03,200 --> 00:27:05,679
Speaker 7: guys doing that kind of collage and pay stuff. But

513
00:27:06,600 --> 00:27:09,520
Speaker 7: when I heard Introducing, I was like, oh wow, like

514
00:27:09,560 --> 00:27:12,919
Speaker 7: this is amazing, and it was something that kind of

515
00:27:13,200 --> 00:27:15,720
Speaker 7: took it for me, made it it felt like y'all,

516
00:27:15,720 --> 00:27:18,359
Speaker 7: really it made it more emotional, like that was I

517
00:27:18,359 --> 00:27:21,480
Speaker 7: think maybe the first time sample based music instrumental in

518
00:27:21,480 --> 00:27:23,400
Speaker 7: that way. I was like, man, this is really emotional

519
00:27:23,560 --> 00:27:25,119
Speaker 7: but then that was when I heard introduce it.

520
00:27:25,160 --> 00:27:26,160
Speaker 2: But then when I heard y'all.

521
00:27:25,960 --> 00:27:30,320
Speaker 7: Shit and that damn three two hearts and three four times, bro,

522
00:27:30,880 --> 00:27:32,880
Speaker 7: I played that shit, man. I played the MP three

523
00:27:32,880 --> 00:27:33,920
Speaker 7: tags off that motherfucker.

524
00:27:33,920 --> 00:27:34,040
Speaker 2: Bro.

525
00:27:34,480 --> 00:27:40,399
Speaker 7: Listen, I ran the record in the ground man. And

526
00:27:42,200 --> 00:27:44,080
Speaker 7: the thing, you know, when Tony you're talking about just

527
00:27:44,160 --> 00:27:47,600
Speaker 7: kind of that spirit of just you know, the you know,

528
00:27:47,720 --> 00:27:50,639
Speaker 7: that discovery. The thing that I always liked about all

529
00:27:50,960 --> 00:27:54,240
Speaker 7: you guys records is that the way you use the samples,

530
00:27:54,560 --> 00:27:57,920
Speaker 7: it doesn't feel like in kind of just a bastardized way.

531
00:27:58,119 --> 00:28:01,320
Speaker 7: It really makes you want to search what you guys use.

532
00:28:01,400 --> 00:28:03,840
Speaker 7: It makes you more For me, just as a love

533
00:28:03,880 --> 00:28:06,040
Speaker 7: of music, it just made me more curious to know

534
00:28:06,119 --> 00:28:08,679
Speaker 7: more about the stuff you guys use. And like even

535
00:28:09,160 --> 00:28:11,639
Speaker 7: like since I left you. You know, the way it

536
00:28:11,720 --> 00:28:14,400
Speaker 7: starts is, you know, since I left you, but then

537
00:28:14,440 --> 00:28:17,280
Speaker 7: at the end when you bring back the just can't

538
00:28:17,359 --> 00:28:22,040
Speaker 7: get you ever since the day imagine, I was like, Yo,

539
00:28:22,160 --> 00:28:26,200
Speaker 7: that ship is so fucking dope. Yeah, So like how

540
00:28:26,240 --> 00:28:28,600
Speaker 7: do y'all plot all that ship out? And like, I know,

541
00:28:28,680 --> 00:28:30,040
Speaker 7: the simple you say you use it was like the

542
00:28:30,160 --> 00:28:32,840
Speaker 7: s you're using the S nine hundred. Were you tracking

543
00:28:32,880 --> 00:28:35,440
Speaker 7: it on tape? Was it like was it pro tools

544
00:28:35,440 --> 00:28:38,320
Speaker 7: at that time? Like, how were y'all storing all these ideas?

545
00:28:38,680 --> 00:28:41,560
Speaker 3: It was like S nine hundred, and then we got

546
00:28:41,560 --> 00:28:44,800
Speaker 3: a S two thousand, which had more memory kind two thousand.

547
00:28:44,840 --> 00:28:46,720
Speaker 3: We were like, oh, this is this is insane. We're

548
00:28:46,720 --> 00:28:48,600
Speaker 3: going to be able to do anything with this no stuff.

549
00:28:49,320 --> 00:28:50,680
Speaker 6: Yeah.

550
00:28:50,720 --> 00:28:53,000
Speaker 3: So and by that I think by the time we're

551
00:28:53,040 --> 00:28:55,000
Speaker 3: making since I left you, we had a ZIP.

552
00:28:54,840 --> 00:28:55,520
Speaker 4: Drive for the.

553
00:28:57,040 --> 00:29:04,640
Speaker 3: Yes, sir, yeah, yeah, yeah, I know. It was literally

554
00:29:04,880 --> 00:29:08,040
Speaker 3: just that and and at a shitty old turntable and

555
00:29:08,080 --> 00:29:09,840
Speaker 3: two dollars junks store records and.

556
00:29:14,480 --> 00:29:18,240
Speaker 4: You know what that limitation is what is beautiful because.

557
00:29:18,080 --> 00:29:19,680
Speaker 2: Then drives the ingenuity.

558
00:29:20,160 --> 00:29:21,360
Speaker 4: Yeah.

559
00:29:20,920 --> 00:29:24,800
Speaker 3: And then we had a there's an op code program

560
00:29:24,840 --> 00:29:25,920
Speaker 3: called studio Vision.

561
00:29:26,480 --> 00:29:27,320
Speaker 4: There was a sequencer.

562
00:29:27,400 --> 00:29:29,720
Speaker 3: I didn't have any audio, but that ran medi into

563
00:29:29,760 --> 00:29:33,440
Speaker 3: the samplers and so that's how we could sequence the samples.

564
00:29:33,920 --> 00:29:35,520
Speaker 4: And it was all done like that.

565
00:29:35,560 --> 00:29:37,400
Speaker 3: And if I came to work again in the morning,

566
00:29:37,480 --> 00:29:39,680
Speaker 3: like there was nothing on tape, no pro tools, so

567
00:29:39,680 --> 00:29:41,320
Speaker 3: I would have to load it all up again and

568
00:29:41,760 --> 00:29:43,960
Speaker 3: to hear what the song sounded like and to remember,

569
00:29:44,040 --> 00:29:46,360
Speaker 3: you know, or if I wanted to burn a demo,

570
00:29:46,680 --> 00:29:49,520
Speaker 3: make a demo, would have to like bounce it, burn

571
00:29:49,560 --> 00:29:52,240
Speaker 3: it onto CD, put it in my CD, walkman and

572
00:29:52,280 --> 00:29:54,000
Speaker 3: go for a walk or something to have a listen

573
00:29:54,080 --> 00:29:54,600
Speaker 3: to it.

574
00:29:56,320 --> 00:29:57,040
Speaker 4: Where we're at.

575
00:29:57,200 --> 00:30:02,160
Speaker 1: Yeah, I was going to ask, do you have all

576
00:30:02,200 --> 00:30:06,360
Speaker 1: the discs saved from that album? Or was it just

577
00:30:06,480 --> 00:30:09,840
Speaker 1: like once you track it and once it's on tape

578
00:30:09,920 --> 00:30:14,720
Speaker 1: or once it's recorded, then you just unplugged your machine

579
00:30:14,760 --> 00:30:16,720
Speaker 1: and that's it. You don't save the samples. You don't

580
00:30:17,480 --> 00:30:20,440
Speaker 1: any of those things, Like is there a flap? Like

581
00:30:20,880 --> 00:30:22,680
Speaker 1: if I were to ask you, like, could you get

582
00:30:22,720 --> 00:30:28,640
Speaker 1: the either diners from whatever? Yeah, Pablo Cruise, like, could

583
00:30:28,680 --> 00:30:30,600
Speaker 1: you actually get the floppy.

584
00:30:30,120 --> 00:30:33,080
Speaker 3: Disc some of them I've got, I've got some and

585
00:30:33,160 --> 00:30:35,840
Speaker 3: I've got I've kept most of the records when I

586
00:30:35,880 --> 00:30:37,560
Speaker 3: sold my record collection, but I kept all this.

587
00:30:37,560 --> 00:30:38,560
Speaker 4: Since I left you once.

588
00:30:39,080 --> 00:30:42,880
Speaker 3: And we just found the stems recently from because we

589
00:30:42,920 --> 00:30:45,200
Speaker 3: eventually tracked it to an early version of pro tools.

590
00:30:45,200 --> 00:30:47,400
Speaker 4: When we went to like a proper studio, we were like, wow,

591
00:30:47,480 --> 00:30:48,080
Speaker 4: this is like.

592
00:30:50,400 --> 00:30:53,520
Speaker 3: And they had like about four different engineers helping us

593
00:30:53,560 --> 00:30:56,440
Speaker 3: to like get it from this from out the back

594
00:30:56,480 --> 00:30:59,280
Speaker 3: of our samplers onto recording into pro tools and then

595
00:30:59,320 --> 00:31:01,880
Speaker 3: we mixed it from So we've got those stems and

596
00:31:01,920 --> 00:31:06,600
Speaker 3: some of the some of the flopping discs.

597
00:31:08,920 --> 00:31:11,960
Speaker 2: Okay, so what is the what is the accurate number?

598
00:31:12,000 --> 00:31:17,920
Speaker 1: I know that you know sometimes these stories can be exaggerated.

599
00:31:19,200 --> 00:31:25,080
Speaker 1: How many samples do you believe are on that album?

600
00:31:25,320 --> 00:31:27,400
Speaker 4: I've got no idea. I reckon there would be.

601
00:31:28,840 --> 00:31:30,960
Speaker 3: Like I think I figured it out once by working

602
00:31:30,960 --> 00:31:33,200
Speaker 3: out how much the five thousand could store and how

603
00:31:33,240 --> 00:31:36,680
Speaker 3: many samples in a program. And because it was every

604
00:31:37,120 --> 00:31:40,720
Speaker 3: every zip, every song was you know, the sampler memory

605
00:31:40,800 --> 00:31:44,720
Speaker 3: was full. So it was probably like around three thousand

606
00:31:44,760 --> 00:31:50,280
Speaker 3: because all the little drum hits and little bird noises all.

607
00:31:54,400 --> 00:31:57,080
Speaker 7: I won't say, man, when y'all use the part, they

608
00:31:57,120 --> 00:31:59,160
Speaker 7: got me because like I mean, I listened to Recon,

609
00:31:59,200 --> 00:32:01,040
Speaker 7: I was like, hey, there's don't the part why I've

610
00:32:01,080 --> 00:32:03,400
Speaker 7: realized them. I'm like, okay, they know what's up when

611
00:32:03,520 --> 00:32:04,760
Speaker 7: y'all use the ray.

612
00:32:04,760 --> 00:32:06,520
Speaker 2: Kwan yeah exactly.

613
00:32:07,400 --> 00:32:11,320
Speaker 7: I was like yes, I was like yes, yes, yeah,

614
00:32:11,800 --> 00:32:12,520
Speaker 7: she was so dope.

615
00:32:13,160 --> 00:32:13,440
Speaker 2: Yeah.

616
00:32:13,480 --> 00:32:17,080
Speaker 1: So your guests like I've read nine hundred samples, I've

617
00:32:17,080 --> 00:32:20,960
Speaker 1: read four thousand samples. I mean of course, for the

618
00:32:21,080 --> 00:32:25,320
Speaker 1: legend of it, four thousand samples is a way better thing.

619
00:32:25,400 --> 00:32:30,240
Speaker 1: And I believe, you know, I believe anything, but baseball

620
00:32:30,280 --> 00:32:31,800
Speaker 1: guests baseball estimate.

621
00:32:32,640 --> 00:32:35,000
Speaker 3: I think two to three thousand, like like when you

622
00:32:35,040 --> 00:32:37,600
Speaker 3: consider every little bump here and everything, because it was

623
00:32:38,480 --> 00:32:39,600
Speaker 3: it was a lot.

624
00:32:39,840 --> 00:32:43,320
Speaker 1: So Okay, when you're when you guys are at least

625
00:32:43,440 --> 00:32:47,440
Speaker 1: at the let's say the ninety percent mark. Let's say

626
00:32:47,440 --> 00:32:52,560
Speaker 1: that you have fifteen songs down already as you're creating

627
00:32:52,600 --> 00:32:57,400
Speaker 1: this album in your mind, are you like, there's no

628
00:32:57,560 --> 00:33:01,000
Speaker 1: way in hell we can ever clear this or sell

629
00:33:01,040 --> 00:33:04,400
Speaker 1: this to the outside world, Like I mean, at this way,

630
00:33:04,520 --> 00:33:06,320
Speaker 1: is it just a passion project to you?

631
00:33:07,120 --> 00:33:10,840
Speaker 6: Yeah, I think, But I think we were just thinking,

632
00:33:11,520 --> 00:33:14,560
Speaker 6: not even of the legality of the whole thing. We

633
00:33:14,560 --> 00:33:17,480
Speaker 6: were just like trying to put together this amazing thing,

634
00:33:17,640 --> 00:33:21,960
Speaker 6: and there it was just kind of a record company.

635
00:33:22,000 --> 00:33:24,560
Speaker 6: You do your thing and just get it out. So

636
00:33:24,640 --> 00:33:27,080
Speaker 6: it was good for us because we didn't have that limitation,

637
00:33:27,160 --> 00:33:29,720
Speaker 6: where whereas now we're you know, we have to be

638
00:33:29,760 --> 00:33:33,800
Speaker 6: more aware of samples we use and you know, clearing

639
00:33:33,920 --> 00:33:35,440
Speaker 6: and all that kind of stuff. But back then it

640
00:33:35,480 --> 00:33:38,200
Speaker 6: was still a little bit of a you know a

641
00:33:38,200 --> 00:33:40,040
Speaker 6: little bit of a more of a free for all.

642
00:33:40,400 --> 00:33:42,080
Speaker 6: I guess we'd just say Robbie.

643
00:33:42,880 --> 00:33:43,200
Speaker 4: Yeah.

644
00:33:43,240 --> 00:33:46,240
Speaker 3: But also nobody knew who we were, like, yeah, we

645
00:33:47,040 --> 00:33:50,880
Speaker 3: didn't think anyone would ever, you know, it would get

646
00:33:50,880 --> 00:33:53,920
Speaker 3: a wide audience. So in that way, we were free

647
00:33:55,000 --> 00:33:57,640
Speaker 3: to do what, to sample whatever we wanted, you know,

648
00:33:57,840 --> 00:34:01,080
Speaker 3: like we kind of just didn't really like I think

649
00:34:01,120 --> 00:34:02,960
Speaker 3: as we were as it was growing, we knew we

650
00:34:02,960 --> 00:34:04,560
Speaker 3: were very passionate, and we knew that it was this

651
00:34:04,600 --> 00:34:07,040
Speaker 3: beautiful thing, but we certainly didn't expect it to be

652
00:34:07,680 --> 00:34:12,839
Speaker 3: become what it was, So we weren't restrained by thinking that,

653
00:34:13,080 --> 00:34:14,799
Speaker 3: you know, we have a high profile and people are

654
00:34:14,800 --> 00:34:16,040
Speaker 3: going to a lot of people are going to hear

655
00:34:16,080 --> 00:34:17,040
Speaker 3: this record.

656
00:34:17,200 --> 00:34:19,360
Speaker 6: And we've done an EP before that as well and

657
00:34:19,360 --> 00:34:23,399
Speaker 6: didn't clear one sample from that. So it just kind

658
00:34:23,400 --> 00:34:24,440
Speaker 6: of like didn't care to.

659
00:34:24,480 --> 00:34:30,120
Speaker 1: Be nice, all right, So we can't do that anymore.

660
00:34:30,920 --> 00:34:32,920
Speaker 7: Yeah, when I was my ass so when people came

661
00:34:33,000 --> 00:34:36,239
Speaker 7: to about you know, samples and stuff, what was it like?

662
00:34:36,360 --> 00:34:39,120
Speaker 7: Were they like honored? Were they like like fuck you

663
00:34:39,160 --> 00:34:39,480
Speaker 7: pay me?

664
00:34:39,600 --> 00:34:39,719
Speaker 4: Like?

665
00:34:39,719 --> 00:34:42,040
Speaker 2: What was the what was the feeling.

666
00:34:41,760 --> 00:34:43,680
Speaker 4: Like back then?

667
00:34:43,719 --> 00:34:44,120
Speaker 2: It was?

668
00:34:44,560 --> 00:34:45,479
Speaker 4: It was pretty nice.

669
00:34:45,560 --> 00:34:49,120
Speaker 3: I mean some people didn't even know what sampling was,

670
00:34:49,280 --> 00:34:54,200
Speaker 3: or you know, we would track down someone who they'd inherited,

671
00:34:54,320 --> 00:34:58,520
Speaker 3: like their grandfather's catalog, you know in a willis they

672
00:34:58,520 --> 00:35:00,000
Speaker 3: didn't even know they had it, and we would find

673
00:35:00,000 --> 00:35:01,600
Speaker 3: find them and say, hey, you know you own this

674
00:35:01,760 --> 00:35:06,120
Speaker 3: music and so and some people just were like a

675
00:35:06,120 --> 00:35:09,000
Speaker 3: flat out no, like Rogers and Hammerstein and people like that.

676
00:35:09,880 --> 00:35:12,080
Speaker 2: Oh so there are songs that did not make.

677
00:35:11,920 --> 00:35:16,160
Speaker 3: It, samples samples that didn't make it. Yeah, and then

678
00:35:16,560 --> 00:35:19,080
Speaker 3: other people like John Kale, like he was super cool

679
00:35:19,080 --> 00:35:23,439
Speaker 3: because like, ah, that song two Hearts and three four time,

680
00:35:23,480 --> 00:35:25,080
Speaker 3: it was going to work out that like there was

681
00:35:25,120 --> 00:35:27,879
Speaker 3: five main samples and they all wanted twenty percent each,

682
00:35:27,920 --> 00:35:31,919
Speaker 3: so we were going to get nothing. And John Klee

683
00:35:32,040 --> 00:35:34,799
Speaker 3: was like, no, no, we the sample owners should all

684
00:35:34,840 --> 00:35:36,319
Speaker 3: take a little bit less. So the dudes that made

685
00:35:36,320 --> 00:35:37,600
Speaker 3: the song can get a little bit too.

686
00:35:37,719 --> 00:35:39,680
Speaker 4: And so that what's up.

687
00:35:42,280 --> 00:35:44,600
Speaker 2: That never happens that never.

688
00:35:44,480 --> 00:35:47,480
Speaker 6: It's probably never happened again, never happened again.

689
00:35:47,680 --> 00:35:55,280
Speaker 1: You represent us, please, this never ever happens in real life.

690
00:35:55,600 --> 00:35:58,080
Speaker 6: This is being unknown in Australia.

691
00:35:58,320 --> 00:36:02,160
Speaker 1: I mean I got people like come after me for

692
00:36:02,320 --> 00:36:06,840
Speaker 1: like a snare drum yeah, let alone and want like

693
00:36:06,920 --> 00:36:07,799
Speaker 1: seventy percent of it.

694
00:36:07,960 --> 00:36:12,959
Speaker 2: That's a snare drum. Yeah, okay. So when you're this,

695
00:36:12,960 --> 00:36:15,600
Speaker 2: this was on double Excel recordings.

696
00:36:15,160 --> 00:36:19,360
Speaker 4: Correct Excel in UK, Yeah, double Excel.

697
00:36:19,360 --> 00:36:21,279
Speaker 2: I'm sorry forgive me Excel recordings.

698
00:36:21,440 --> 00:36:26,320
Speaker 1: So when you played the final product to your company,

699
00:36:26,440 --> 00:36:30,480
Speaker 1: how long did it take for them to even start

700
00:36:30,520 --> 00:36:36,280
Speaker 1: the process to clear this? Because again like I yeah, man, yeah,

701
00:36:36,600 --> 00:36:42,360
Speaker 1: usually okay. So the obstacles that I run into are okay,

702
00:36:42,400 --> 00:36:47,200
Speaker 1: say I create a song and uh okay, I have

703
00:36:47,280 --> 00:36:51,239
Speaker 1: this situation once where I used Hey Bulldog by the

704
00:36:51,239 --> 00:36:57,439
Speaker 1: Beatles and they wanted like one of the publishing which

705
00:36:57,480 --> 00:37:00,680
Speaker 1: then left no space for like the others I sample.

706
00:37:01,280 --> 00:37:05,719
Speaker 1: And I've learned, I've learned, at least in the last

707
00:37:05,719 --> 00:37:09,040
Speaker 1: ten years, that relationships are key to making these things happen.

708
00:37:09,160 --> 00:37:15,360
Speaker 1: And oftentimes lawyers and red tape lawyers and administrative people

709
00:37:15,480 --> 00:37:19,279
Speaker 1: are kind of the the demons of the situation. And

710
00:37:19,600 --> 00:37:21,600
Speaker 1: half the time, if you can get to the actual

711
00:37:21,680 --> 00:37:26,520
Speaker 1: artists themselves, then you can you know, sort of iron

712
00:37:26,600 --> 00:37:32,440
Speaker 1: out and make it smooth. So again, how we had this.

713
00:37:32,800 --> 00:37:38,919
Speaker 6: We had this amazing lady called Pat Shanahan, who I mean,

714
00:37:39,320 --> 00:37:41,279
Speaker 6: she would have been in her sixties or seventies. She

715
00:37:41,440 --> 00:37:46,000
Speaker 6: just passed away recently. So she would clear all samples

716
00:37:46,000 --> 00:37:49,279
Speaker 6: for us, and she'd done like Beastie Boys records and

717
00:37:49,640 --> 00:37:52,400
Speaker 6: iced Tea and all stuff like that. So she used

718
00:37:52,440 --> 00:37:56,160
Speaker 6: to work at Ireland Records for many years and had

719
00:37:56,360 --> 00:37:59,200
Speaker 6: a lot of contacts just through the whole industry. So

720
00:37:59,320 --> 00:38:01,359
Speaker 6: when we were clear in his samples, she she would

721
00:38:01,400 --> 00:38:04,640
Speaker 6: be like, Hey, I know him. I used to work

722
00:38:04,680 --> 00:38:07,080
Speaker 6: with him here, I noticed. So she had a lot

723
00:38:07,120 --> 00:38:11,760
Speaker 6: of personal relationships with Relis. Yeah. So so that helped

724
00:38:11,840 --> 00:38:15,400
Speaker 6: us so much, and she would just be able to

725
00:38:15,480 --> 00:38:18,239
Speaker 6: get things over the line for us that that, you know,

726
00:38:18,239 --> 00:38:20,600
Speaker 6: if it was a lawyer or anything or anyone else

727
00:38:20,680 --> 00:38:22,839
Speaker 6: like that, it just wouldn't have happened. So well, I mean,

728
00:38:22,880 --> 00:38:24,240
Speaker 6: we're so lucky to have her.

729
00:38:25,400 --> 00:38:29,600
Speaker 3: Yeah, Record one one lady, And Yeah, she became a

730
00:38:29,640 --> 00:38:32,399
Speaker 3: dear friend actually, Jally Patch. She was just the most

731
00:38:33,120 --> 00:38:36,839
Speaker 3: most lovely lady. And I think she she worked with

732
00:38:37,239 --> 00:38:39,280
Speaker 3: who did she work out before Island? I can't remember,

733
00:38:39,320 --> 00:38:41,479
Speaker 3: but she sort of knew everybody in the industry since

734
00:38:41,560 --> 00:38:44,840
Speaker 3: like the sixties, had seen that there was a niche

735
00:38:45,480 --> 00:38:48,520
Speaker 3: for someone who just specifically cleared samples, and so I

736
00:38:48,560 --> 00:38:51,279
Speaker 3: think she left the record label. And then the first

737
00:38:51,360 --> 00:38:53,719
Speaker 3: record she cleared was like the Tone Low Record or

738
00:38:53,719 --> 00:38:56,680
Speaker 3: something like that. And then and then she did Back

739
00:38:56,719 --> 00:38:57,959
Speaker 3: and the Beastie Boys, and.

740
00:38:59,360 --> 00:39:00,719
Speaker 4: Yeah, so she helped us a lot.

741
00:39:00,760 --> 00:39:03,200
Speaker 3: And then there were other personal relationships that Richard Russell

742
00:39:03,239 --> 00:39:05,200
Speaker 3: at Excel.

743
00:39:06,080 --> 00:39:08,359
Speaker 4: Helped us clear. The Madonna sample, uh.

744
00:39:09,440 --> 00:39:14,319
Speaker 1: Yeah, yeah that that was to be when even when

745
00:39:14,360 --> 00:39:17,040
Speaker 1: I heard it in the car. Now my story of

746
00:39:17,080 --> 00:39:20,400
Speaker 1: hearing it. I heard that album on my birthday. I

747
00:39:20,440 --> 00:39:23,279
Speaker 1: was doing a DJ gig in Indiana and I was

748
00:39:23,280 --> 00:39:28,520
Speaker 1: born in January, so it was like cold, and the

749
00:39:28,520 --> 00:39:31,640
Speaker 1: guy that picked me up from an airport played it,

750
00:39:31,840 --> 00:39:36,799
Speaker 1: and you know, because the album runs, uh sort of

751
00:39:36,880 --> 00:39:39,200
Speaker 1: as a continuous flow, like it doesn't go from song

752
00:39:39,280 --> 00:39:42,960
Speaker 1: to song, I just thought he was you know, normally

753
00:39:43,080 --> 00:39:45,040
Speaker 1: when the guy picks me up from the airport, they're

754
00:39:45,040 --> 00:39:46,480
Speaker 1: always like sneaking there trying to.

755
00:39:49,760 --> 00:39:54,160
Speaker 2: Sop yeah no, no, no.

756
00:39:54,719 --> 00:39:59,000
Speaker 1: From like from the from the airport to my hotel room,

757
00:39:59,160 --> 00:40:01,319
Speaker 1: I was under the press. He was playing me his shit,

758
00:40:02,400 --> 00:40:05,000
Speaker 1: and that's just that had me wide open. And then

759
00:40:05,120 --> 00:40:07,360
Speaker 1: like finally he gave me the bad news. Twenty minutes

760
00:40:07,400 --> 00:40:09,880
Speaker 1: into it like oh no, no, no, this is some

761
00:40:09,920 --> 00:40:13,319
Speaker 1: cats from Australia called the Avalanches. I was like, oh man,

762
00:40:13,360 --> 00:40:14,960
Speaker 1: I thought it was your shit, all right, never mind,

763
00:40:17,400 --> 00:40:20,480
Speaker 1: all right, right, but what will wound up happened?

764
00:40:20,520 --> 00:40:23,200
Speaker 2: I asked him? Can I borrow the CDs? I could

765
00:40:23,280 --> 00:40:23,560
Speaker 2: hear it?

766
00:40:23,600 --> 00:40:28,120
Speaker 1: And like, actually the same story with little Brother when

767
00:40:28,120 --> 00:40:33,279
Speaker 1: I heard Fonte's thing, like, I rarely have dedicated so

768
00:40:33,440 --> 00:40:36,720
Speaker 1: much hours, so so many, like a lot of hours

769
00:40:36,800 --> 00:40:39,240
Speaker 1: just to listen to product over and over and over again.

770
00:40:40,000 --> 00:40:42,120
Speaker 2: And I just I just couldn't believe it.

771
00:40:42,200 --> 00:40:46,799
Speaker 1: Well, because you guys worked on and what you said

772
00:40:46,840 --> 00:40:52,880
Speaker 1: earlier about how limitation studio limitations makes you more creative,

773
00:40:53,840 --> 00:40:55,920
Speaker 1: that makes sense because a lot of my favorite guys

774
00:40:56,000 --> 00:40:59,719
Speaker 1: like use you know, with with Fonte's group, what did

775
00:40:59,760 --> 00:41:00,359
Speaker 1: you got do?

776
00:41:00,400 --> 00:41:01,480
Speaker 2: Everything on fruity loops?

777
00:41:01,840 --> 00:41:04,719
Speaker 7: Everything was fruity loops and a compact had We had

778
00:41:04,719 --> 00:41:05,680
Speaker 7: a compact computer.

779
00:41:06,040 --> 00:41:06,719
Speaker 2: Yeah, and that was.

780
00:41:08,200 --> 00:41:09,920
Speaker 1: You know, I let it pro that was what we

781
00:41:09,960 --> 00:41:12,279
Speaker 1: recorded A vocals and cool litter or Sony acid like

782
00:41:12,320 --> 00:41:15,680
Speaker 1: something real primitive. So what I want to know is

783
00:41:16,480 --> 00:41:20,319
Speaker 1: how do you how do you bend samples to your

784
00:41:20,360 --> 00:41:26,040
Speaker 1: will melodically? Especially back then, without you know, the aid

785
00:41:26,080 --> 00:41:30,960
Speaker 1: of a MacBook pro to instantly you know you could

786
00:41:30,960 --> 00:41:36,800
Speaker 1: do that, yeah, yeah, seconds, But how were you able

787
00:41:36,920 --> 00:41:40,480
Speaker 1: to bend these samples to your will so that they

788
00:41:40,600 --> 00:41:43,160
Speaker 1: melodically fit the song?

789
00:41:43,280 --> 00:41:46,200
Speaker 2: And with with that primitive equipment?

790
00:41:46,280 --> 00:41:49,759
Speaker 3: How I think it comes back to what you're saying

791
00:41:49,760 --> 00:41:55,319
Speaker 3: about just how limitations can be really powerful, because it

792
00:41:55,400 --> 00:41:57,480
Speaker 3: was just like I just remember going, this is this

793
00:41:57,600 --> 00:41:59,800
Speaker 3: act like sampler. I'm just going to get really fucking

794
00:41:59,800 --> 00:42:02,839
Speaker 3: good at this one thing, and that's all I'm going

795
00:42:02,880 --> 00:42:06,520
Speaker 3: to do, you know, And so once it just becomes

796
00:42:06,600 --> 00:42:09,840
Speaker 3: almost invisible, so you're not even thinking about how to

797
00:42:09,920 --> 00:42:12,480
Speaker 3: use it. You know it so well, and so it

798
00:42:12,520 --> 00:42:16,160
Speaker 3: was just just literally tuning samples in the sampler. So

799
00:42:17,080 --> 00:42:18,800
Speaker 3: you know, you might have stuck with a drum bead

800
00:42:18,840 --> 00:42:22,120
Speaker 3: and kind of a beginning sample, and the beginning sample

801
00:42:22,200 --> 00:42:23,759
Speaker 3: just kind of gets you going it might not even

802
00:42:23,800 --> 00:42:26,160
Speaker 3: be there at the end. But then it's just literally

803
00:42:26,200 --> 00:42:29,360
Speaker 3: getting samples in tune and whole bunch of samples just

804
00:42:29,400 --> 00:42:31,920
Speaker 3: on the midikeyboard that are living in the sampler's memory

805
00:42:32,520 --> 00:42:34,520
Speaker 3: and and playing around and then going, oh, that might

806
00:42:34,560 --> 00:42:36,719
Speaker 3: be a verse, that might be a chorus. I've kind

807
00:42:36,719 --> 00:42:39,360
Speaker 3: of stuck. Save it, put it away, maybe give it

808
00:42:39,400 --> 00:42:41,760
Speaker 3: to Tony. He'll see if he can find a sample

809
00:42:41,840 --> 00:42:44,160
Speaker 3: for it. And slowly and slowly the layers built up.

810
00:42:44,200 --> 00:42:47,200
Speaker 3: So it's just using your ear tuning samples by ear.

811
00:42:48,239 --> 00:42:49,799
Speaker 2: So that is not easy to do.

812
00:42:50,000 --> 00:42:52,200
Speaker 7: People, that is that is that is not easy to do.

813
00:42:52,239 --> 00:42:53,640
Speaker 2: Which leads to my next question.

814
00:42:53,760 --> 00:42:57,120
Speaker 1: So when I asked the bomb squad how they created

815
00:42:57,280 --> 00:43:01,200
Speaker 1: nation of millions, I guess Keith Shockley explained to me

816
00:43:01,280 --> 00:43:05,680
Speaker 1: that basically the process that they were doing, they would

817
00:43:05,680 --> 00:43:08,520
Speaker 1: have jam sessions. So the way that the engineer was

818
00:43:08,560 --> 00:43:12,440
Speaker 1: set up was Eric Sadler had his sampler on his

819
00:43:12,560 --> 00:43:16,759
Speaker 1: side of the room, Keith Shockley was probably on turntable

820
00:43:16,800 --> 00:43:20,160
Speaker 1: doing his stuff, and then Hank would have his bit

821
00:43:20,960 --> 00:43:24,480
Speaker 1: and they would start with a drum beat and when

822
00:43:24,480 --> 00:43:28,439
Speaker 1: they were satisfied. Their theory was that if you took

823
00:43:28,480 --> 00:43:31,600
Speaker 1: everything away, like are the drums banging enough? Like the

824
00:43:31,680 --> 00:43:34,279
Speaker 1: drums have to be perfect. Once the drums are there,

825
00:43:35,080 --> 00:43:43,120
Speaker 1: then each chef would add their particular ingredient into the

826
00:43:43,800 --> 00:43:47,640
Speaker 1: musical stew until it felt complete and felt right. So

827
00:43:48,239 --> 00:43:52,200
Speaker 1: how do you guys source or like what's the back

828
00:43:52,200 --> 00:43:55,920
Speaker 1: and forth or the work process to adding things like

829
00:43:56,440 --> 00:43:58,080
Speaker 1: you know, whose idea was it, like oh I got

830
00:43:58,120 --> 00:44:02,560
Speaker 1: this horse noise over here? Or even or even with

831
00:44:04,120 --> 00:44:08,600
Speaker 1: even with the first song on Wildflower where the kid

832
00:44:08,840 --> 00:44:11,879
Speaker 1: is talking, I don't know if that's a SoundBite and

833
00:44:11,920 --> 00:44:14,959
Speaker 1: you guys manipulated his voice to go right in key

834
00:44:15,120 --> 00:44:21,640
Speaker 1: with that intro. But you know, even with the Wildflower intro,

835
00:44:22,120 --> 00:44:25,520
Speaker 1: like how do you guys, how do you guys communicate

836
00:44:25,560 --> 00:44:27,880
Speaker 1: back and forth like what gets inside the.

837
00:44:29,400 --> 00:44:29,640
Speaker 2: Meal?

838
00:44:30,640 --> 00:44:35,120
Speaker 1: And also subsequently, how do you tell each other that

839
00:44:35,200 --> 00:44:38,640
Speaker 1: doesn't work? Like Okay, I don't know if that fits

840
00:44:38,760 --> 00:44:41,759
Speaker 1: or whatever, or is it just like whatever works thrown.

841
00:44:41,520 --> 00:44:46,120
Speaker 6: In I think, I mean definitely. Robbie is the great

842
00:44:46,480 --> 00:44:51,040
Speaker 6: producer of the records. And it's almost like where, you know,

843
00:44:51,200 --> 00:44:52,960
Speaker 6: we used to have all the other members in the

844
00:44:53,000 --> 00:44:56,000
Speaker 6: band and we you know, have a little sample, you know, loops,

845
00:44:56,000 --> 00:44:58,640
Speaker 6: a couple of things that go together or something like that,

846
00:44:58,680 --> 00:45:01,440
Speaker 6: but then kind of give him over to him where

847
00:45:01,800 --> 00:45:05,760
Speaker 6: he's putting it all together and you know, chopping up everything,

848
00:45:05,880 --> 00:45:08,799
Speaker 6: and I mean it's just what he's amazing and he's

849
00:45:08,800 --> 00:45:13,319
Speaker 6: just doing all the layers and incredible production work, and

850
00:45:14,160 --> 00:45:16,600
Speaker 6: you know, the horse noises and all that kind.

851
00:45:19,800 --> 00:45:21,040
Speaker 2: I was just like, the hell.

852
00:45:24,200 --> 00:45:26,359
Speaker 4: Because no no I heard.

853
00:45:26,440 --> 00:45:28,960
Speaker 3: I was like, it was like DJ Munks and Cypress

854
00:45:29,000 --> 00:45:30,799
Speaker 3: Hill and you know that squeal noise he had.

855
00:45:31,520 --> 00:45:34,200
Speaker 2: Yeah, yeah, I had to try and.

856
00:45:34,239 --> 00:45:35,080
Speaker 4: Make a noise like that.

857
00:45:35,200 --> 00:45:37,799
Speaker 3: And then I was watching an old Western movie and

858
00:45:37,840 --> 00:45:38,479
Speaker 3: there was this horse.

859
00:45:38,520 --> 00:45:39,920
Speaker 4: I was like, that might work.

860
00:45:40,080 --> 00:45:43,120
Speaker 5: So how did you get the horse to clear the sample?

861
00:45:51,480 --> 00:45:53,560
Speaker 6: The horse to this day still doesn't know that he's

862
00:45:53,600 --> 00:45:54,200
Speaker 6: on the record.

863
00:45:57,280 --> 00:46:01,160
Speaker 2: Well, not just with music. Uh, how did you guys

864
00:46:01,239 --> 00:46:01,799
Speaker 2: even know?

865
00:46:03,280 --> 00:46:08,200
Speaker 1: Because because movie soundbites are also a big part of the.

866
00:46:09,840 --> 00:46:12,200
Speaker 2: Kind of the structure.

867
00:46:11,760 --> 00:46:16,759
Speaker 1: Here, how how did you guys even source or even

868
00:46:16,800 --> 00:46:22,440
Speaker 1: figure out clearing all of the non musical elements of

869
00:46:22,480 --> 00:46:24,520
Speaker 1: the song that had to be clear? Like I'm certain

870
00:46:24,560 --> 00:46:27,480
Speaker 1: that with movie dialogue? Or was it just like the

871
00:46:27,520 --> 00:46:30,160
Speaker 1: Wild West? Like if they come to you, then you

872
00:46:30,200 --> 00:46:33,920
Speaker 1: admit it? Or never mind, this is.

873
00:46:38,280 --> 00:46:41,719
Speaker 7: Yourself? I think never mind. I got my answer. This

874
00:46:41,920 --> 00:46:44,759
Speaker 7: is this is quest love supreme, not d.

875
00:46:46,800 --> 00:46:47,479
Speaker 2: Oh my god.

876
00:46:47,640 --> 00:46:51,719
Speaker 6: I never compare me to would you like would you

877
00:46:51,840 --> 00:46:54,520
Speaker 6: like our answer? All the record label answer?

878
00:46:54,719 --> 00:46:55,320
Speaker 2: Never mind?

879
00:46:55,440 --> 00:47:00,960
Speaker 7: I just never mind, forget it. One thing I was

880
00:47:01,040 --> 00:47:04,560
Speaker 7: I was curious to know for two things. One just

881
00:47:04,719 --> 00:47:07,560
Speaker 7: the making of a Wildflower, because you know, we've read

882
00:47:07,600 --> 00:47:09,400
Speaker 7: a lot and if you guys have talked a lot

883
00:47:09,440 --> 00:47:12,120
Speaker 7: about to make it since I left you, Wildflower was

884
00:47:12,200 --> 00:47:16,640
Speaker 7: like other Thandiangelo's Black Messiah, that was those were neck

885
00:47:16,680 --> 00:47:19,200
Speaker 7: and that those were like my two most anticipated records

886
00:47:19,200 --> 00:47:19,920
Speaker 7: of that decade.

887
00:47:20,719 --> 00:47:23,120
Speaker 2: Just as long, yeah, just as long.

888
00:47:23,520 --> 00:47:26,120
Speaker 7: And and I remember it, you know, I We've been

889
00:47:26,160 --> 00:47:27,520
Speaker 7: hearing about it for a while and I was like

890
00:47:27,640 --> 00:47:29,319
Speaker 7: it dropped and I was like, holy shit, this is

891
00:47:29,360 --> 00:47:32,360
Speaker 7: really here. And you know, it was really inspiring me

892
00:47:32,400 --> 00:47:35,440
Speaker 7: because it sounded like you guys picked up like right

893
00:47:35,440 --> 00:47:37,680
Speaker 7: where you left off. It didn't even you could listen

894
00:47:37,719 --> 00:47:39,680
Speaker 7: to since I left Your Wildflower back to back and

895
00:47:40,520 --> 00:47:43,480
Speaker 7: aside from the cameos, you know, you would sound like

896
00:47:43,480 --> 00:47:45,080
Speaker 7: they were done at the same time. So I was

897
00:47:45,120 --> 00:47:47,760
Speaker 7: curious to know just you know, working on that record

898
00:47:47,880 --> 00:47:48,440
Speaker 7: and you know.

899
00:47:48,400 --> 00:47:49,399
Speaker 2: What took so long?

900
00:47:50,000 --> 00:47:52,279
Speaker 7: A what took so long? From uh since I left

901
00:47:52,280 --> 00:47:56,000
Speaker 7: you the Wildflower? And two, uh, the you guys picking

902
00:47:56,040 --> 00:47:59,360
Speaker 7: your mcs, because you really picked you know guys that

903
00:47:59,560 --> 00:48:02,719
Speaker 7: weren't you know, you know, Danny Brown and Camplow and

904
00:48:02,760 --> 00:48:04,080
Speaker 7: you know what I mean, Like you guys worked with

905
00:48:04,080 --> 00:48:07,080
Speaker 7: some kind of unorthodox people, So how do y'all go

906
00:48:07,120 --> 00:48:08,960
Speaker 7: about choosing that?

907
00:48:08,960 --> 00:48:10,000
Speaker 4: That? I mean Camplow?

908
00:48:10,080 --> 00:48:14,760
Speaker 3: That first Camplow Saturday Night was like a favorite record.

909
00:48:14,760 --> 00:48:17,800
Speaker 3: We would just play that NonStop, and some great sampling

910
00:48:17,800 --> 00:48:22,200
Speaker 3: in that record too, So we actually sampled Camplow on

911
00:48:22,320 --> 00:48:24,160
Speaker 3: Since I Left You, So it was really nice to

912
00:48:24,239 --> 00:48:26,640
Speaker 3: kind of go full circle and then work with that.

913
00:48:26,880 --> 00:48:29,239
Speaker 6: Whenever we played live, we'd always have a bit where

914
00:48:29,480 --> 00:48:37,759
Speaker 6: Luccini would coming after a song, so massive Camblo fans.

915
00:48:35,600 --> 00:48:41,440
Speaker 1: That Before you answer Fante's question, how how did you guys?

916
00:48:42,160 --> 00:48:43,959
Speaker 1: How did you guys deliver the album live?

917
00:48:44,280 --> 00:48:44,360
Speaker 4: Like?

918
00:48:44,440 --> 00:48:46,680
Speaker 2: How does that even happen?

919
00:48:47,640 --> 00:48:50,520
Speaker 1: Or what's thet Like I only saw you guys when

920
00:48:50,520 --> 00:48:53,520
Speaker 1: you guys finally came to the Tonight show for the

921
00:48:53,520 --> 00:48:57,040
Speaker 1: Wildflower album. That's the first time I got to see you,

922
00:48:57,080 --> 00:49:01,479
Speaker 1: like actually perform. But when you're when you made Since

923
00:49:01,520 --> 00:49:06,359
Speaker 1: I Left You, then how do you decide how to

924
00:49:06,400 --> 00:49:07,680
Speaker 1: deliver this in concert?

925
00:49:08,760 --> 00:49:10,960
Speaker 3: We still when we were touring Since I Left You,

926
00:49:11,000 --> 00:49:14,279
Speaker 3: we were still like in live band mode because that's

927
00:49:14,480 --> 00:49:16,480
Speaker 3: we still had that element from you know, when we

928
00:49:16,480 --> 00:49:20,400
Speaker 3: were starting out, So we would sort of do like

929
00:49:20,560 --> 00:49:23,200
Speaker 3: kind of like there's like a big party with live

930
00:49:23,280 --> 00:49:25,400
Speaker 3: drums and kind of like I don't know.

931
00:49:25,920 --> 00:49:30,920
Speaker 6: Space guitars. Key yeah, but most of everything was just

932
00:49:31,040 --> 00:49:34,040
Speaker 6: like on a on a mini keyboard and we'd have

933
00:49:34,160 --> 00:49:39,600
Speaker 6: the samples would just be that key chorus break horse.

934
00:49:40,920 --> 00:49:44,440
Speaker 6: So I was just triggering live and then the drama

935
00:49:44,480 --> 00:49:46,440
Speaker 6: playing along to it. So there's no like you know,

936
00:49:46,680 --> 00:49:49,880
Speaker 6: time code or anything into a computer or anything like

937
00:49:49,960 --> 00:49:51,719
Speaker 6: that when we did to it Since I Left You,

938
00:49:51,880 --> 00:49:53,879
Speaker 6: So it was still pretty organic in that way.

939
00:49:54,840 --> 00:49:57,319
Speaker 7: One of the guys in your band man hold, I'm

940
00:49:57,320 --> 00:50:00,520
Speaker 7: a big fan of Johnty. How did y'all how Joko?

941
00:50:00,719 --> 00:50:02,279
Speaker 7: And what's his role in you guys band?

942
00:50:03,600 --> 00:50:03,719
Speaker 4: Oh?

943
00:50:03,800 --> 00:50:06,560
Speaker 3: Yeah, he was part of our touring group for around

944
00:50:06,560 --> 00:50:07,399
Speaker 3: the Wildflower era.

945
00:50:07,920 --> 00:50:08,640
Speaker 4: We came and did.

946
00:50:08,480 --> 00:50:12,319
Speaker 3: Costello and we I think we heard his first EP

947
00:50:12,520 --> 00:50:14,560
Speaker 3: and it was really cool, and then he did some

948
00:50:14,640 --> 00:50:18,440
Speaker 3: vocals on Wildflower and then we're like, come come on

949
00:50:18,480 --> 00:50:18,880
Speaker 3: the road.

950
00:50:19,400 --> 00:50:20,680
Speaker 4: Yeah, And so.

951
00:50:20,760 --> 00:50:24,279
Speaker 6: He also he also did a it was Since I

952
00:50:24,360 --> 00:50:28,760
Speaker 6: Left You. He put a band together of about fifteen

953
00:50:28,840 --> 00:50:31,399
Speaker 6: musicians and played Since I Left You front to back

954
00:50:32,000 --> 00:50:35,239
Speaker 6: really and did it live around Australia and we were like, oh,

955
00:50:35,320 --> 00:50:38,239
Speaker 6: let's let's go check this out. And it was kind

956
00:50:38,239 --> 00:50:42,120
Speaker 6: of like really weird to just be you know, played yeah,

957
00:50:42,160 --> 00:50:44,759
Speaker 6: and we didn't played so well, and we're just like, hey,

958
00:50:45,239 --> 00:50:47,480
Speaker 6: we should get back on the running like this. So

959
00:50:48,320 --> 00:50:51,560
Speaker 6: it was really it was really cool to see and

960
00:50:52,360 --> 00:50:54,640
Speaker 6: from now, I mean, you know, we developed a relationship.

961
00:50:55,480 --> 00:50:59,160
Speaker 7: No, he's really dope. I'm a big yeah. But what's

962
00:50:59,719 --> 00:51:02,480
Speaker 7: the gap between the first album and Wildflower? You know

963
00:51:02,520 --> 00:51:04,200
Speaker 7: that eighteen years sixteen years old?

964
00:51:05,520 --> 00:51:06,520
Speaker 2: What happened?

965
00:51:07,080 --> 00:51:09,319
Speaker 1: I got admit I thought they threw you guys under

966
00:51:09,360 --> 00:51:13,520
Speaker 1: the jail. I really admitt I was they got thrown

967
00:51:13,640 --> 00:51:17,759
Speaker 1: under the jail. You don't got our money? Fuck it?

968
00:51:19,080 --> 00:51:19,279
Speaker 6: Yeah?

969
00:51:19,400 --> 00:51:24,520
Speaker 3: Yeah, I mean, I mean there's many ways to answer

970
00:51:24,520 --> 00:51:28,080
Speaker 3: that question, but the short answer is like was like,

971
00:51:29,320 --> 00:51:31,600
Speaker 3: you know, you make since I left you with no money,

972
00:51:32,440 --> 00:51:35,680
Speaker 3: no equipment, you have a success, You get an advance

973
00:51:35,800 --> 00:51:38,560
Speaker 3: to make your second record, you buy all this equipment,

974
00:51:39,600 --> 00:51:42,640
Speaker 3: and then but it doesn't flow and it doesn't happen

975
00:51:43,560 --> 00:51:46,640
Speaker 3: sitting there sitting around with compressors all day and like

976
00:51:47,320 --> 00:51:49,560
Speaker 3: outboard gear, and we had none of that before. And

977
00:51:49,600 --> 00:51:52,000
Speaker 3: it took a long time to get back to that

978
00:51:52,120 --> 00:51:55,120
Speaker 3: point of realizing it's not about that. It's just about

979
00:51:55,480 --> 00:51:59,440
Speaker 3: your imagination a turntable and a sampler and you can

980
00:51:59,480 --> 00:52:01,279
Speaker 3: add all that it later in the studio. But it

981
00:52:01,360 --> 00:52:04,000
Speaker 3: was like, you've got to write the songs, the beautiful

982
00:52:04,000 --> 00:52:06,960
Speaker 3: songs first, you know, and all the gear help you.

983
00:52:07,239 --> 00:52:08,560
Speaker 4: Well, you know, we were young and we had to

984
00:52:08,680 --> 00:52:09,560
Speaker 4: learn that ourselves.

985
00:52:09,640 --> 00:52:12,040
Speaker 3: And now we're back to like I don't have the

986
00:52:12,040 --> 00:52:14,920
Speaker 3: studio in my house anymore, Like I just back to

987
00:52:14,960 --> 00:52:17,040
Speaker 3: the same sympatic I started.

988
00:52:17,160 --> 00:52:20,640
Speaker 2: Yeah, so you purposely wanted to go back to square one.

989
00:52:20,920 --> 00:52:26,680
Speaker 6: Yeah, it took us sixteen years to realize that. But eventually,

990
00:52:26,719 --> 00:52:29,760
Speaker 6: and the thing is like, like in all honesty, as

991
00:52:30,440 --> 00:52:32,279
Speaker 6: as the time went on, kind of since I left,

992
00:52:32,320 --> 00:52:37,040
Speaker 6: you started to growing stature. So we were a lot

993
00:52:37,080 --> 00:52:39,759
Speaker 6: of pressure started to build. And then that pressure, you know,

994
00:52:39,880 --> 00:52:41,960
Speaker 6: came a little bit from the record company, just from

995
00:52:42,160 --> 00:52:44,640
Speaker 6: fans in general and everything when's it's going to happen,

996
00:52:45,360 --> 00:52:48,440
Speaker 6: And that got to us a lot as well, I

997
00:52:48,480 --> 00:52:51,680
Speaker 6: think as it went along, and you know, and then

998
00:52:51,719 --> 00:52:53,440
Speaker 6: like Robbie said, we kind of just got back to

999
00:52:53,480 --> 00:52:56,600
Speaker 6: the essence of what it was all about, and almost

1000
00:52:56,640 --> 00:53:01,040
Speaker 6: just in our own personal journeys kind of declined our

1001
00:53:01,080 --> 00:53:04,359
Speaker 6: minds and stocked with all the pressure within ourselves and

1002
00:53:04,440 --> 00:53:06,319
Speaker 6: just let go of all that that goal of all

1003
00:53:06,400 --> 00:53:09,719
Speaker 6: the equipment, and from that point like it didn't take

1004
00:53:09,760 --> 00:53:12,640
Speaker 6: that long at all to finish.

1005
00:53:12,920 --> 00:53:15,480
Speaker 5: I'm just curious, what, So, what equipment did you use

1006
00:53:15,560 --> 00:53:19,960
Speaker 5: for a wildflower and the new one specifically the same?

1007
00:53:21,360 --> 00:53:25,160
Speaker 6: No, we use pro Tools for this one. We were

1008
00:53:25,239 --> 00:53:28,920
Speaker 6: using Vision for since I left it, which that program

1009
00:53:29,000 --> 00:53:33,480
Speaker 6: actually they stopped making it in nineteen ninety seven, and

1010
00:53:33,600 --> 00:53:36,880
Speaker 6: Robbie was still using that up to two thousand and six.

1011
00:53:42,600 --> 00:53:43,200
Speaker 2: It ain't broke.

1012
00:53:44,360 --> 00:53:48,120
Speaker 1: How long did it take you to learn how to

1013
00:53:48,320 --> 00:53:53,640
Speaker 1: master updated equipment or were you just stubborn, like I'll

1014
00:53:53,640 --> 00:53:55,600
Speaker 1: never it's this or nothing.

1015
00:53:56,760 --> 00:53:58,399
Speaker 4: I was stubborn for a long time.

1016
00:54:02,680 --> 00:54:05,200
Speaker 3: But now I'm just like pro Tools and I just

1017
00:54:05,320 --> 00:54:07,280
Speaker 3: edit in pro Tools and it's just like second nature

1018
00:54:07,320 --> 00:54:09,600
Speaker 3: to me again. So it's just like it's just like

1019
00:54:09,640 --> 00:54:11,480
Speaker 3: a tape recorder and it reminds me of like when

1020
00:54:11,480 --> 00:54:13,359
Speaker 3: I was like fifteen and learn me how to make

1021
00:54:13,920 --> 00:54:17,440
Speaker 3: tape loots and stuff. You know, it's like as long

1022
00:54:17,480 --> 00:54:19,040
Speaker 3: as long as I keep it simple, you know.

1023
00:54:19,280 --> 00:54:23,640
Speaker 5: It's what's the what's what are the pros?

1024
00:54:23,640 --> 00:54:24,240
Speaker 2: And constant.

1025
00:54:24,320 --> 00:54:26,360
Speaker 5: You know, when pro tools, you're now able to see

1026
00:54:26,719 --> 00:54:30,600
Speaker 5: your music and your samples, and back in the day

1027
00:54:30,800 --> 00:54:35,960
Speaker 5: you couldn't. So what are the advantages and disadvantages to that,

1028
00:54:36,400 --> 00:54:36,839
Speaker 5: if any.

1029
00:54:37,920 --> 00:54:41,239
Speaker 4: That's an amazing question because you're so right.

1030
00:54:41,280 --> 00:54:43,680
Speaker 3: I mean, you can't see the waveforms when the sampler,

1031
00:54:43,719 --> 00:54:45,799
Speaker 3: you know, you don't see you're just listening and you're

1032
00:54:45,840 --> 00:54:47,280
Speaker 3: kind of like looking at.

1033
00:54:47,120 --> 00:54:48,239
Speaker 4: The window almost, you know.

1034
00:54:48,360 --> 00:54:50,960
Speaker 3: So it's just a feeling thing, and it has been

1035
00:54:51,000 --> 00:54:54,040
Speaker 3: a big change because you know, pro tools can grit

1036
00:54:54,120 --> 00:54:56,920
Speaker 3: everything so easily, and everything can get tight, and like

1037
00:54:57,680 --> 00:55:00,799
Speaker 3: you can make so many different versions of the one song,

1038
00:55:00,800 --> 00:55:03,719
Speaker 3: and it's almost like you can again get too out

1039
00:55:03,760 --> 00:55:10,080
Speaker 3: of control with limitlessness of things like pro tools, and

1040
00:55:10,400 --> 00:55:13,520
Speaker 3: even just going back to Wildflower, the way you know,

1041
00:55:13,800 --> 00:55:16,400
Speaker 3: we used to sample, to just just pick up a record,

1042
00:55:16,480 --> 00:55:18,520
Speaker 3: put it on, find a sample from a you know,

1043
00:55:18,680 --> 00:55:22,600
Speaker 3: pretty simple like that. But but during Wildflower, we just

1044
00:55:22,600 --> 00:55:24,160
Speaker 3: for some reason we'd go, Okay.

1045
00:55:23,960 --> 00:55:28,400
Speaker 6: Let's just collect samples. So we just collect samples without

1046
00:55:28,600 --> 00:55:31,960
Speaker 6: like thousands and categorize them without even really making songs.

1047
00:55:31,960 --> 00:55:34,120
Speaker 6: We're just like, we'll do that later. So it almost

1048
00:55:34,120 --> 00:55:40,600
Speaker 6: became like this story and administration process of making music.

1049
00:55:42,560 --> 00:55:45,840
Speaker 6: So so that just that the limitlessness of that is like.

1050
00:55:50,719 --> 00:55:53,160
Speaker 7: Yeah, I was gonna ask just in the sixteen years

1051
00:55:53,239 --> 00:55:56,480
Speaker 7: you know between those records, were your what would you

1052
00:55:56,520 --> 00:55:58,480
Speaker 7: guys mean source of income? Like how was ill able

1053
00:55:58,480 --> 00:55:59,879
Speaker 7: to stay going for that long?

1054
00:56:01,640 --> 00:56:05,000
Speaker 3: It was a struggle, you know, and it's certainly not

1055
00:56:05,000 --> 00:56:08,440
Speaker 3: not what people think. It's like, you know, being in

1056
00:56:08,440 --> 00:56:10,360
Speaker 3: a band and like, for example, the song since I

1057
00:56:10,600 --> 00:56:13,000
Speaker 3: like talking about sample clearance, like the song since I

1058
00:56:13,080 --> 00:56:16,239
Speaker 3: Left You is like I don't own any of it,

1059
00:56:16,280 --> 00:56:19,080
Speaker 3: you know, it's all owned by samples. So we don't

1060
00:56:19,120 --> 00:56:21,880
Speaker 3: get really royalties to live off. So it was tough,

1061
00:56:21,920 --> 00:56:24,880
Speaker 3: and we would get offers to do some big shows

1062
00:56:24,920 --> 00:56:27,239
Speaker 3: in that time, but we kind of thought, you know,

1063
00:56:27,239 --> 00:56:30,120
Speaker 3: if it gets to like twenty ten and we haven't

1064
00:56:30,120 --> 00:56:31,480
Speaker 3: put a new record out, we can't.

1065
00:56:31,520 --> 00:56:32,799
Speaker 4: We don't really want to go and do a show

1066
00:56:32,840 --> 00:56:34,840
Speaker 4: because it just seems like we're in all.

1067
00:56:34,719 --> 00:56:41,040
Speaker 3: These yeah, I mean, you know, max credit credit cards.

1068
00:56:42,280 --> 00:56:46,239
Speaker 1: Well, were you guys did you ever consider like just

1069
00:56:46,280 --> 00:56:50,800
Speaker 1: going back to your roots and DJing, like just doing

1070
00:56:50,920 --> 00:56:54,600
Speaker 1: DJ sets as a duo, but without the pressure of

1071
00:56:55,800 --> 00:56:56,800
Speaker 1: here's our new album.

1072
00:56:56,840 --> 00:56:57,520
Speaker 2: That sort of thing.

1073
00:56:58,560 --> 00:57:00,880
Speaker 6: We did that a few times and that was able

1074
00:57:00,920 --> 00:57:08,560
Speaker 6: to to Warness some income. We did like a couple

1075
00:57:08,640 --> 00:57:11,360
Speaker 6: of songs for a musical. It was King Kong Music

1076
00:57:11,360 --> 00:57:14,239
Speaker 6: Hall that was here in Melbourne, so that kind of

1077
00:57:14,239 --> 00:57:15,879
Speaker 6: helps it. And we did have a lot of help

1078
00:57:15,920 --> 00:57:20,360
Speaker 6: from the record company who had just signed to So

1079
00:57:20,400 --> 00:57:22,440
Speaker 6: it was like an independent record company who had just

1080
00:57:22,920 --> 00:57:27,320
Speaker 6: like being half yeah, half brought out by Universal which

1081
00:57:27,680 --> 00:57:31,400
Speaker 6: has a lot of money. So you know, our man

1082
00:57:32,920 --> 00:57:37,560
Speaker 6: Steve pad would really help us out by constantly asking

1083
00:57:37,600 --> 00:57:39,240
Speaker 6: them if we can have a little bit more, and

1084
00:57:39,400 --> 00:57:42,440
Speaker 6: it's just around the corner, you know, six months away,

1085
00:57:43,840 --> 00:57:45,800
Speaker 6: six months later, it'd be the same thing.

1086
00:57:46,320 --> 00:57:50,280
Speaker 7: So Forness, he was wonderful.

1087
00:57:51,120 --> 00:57:51,880
Speaker 6: He was really good.

1088
00:57:57,160 --> 00:58:00,800
Speaker 1: I always wanted to know, Okay, so I'm not I'm

1089
00:58:01,040 --> 00:58:08,400
Speaker 1: probably closer to Robbie's theory on kind of staying intentionally

1090
00:58:08,920 --> 00:58:14,640
Speaker 1: ignorant to technology so that it doesn't destroy me, you know,

1091
00:58:14,880 --> 00:58:15,320
Speaker 1: like I don't.

1092
00:58:15,640 --> 00:58:15,959
Speaker 2: I don't.

1093
00:58:16,200 --> 00:58:18,000
Speaker 1: That's my excuse, Like I don't want to learn all

1094
00:58:18,040 --> 00:58:21,480
Speaker 1: this technology because then I'll lose what I had in

1095
00:58:21,560 --> 00:58:23,000
Speaker 1: my magic period, that sort of thing.

1096
00:58:23,440 --> 00:58:25,000
Speaker 2: But I have to know.

1097
00:58:27,280 --> 00:58:31,240
Speaker 1: So when I first saw the demonstration of I hope

1098
00:58:31,240 --> 00:58:34,640
Speaker 1: I'm saying this right, And I prefaced all that to say, like,

1099
00:58:34,920 --> 00:58:38,280
Speaker 1: I really don't know the technical terms, but with the

1100
00:58:38,280 --> 00:58:44,240
Speaker 1: program melodim, that enables you to sort of like erase

1101
00:58:44,280 --> 00:58:48,480
Speaker 1: the DNA of a song, like if I could take

1102
00:58:48,520 --> 00:58:51,000
Speaker 1: a Stevie Wonder song and erase his vocals out of

1103
00:58:51,000 --> 00:58:53,840
Speaker 1: it and make it just an instrumental that sort of thing.

1104
00:58:54,200 --> 00:58:57,240
Speaker 1: When I first saw that, I saw that at Jazzy

1105
00:58:57,320 --> 00:59:01,400
Speaker 1: Jeff's house, and the first thing I said to him was, yo, like,

1106
00:59:02,640 --> 00:59:05,360
Speaker 1: I can't wait to see what happens when the avalanches

1107
00:59:05,400 --> 00:59:07,080
Speaker 1: get a hold of this machine.

1108
00:59:07,280 --> 00:59:12,320
Speaker 2: Where they can now really manipulate and bend.

1109
00:59:13,040 --> 00:59:16,120
Speaker 7: Sounds to the you know, or like y'all, or like Ableton,

1110
00:59:16,200 --> 00:59:17,520
Speaker 7: like the avalanches were Ableton.

1111
00:59:17,560 --> 00:59:19,800
Speaker 2: It's like, that's fucking scary exactly.

1112
00:59:20,080 --> 00:59:25,640
Speaker 1: So like, have you guys even created songs to that level?

1113
00:59:25,760 --> 00:59:27,400
Speaker 2: Like it's weird.

1114
00:59:27,720 --> 00:59:30,560
Speaker 1: I don't know if someone has fully taken advantage of

1115
00:59:31,840 --> 00:59:34,920
Speaker 1: like it's to me, it seems so grandiose and so

1116
00:59:35,880 --> 00:59:39,880
Speaker 1: attimidating that I haven't even I think maybe once last

1117
00:59:39,960 --> 00:59:42,680
Speaker 1: year I decided, like, all right, let me let me

1118
00:59:42,720 --> 00:59:45,040
Speaker 1: take the Fender Rhodes from this particular song that I

1119
00:59:45,080 --> 00:59:47,400
Speaker 1: don't have the stems to and see if I can

1120
00:59:47,440 --> 00:59:50,800
Speaker 1: build a song from that. But besides that one moment,

1121
00:59:50,920 --> 00:59:53,040
Speaker 1: like I kind of thought it was going to be

1122
00:59:53,160 --> 00:59:58,360
Speaker 1: just a flood of kind of a return or at

1123
00:59:58,440 --> 01:00:01,520
Speaker 1: least a part two of the sample. Wow Wow West,

1124
01:00:01,560 --> 01:00:04,240
Speaker 1: that was you know, eighty six to ninety two, that

1125
01:00:04,320 --> 01:00:06,880
Speaker 1: sort of thing. But what this sort of sampling have

1126
01:00:06,960 --> 01:00:10,720
Speaker 1: you guys ever been? Have you guys even decided or

1127
01:00:10,960 --> 01:00:16,200
Speaker 1: considered that level of sampling where you start erasing the

1128
01:00:16,280 --> 01:00:21,920
Speaker 1: DNA of samples that exist to create new material. I

1129
01:00:21,960 --> 01:00:23,600
Speaker 1: hope I asked that question right.

1130
01:00:23,760 --> 01:00:29,360
Speaker 6: Yep, totally, Okay, totally. It feels like it's a strange crime.

1131
01:00:29,400 --> 01:00:32,040
Speaker 1: I also feel like it's a concept a crime, so

1132
01:00:32,280 --> 01:00:34,640
Speaker 1: a little bit.

1133
01:00:33,760 --> 01:00:35,440
Speaker 2: I feel every time I use it.

1134
01:00:35,480 --> 01:00:39,400
Speaker 1: I asked someone last week to like, you know, you know,

1135
01:00:39,520 --> 01:00:42,360
Speaker 1: astract some vocals from a song, and even then I

1136
01:00:42,360 --> 01:00:42,960
Speaker 1: felt guilty.

1137
01:00:43,000 --> 01:00:45,400
Speaker 2: So my heart was into making it.

1138
01:00:46,720 --> 01:00:50,240
Speaker 1: You know, No, it's it's it's it'll because it'll start

1139
01:00:50,280 --> 01:00:54,160
Speaker 1: off innocent now with just music, but then who knows,

1140
01:00:54,200 --> 01:00:57,840
Speaker 1: like what they'll use it for thirty years from now.

1141
01:00:57,400 --> 01:00:58,480
Speaker 2: With identity thefts.

1142
01:00:58,480 --> 01:01:00,920
Speaker 1: So I think I'm kind of scared of jumping in

1143
01:01:00,960 --> 01:01:03,880
Speaker 1: that pool because I feel like this is the beginning

1144
01:01:03,920 --> 01:01:07,760
Speaker 1: of the danger period. But what is your relationship with

1145
01:01:07,800 --> 01:01:10,080
Speaker 1: that level of technology and sampling.

1146
01:01:11,600 --> 01:01:13,480
Speaker 6: I don't think we thought about it too much. I

1147
01:01:13,520 --> 01:01:17,000
Speaker 6: know we bought Maladine maybe three years ago and I

1148
01:01:17,040 --> 01:01:21,160
Speaker 6: personally haven't used it once. We were like, yeah, it's

1149
01:01:21,160 --> 01:01:23,320
Speaker 6: going to be great. I kind of looked at it

1150
01:01:23,360 --> 01:01:26,000
Speaker 6: right now not now, but but I don't know, I

1151
01:01:26,040 --> 01:01:30,640
Speaker 6: feel like that's kind of, in a way, dishonoring the

1152
01:01:30,720 --> 01:01:33,880
Speaker 6: sample and the and the people who played on it,

1153
01:01:34,200 --> 01:01:36,840
Speaker 6: and and I don't know, maybe that's if that's just

1154
01:01:36,920 --> 01:01:39,440
Speaker 6: kind of an old fashioned attitude, and then the future

1155
01:01:39,480 --> 01:01:42,560
Speaker 6: is just going to be like taking out you know, Stevy,

1156
01:01:43,960 --> 01:01:44,200
Speaker 6: there was.

1157
01:01:44,240 --> 01:01:46,520
Speaker 1: Never that one song you man, if I could just

1158
01:01:46,520 --> 01:01:48,120
Speaker 1: give her the vocals.

1159
01:01:48,120 --> 01:01:52,120
Speaker 6: On that, Yeah, we try and do that with filters,

1160
01:01:52,280 --> 01:01:56,920
Speaker 6: but who knows what the future holds are. I don't

1161
01:01:56,960 --> 01:01:59,200
Speaker 6: know how Robbie thinks about that, but I.

1162
01:01:59,120 --> 01:02:01,200
Speaker 3: Don't know, Like I think some cool stuff like you

1163
01:02:01,240 --> 01:02:03,280
Speaker 3: mentioned able to and stuff like being able to stretch

1164
01:02:03,280 --> 01:02:07,160
Speaker 3: a sample, like a really really really far way further

1165
01:02:07,200 --> 01:02:08,880
Speaker 3: than we have could, Like we've done some of that

1166
01:02:08,960 --> 01:02:11,920
Speaker 3: kind of stuff. But I also love you know, the

1167
01:02:12,080 --> 01:02:15,040
Speaker 3: art form of like like say, the vocal sample for

1168
01:02:15,080 --> 01:02:17,760
Speaker 3: Since I Left You has got music underneath. We just

1169
01:02:17,800 --> 01:02:19,400
Speaker 3: had to filter it and then I had to chop

1170
01:02:19,440 --> 01:02:21,160
Speaker 3: it very finely, but you can still hear all these

1171
01:02:21,160 --> 01:02:23,640
Speaker 3: little bells and stuff, and it all adds to the

1172
01:02:23,840 --> 01:02:26,720
Speaker 3: sort of magic, even though yeah, auto tune and stuff.

1173
01:02:26,720 --> 01:02:30,320
Speaker 3: It's like it's kind of it's kind of beautiful that

1174
01:02:30,360 --> 01:02:30,760
Speaker 3: way too.

1175
01:02:30,960 --> 01:02:31,120
Speaker 4: You know.

1176
01:02:31,200 --> 01:02:34,480
Speaker 3: I think things would get quite clean and really like

1177
01:02:34,920 --> 01:02:38,960
Speaker 3: pristine sounding if you can like forensically remove elements, but

1178
01:02:39,040 --> 01:02:40,160
Speaker 3: I don't know if it would still.

1179
01:02:40,000 --> 01:02:40,600
Speaker 4: Have the magic.

1180
01:02:41,000 --> 01:02:44,640
Speaker 6: Yeah, it takeaway like the layers that you don't necessarily

1181
01:02:45,120 --> 01:02:48,240
Speaker 6: hear but you feel. And then if you do take

1182
01:02:48,280 --> 01:02:50,360
Speaker 6: them away, you're like, hey, something's missing here, but I

1183
01:02:50,400 --> 01:02:52,120
Speaker 6: can't tell what it is.

1184
01:02:52,200 --> 01:02:53,640
Speaker 2: Yeah.

1185
01:02:53,720 --> 01:02:55,800
Speaker 7: Yeah, that's the thing with like sample beast music. It's

1186
01:02:55,840 --> 01:02:58,960
Speaker 7: just so like even when like trying to replace stuff

1187
01:02:59,080 --> 01:03:01,280
Speaker 7: or you know, and it's just like, dude, when you

1188
01:03:01,320 --> 01:03:04,960
Speaker 7: sample something, you're not just sampling that song. You're sampling

1189
01:03:05,000 --> 01:03:08,360
Speaker 7: that day. You're sampling the engineer, you're sampling the outboard gear.

1190
01:03:08,560 --> 01:03:10,640
Speaker 7: You know, there's so many things that made it what

1191
01:03:10,680 --> 01:03:13,040
Speaker 7: it was. And when you start manipulating that a lot

1192
01:03:13,080 --> 01:03:14,480
Speaker 7: of times you can't kind of get too.

1193
01:03:14,320 --> 01:03:16,280
Speaker 2: Far away from home to where you lose the magic.

1194
01:03:16,840 --> 01:03:20,360
Speaker 6: Yeah, and that's like a spirit spirit in the music.

1195
01:03:20,640 --> 01:03:21,240
Speaker 2: Absolutely.

1196
01:03:21,720 --> 01:03:23,880
Speaker 5: Yeah, engineers should get paid for samples.

1197
01:03:24,040 --> 01:03:28,480
Speaker 2: Shut up, Steve. Yeah, that's real wrap.

1198
01:03:28,680 --> 01:03:30,960
Speaker 5: I'm gonna start at a petition.

1199
01:03:32,400 --> 01:03:33,320
Speaker 2: On the Sugar Network.

1200
01:03:33,680 --> 01:03:37,840
Speaker 1: Hey, oh, another question that I have. I have a theory,

1201
01:03:37,920 --> 01:03:41,160
Speaker 1: but I want to see if I'm correct. What was

1202
01:03:41,160 --> 01:03:44,960
Speaker 1: the What was the inspiration for the Wildflower album cover?

1203
01:03:46,200 --> 01:03:48,560
Speaker 4: It was that slashed down cover.

1204
01:03:49,120 --> 01:03:53,800
Speaker 2: I knew it. Yeah, when I first.

1205
01:03:56,200 --> 01:03:58,640
Speaker 1: When when literally when I first saw it, I was

1206
01:03:58,680 --> 01:04:02,640
Speaker 1: like wow, like and then all alternative world where Sly

1207
01:04:03,040 --> 01:04:06,760
Speaker 1: was was happy with his life and everything was going swimmingly.

1208
01:04:07,480 --> 01:04:09,480
Speaker 1: This would have been the album covered too. There's a

1209
01:04:09,560 --> 01:04:13,080
Speaker 1: ride going on yeah and always Wow.

1210
01:04:13,320 --> 01:04:19,160
Speaker 3: Okay, we actually got it founder World Quilting Champion, who

1211
01:04:19,200 --> 01:04:23,160
Speaker 3: she lives in Nebraska, and she quilted that cover for us,

1212
01:04:23,160 --> 01:04:24,960
Speaker 3: and we just took a photo of it, so we

1213
01:04:25,040 --> 01:04:27,400
Speaker 3: wanted it to look real like the Sly cover.

1214
01:04:27,960 --> 01:04:28,520
Speaker 7: Wow.

1215
01:04:28,960 --> 01:04:32,200
Speaker 6: So that's an actual made Yeah, that's a quilt.

1216
01:04:32,880 --> 01:04:36,439
Speaker 1: Whoa ship? No, I thought it was animated. You said,

1217
01:04:36,760 --> 01:04:38,960
Speaker 1: Oh my god, you're right. I'm looking at it right now.

1218
01:04:39,960 --> 01:04:42,320
Speaker 7: Who yeah, who got it?

1219
01:04:46,640 --> 01:04:48,320
Speaker 6: He still sleeps with it on his bed.

1220
01:04:48,640 --> 01:04:53,520
Speaker 2: You do. Congratulations, Robbie, there for it.

1221
01:04:54,920 --> 01:04:57,680
Speaker 7: Yeah, man, I wanted to ask y'all on the on

1222
01:04:57,760 --> 01:05:02,919
Speaker 7: the new record, Man, bruh, where did y'all find shrindav Yo?

1223
01:05:04,800 --> 01:05:05,280
Speaker 2: For real?

1224
01:05:05,600 --> 01:05:09,320
Speaker 7: I mean Sonanda, Sonanda Montreal, that's you know what. It's

1225
01:05:09,360 --> 01:05:11,800
Speaker 7: been going back for the past few years. But yeah,

1226
01:05:11,880 --> 01:05:13,160
Speaker 7: I was so happy.

1227
01:05:14,240 --> 01:05:16,120
Speaker 3: I can't remember how we got in touch, but we

1228
01:05:16,160 --> 01:05:20,160
Speaker 3: had this song and Tony and myself and I collaborate

1229
01:05:20,240 --> 01:05:23,320
Speaker 3: on this record and he it was like this beautiful

1230
01:05:23,320 --> 01:05:26,360
Speaker 3: piece of music. We had this fashy Bunian vocal and

1231
01:05:26,400 --> 01:05:29,160
Speaker 3: it was honestly not going to make the record because

1232
01:05:29,160 --> 01:05:32,600
Speaker 3: it was like there's just no voice that can that

1233
01:05:32,720 --> 01:05:33,080
Speaker 3: can fit.

1234
01:05:33,240 --> 01:05:34,160
Speaker 4: And I can't remember.

1235
01:05:34,200 --> 01:05:36,720
Speaker 3: One day it was Tony and myself we just had

1236
01:05:36,720 --> 01:05:38,600
Speaker 3: this idea and we were like, we wonder if we

1237
01:05:38,640 --> 01:05:41,160
Speaker 3: could ever get in touch with him, or if he

1238
01:05:41,200 --> 01:05:45,280
Speaker 3: would know who we are. And somebody got in touch

1239
01:05:45,280 --> 01:05:48,680
Speaker 3: with Sernanda and it's been honestly the most incredible, one

1240
01:05:48,680 --> 01:05:50,480
Speaker 3: of the most beautiful experiences in my life.

1241
01:05:50,560 --> 01:05:51,880
Speaker 4: He's warmer.

1242
01:05:53,960 --> 01:05:57,000
Speaker 2: Answer. I didn't know he is.

1243
01:05:57,320 --> 01:06:02,080
Speaker 3: Incredible, so open hearted and just so generous with his time.

1244
01:06:02,120 --> 01:06:04,560
Speaker 3: That's probably the most beautiful thing that, like people just

1245
01:06:04,600 --> 01:06:08,000
Speaker 3: don't dial in a vocal and here you go. It's

1246
01:06:08,080 --> 01:06:10,200
Speaker 3: like so generous with their time to go back and

1247
01:06:10,240 --> 01:06:13,640
Speaker 3: forth and really get something that feels like it was

1248
01:06:13,960 --> 01:06:14,720
Speaker 3: meant to be there.

1249
01:06:14,800 --> 01:06:17,680
Speaker 7: You know, his emails to track that together, y'all tracked

1250
01:06:17,720 --> 01:06:20,040
Speaker 7: that together? Or was he tracked it on his.

1251
01:06:21,120 --> 01:06:23,000
Speaker 6: Yeah, he tracked it on his side, But there were

1252
01:06:23,000 --> 01:06:24,880
Speaker 6: a lot of back and forth with emails and stuff,

1253
01:06:24,880 --> 01:06:28,520
Speaker 6: and his emails are an absolute joy to read. It's

1254
01:06:29,800 --> 01:06:35,000
Speaker 6: it is. He's so eccentric but smart and expressive in

1255
01:06:35,000 --> 01:06:38,600
Speaker 6: his emails and he's just like Robbie, go, we couldn't

1256
01:06:38,640 --> 01:06:40,720
Speaker 6: you email from Sernandra and go send it? I want

1257
01:06:40,720 --> 01:06:44,400
Speaker 6: to read it. It's like a it was so amazing

1258
01:06:44,440 --> 01:06:44,800
Speaker 6: to read.

1259
01:06:44,840 --> 01:06:49,560
Speaker 8: And then poetry, really real poetry, and just listening to

1260
01:06:49,640 --> 01:06:52,800
Speaker 8: his voice, it's like it is one of the great

1261
01:06:52,920 --> 01:06:56,000
Speaker 8: voices in my opinion of all times.

1262
01:06:56,360 --> 01:07:01,560
Speaker 6: He's still incredible, like that song and I still just go,

1263
01:07:02,440 --> 01:07:07,280
Speaker 6: what a vocal performance. It's incredible, incredible.

1264
01:07:07,720 --> 01:07:10,480
Speaker 7: So on the other side, I guess maybe the polar

1265
01:07:10,760 --> 01:07:14,000
Speaker 7: opposite tricky, what was that like.

1266
01:07:16,240 --> 01:07:16,320
Speaker 6: That.

1267
01:07:17,040 --> 01:07:18,800
Speaker 7: I love him, man, I love it.

1268
01:07:19,000 --> 01:07:21,960
Speaker 3: Actually, actually we should have mentioned when we're talking about

1269
01:07:22,040 --> 01:07:25,000
Speaker 3: nineties sample music too, like his first record.

1270
01:07:24,960 --> 01:07:27,600
Speaker 7: Massive Attack, Oh yeah Max and Kay Yeah.

1271
01:07:27,360 --> 01:07:29,760
Speaker 3: Yeah exactly, and so that that was stuff that was

1272
01:07:29,760 --> 01:07:32,320
Speaker 3: filtering through to us from England at the time too,

1273
01:07:32,400 --> 01:07:34,800
Speaker 3: So it was like he was one of our heroes,

1274
01:07:34,880 --> 01:07:39,240
Speaker 3: you know, and the Massive Attack records, and he was

1275
01:07:39,280 --> 01:07:40,920
Speaker 3: in Berlin making a record.

1276
01:07:41,000 --> 01:07:42,840
Speaker 4: He just put that record out last year.

1277
01:07:42,880 --> 01:07:44,800
Speaker 3: It's a really great record, and he was just like,

1278
01:07:45,400 --> 01:07:47,240
Speaker 3: I happen to be in the studio right now, what

1279
01:07:47,320 --> 01:07:49,000
Speaker 3: have you got? And we would just send him a song.

1280
01:07:49,080 --> 01:07:53,000
Speaker 3: The first song the next morning came back with full

1281
01:07:53,080 --> 01:07:55,800
Speaker 3: lyrics and then he was like that was great, send

1282
01:07:55,840 --> 01:07:57,600
Speaker 3: me another one. And we ended up that went on

1283
01:07:57,640 --> 01:08:00,480
Speaker 3: for like two weeks. We did like eight songs together.

1284
01:08:02,080 --> 01:08:05,000
Speaker 3: And then we got like a message from his management

1285
01:08:05,040 --> 01:08:07,120
Speaker 3: to our management, who didn't know anything about this, and

1286
01:08:07,160 --> 01:08:09,560
Speaker 3: they were like, are you guys recording together? What you've

1287
01:08:09,560 --> 01:08:13,800
Speaker 3: made half a record? What's going on? Like a paperwork something,

1288
01:08:14,680 --> 01:08:17,720
Speaker 3: But yeah, that was he was like just he was

1289
01:08:17,720 --> 01:08:19,720
Speaker 3: on a hot streak making that record, so he was

1290
01:08:19,760 --> 01:08:22,280
Speaker 3: like anything you can send me, I'm on fire.

1291
01:08:22,320 --> 01:08:24,920
Speaker 4: At the moment, and it is.

1292
01:08:24,880 --> 01:08:27,080
Speaker 6: So good when it's when it's just the artist to

1293
01:08:27,360 --> 01:08:29,920
Speaker 6: artists as well, and it's not going through so you

1294
01:08:29,920 --> 01:08:32,320
Speaker 6: know that the management obviously didn't know what was happening

1295
01:08:32,640 --> 01:08:34,880
Speaker 6: or whatever, and we were just doing our own thing

1296
01:08:35,000 --> 01:08:38,600
Speaker 6: without all that, and it's that's, you know, such a

1297
01:08:38,640 --> 01:08:43,320
Speaker 6: rewarding relationship for us to kind of, you know, have

1298
01:08:43,479 --> 01:08:45,680
Speaker 6: that situation with people we grew up listening to and

1299
01:08:45,720 --> 01:08:47,960
Speaker 6: our heroes and everything. And I think you get it

1300
01:08:48,040 --> 01:08:49,880
Speaker 6: just so much of a more pure product when it's

1301
01:08:49,920 --> 01:08:53,240
Speaker 6: not you know, through their people, through their people and

1302
01:08:53,040 --> 01:08:53,839
Speaker 6: all that stuff.

1303
01:08:54,240 --> 01:08:56,920
Speaker 7: Yeah, like you guys, the people y'all picked. Man, you know,

1304
01:08:56,960 --> 01:08:59,880
Speaker 7: I can't front like it is pretty much. I mean

1305
01:09:00,240 --> 01:09:03,439
Speaker 7: it's like a dream, you know, just just me being

1306
01:09:03,520 --> 01:09:06,160
Speaker 7: just the music nerd. I am like the people you

1307
01:09:06,200 --> 01:09:08,479
Speaker 7: get on every record. I'm like, yo, like that was

1308
01:09:08,560 --> 01:09:11,240
Speaker 7: perfect fit. And when I saw it was, you know,

1309
01:09:11,880 --> 01:09:14,400
Speaker 7: Terrence Trimp Darby was on this one and then Tricky.

1310
01:09:14,760 --> 01:09:16,800
Speaker 2: But when I saw that y'all got fucking Cornelius.

1311
01:09:16,840 --> 01:09:19,400
Speaker 7: I was like, yo, dude, like, yeah, they've been in

1312
01:09:19,400 --> 01:09:22,200
Speaker 7: my iTunes or some ship, like you almost know, Like

1313
01:09:22,400 --> 01:09:26,080
Speaker 7: what was I'm like, dude, they picking all my guys.

1314
01:09:27,160 --> 01:09:29,320
Speaker 2: What was he like? Man? What was it? What was

1315
01:09:29,360 --> 01:09:30,640
Speaker 2: it like working with him?

1316
01:09:31,040 --> 01:09:33,400
Speaker 3: But I don't I don't know what to say about Keg. Really,

1317
01:09:33,400 --> 01:09:36,080
Speaker 3: he's like he's a dear friend. And we met him

1318
01:09:36,120 --> 01:09:38,519
Speaker 3: like in two thousand and one or something because he.

1319
01:09:38,520 --> 01:09:41,160
Speaker 4: Put on that album Fantasma Asthma.

1320
01:09:41,800 --> 01:09:44,160
Speaker 3: Yeah, and we were making since I left you listening

1321
01:09:44,200 --> 01:09:44,959
Speaker 3: to that album.

1322
01:09:45,000 --> 01:09:46,599
Speaker 2: Just this is my check.

1323
01:09:46,680 --> 01:09:47,640
Speaker 7: That was my ship.

1324
01:09:49,400 --> 01:09:52,479
Speaker 4: My check exactly. But it's kind of like.

1325
01:09:52,880 --> 01:09:56,640
Speaker 7: Disney one two three four, five, one two four or

1326
01:09:56,680 --> 01:09:57,920
Speaker 7: five exactly.

1327
01:09:58,600 --> 01:10:02,240
Speaker 3: Yes, because Tokyo is only like same time zoners here

1328
01:10:02,240 --> 01:10:04,479
Speaker 3: in ten hours, we go a lot to DJ and

1329
01:10:04,479 --> 01:10:06,759
Speaker 3: so we've become friends over the years and he'll always

1330
01:10:06,760 --> 01:10:11,679
Speaker 3: show us like record stores and Everything's this sweetest guy.

1331
01:10:11,880 --> 01:10:15,280
Speaker 3: And then he just happened to be in Los Angeles

1332
01:10:15,280 --> 01:10:17,040
Speaker 3: doing a show when we were there recording, so that

1333
01:10:17,040 --> 01:10:19,240
Speaker 3: song just came about, like and it was.

1334
01:10:19,240 --> 01:10:21,080
Speaker 6: Robby's birthday at the time.

1335
01:10:21,520 --> 01:10:24,439
Speaker 3: Yeah, recording with him with a happy birthday.

1336
01:10:24,920 --> 01:10:27,800
Speaker 6: The recording with him was so incredible the process because

1337
01:10:27,800 --> 01:10:30,320
Speaker 6: we kind of had the beat just going and he

1338
01:10:30,400 --> 01:10:32,439
Speaker 6: just had a guitar there and he'd be like, all right,

1339
01:10:32,520 --> 01:10:34,600
Speaker 6: let's do some takes and just you know, it just

1340
01:10:34,760 --> 01:10:38,280
Speaker 6: all around, and so we'd sit there and go the

1341
01:10:38,360 --> 01:10:46,439
Speaker 6: comp the COUMP. Then the next take they were just

1342
01:10:46,560 --> 01:10:49,840
Speaker 6: all started layering up that you got that. We're all

1343
01:10:49,880 --> 01:10:53,160
Speaker 6: like okay, okay, and then towards the end everyone's like, oh,

1344
01:10:53,200 --> 01:10:56,479
Speaker 6: we understand now. So he had this whole thing and

1345
01:10:56,520 --> 01:10:59,479
Speaker 6: he said it was like twelve layers of different guitar

1346
01:10:59,600 --> 01:11:02,280
Speaker 6: tracks that he was just like making and its just.

1347
01:11:04,240 --> 01:11:04,760
Speaker 7: That's him.

1348
01:11:05,320 --> 01:11:07,240
Speaker 6: Yeah, that's so incredible to watch.

1349
01:11:07,240 --> 01:11:11,559
Speaker 7: It was fantasma like fantasma like fantasma like that fucked

1350
01:11:11,560 --> 01:11:13,439
Speaker 7: me up when I heard it. And then the one

1351
01:11:13,520 --> 01:11:15,439
Speaker 7: that like when I think it was after I graduated

1352
01:11:15,479 --> 01:11:18,720
Speaker 7: college when he came with point like I played, I

1353
01:11:18,760 --> 01:11:21,679
Speaker 7: still play that record, like, you know, I love that album.

1354
01:11:21,720 --> 01:11:26,600
Speaker 2: Man, he's a nut. I love can I ask what

1355
01:11:26,760 --> 01:11:28,600
Speaker 2: was it like working with Johnny.

1356
01:11:28,200 --> 01:11:31,799
Speaker 3: Moyer that that was another one that was done remotely,

1357
01:11:32,840 --> 01:11:36,160
Speaker 3: but I still remember the morning actually that you didn't get.

1358
01:11:36,080 --> 01:11:38,480
Speaker 2: The nerd out on any Smith's questions.

1359
01:11:38,080 --> 01:11:43,439
Speaker 3: Or oh my goodness, I think we would have overwhelmed him.

1360
01:11:43,680 --> 01:11:46,679
Speaker 1: I think, yeah, when he when he came to sitting

1361
01:11:46,680 --> 01:11:50,040
Speaker 1: with us, like I think we I that's probably the

1362
01:11:50,080 --> 01:11:53,760
Speaker 1: only time that we really nerded out on like tell

1363
01:11:53,840 --> 01:11:55,760
Speaker 1: us more stories, you know, that's what.

1364
01:11:56,520 --> 01:12:01,200
Speaker 6: Yeah, but we actually met we we saw him even

1365
01:12:01,240 --> 01:12:04,800
Speaker 6: before we approached him to play on the track. We

1366
01:12:04,800 --> 01:12:07,720
Speaker 6: were like he was at the next table at us

1367
01:12:07,760 --> 01:12:11,160
Speaker 6: at Fuji Rock Festival, like just backstage, and we'll both

1368
01:12:11,200 --> 01:12:13,320
Speaker 6: just go go up to him and ask him, no,

1369
01:12:13,439 --> 01:12:17,080
Speaker 6: you go on, come on, say something, meet him. For

1370
01:12:17,120 --> 01:12:19,280
Speaker 6: about fifteen minutes, we're trying to pick each other up

1371
01:12:19,320 --> 01:12:20,760
Speaker 6: to go off to him and in the end room

1372
01:12:20,840 --> 01:12:23,720
Speaker 6: just like we can't do it. But you know, we

1373
01:12:24,080 --> 01:12:26,160
Speaker 6: got to come back direntually and he was he was

1374
01:12:26,240 --> 01:12:29,400
Speaker 6: really great, and he actually sent us a message after

1375
01:12:29,520 --> 01:12:31,639
Speaker 6: the Divine Call, which is the song he's on it,

1376
01:12:31,640 --> 01:12:34,080
Speaker 6: it kind of got some play in England and he's like,

1377
01:12:34,120 --> 01:12:36,519
Speaker 6: thanks guys, my kids think I'm cool again. Now.

1378
01:12:39,640 --> 01:12:43,280
Speaker 1: Hey, have you guys even considered at thought about releasing

1379
01:12:43,400 --> 01:12:48,240
Speaker 1: like all instrumental versions of the last two records, no,

1380
01:12:48,680 --> 01:12:51,720
Speaker 1: just for the Avalanche Purists or whatever, like just to

1381
01:12:51,800 --> 01:12:56,280
Speaker 1: hear it, because sometimes I you know, I know that

1382
01:12:57,000 --> 01:13:00,759
Speaker 1: you guys are going through a progression and you're the

1383
01:13:00,760 --> 01:13:04,919
Speaker 1: the you know, the metamorphosis of the group sort of blooming.

1384
01:13:05,000 --> 01:13:08,760
Speaker 1: But so there's no just there's not an instrumental mixed

1385
01:13:08,800 --> 01:13:11,360
Speaker 1: version of of of any of any of this stuff

1386
01:13:11,360 --> 01:13:11,800
Speaker 1: out there.

1387
01:13:12,920 --> 01:13:14,439
Speaker 4: Not no, but we have them.

1388
01:13:14,920 --> 01:13:20,360
Speaker 6: We have them. Yeah, I think we can. We can.

1389
01:13:24,640 --> 01:13:26,479
Speaker 2: That's really what I want to ask.

1390
01:13:28,120 --> 01:13:28,519
Speaker 6: Interviews.

1391
01:13:29,280 --> 01:13:32,880
Speaker 1: Yeah, yeah, I just want to see the now will

1392
01:13:32,920 --> 01:13:35,200
Speaker 1: you do you do you guys ever think that you'll

1393
01:13:35,240 --> 01:13:41,840
Speaker 1: try to do another all instrumental project as far as

1394
01:13:41,880 --> 01:13:44,599
Speaker 1: I know, you're probably working on something now and just yeah.

1395
01:13:44,439 --> 01:13:46,160
Speaker 4: We're starting another now?

1396
01:13:46,520 --> 01:13:50,000
Speaker 3: I think yeah, because it's just like, I mean, working

1397
01:13:50,000 --> 01:13:53,320
Speaker 3: with vocalists like that for us is almost like it's

1398
01:13:53,360 --> 01:13:56,720
Speaker 3: still you know, an active curation and almost sampling in

1399
01:13:56,720 --> 01:13:59,479
Speaker 3: a way. But I feel like we're we're we're making

1400
01:13:59,520 --> 01:14:02,360
Speaker 3: a slight back towards just to sample records.

1401
01:14:03,920 --> 01:14:06,280
Speaker 7: Well whatever, whatever the next record is. I'm putting my

1402
01:14:06,320 --> 01:14:12,040
Speaker 7: bed in. I won't end on that motherfucker. So hey, listen, man,

1403
01:14:12,760 --> 01:14:14,280
Speaker 7: just talking.

1404
01:14:14,120 --> 01:14:16,719
Speaker 6: Yeah, whatever, let's do it.

1405
01:14:17,439 --> 01:14:19,320
Speaker 2: Man. I'm dude.

1406
01:14:19,320 --> 01:14:23,160
Speaker 1: I almost feel like this is this is probably the

1407
01:14:23,240 --> 01:14:27,720
Speaker 1: least that I've I've inserted questions in an interview only

1408
01:14:27,760 --> 01:14:32,120
Speaker 1: because I feel like every question that I want to

1409
01:14:32,160 --> 01:14:35,240
Speaker 1: know the answer to is almost like inconsequential, like just

1410
01:14:36,400 --> 01:14:38,760
Speaker 1: okay that particular snare that you use on this song

1411
01:14:39,040 --> 01:14:40,240
Speaker 1: versus the problem.

1412
01:14:41,720 --> 01:14:43,920
Speaker 2: Wait, I do I do want to know who?

1413
01:14:43,960 --> 01:14:48,880
Speaker 1: Who uh decides the concept for your videos man, especially

1414
01:14:48,920 --> 01:14:52,640
Speaker 1: with Frankie Sinatra, Like well just all your videos, all

1415
01:14:52,640 --> 01:14:55,599
Speaker 1: your videos are just some next level ship Like who

1416
01:14:55,680 --> 01:14:59,080
Speaker 1: comes with those concepts?

1417
01:14:59,080 --> 01:15:03,000
Speaker 6: It's mainly the the video people. So we get we

1418
01:15:03,080 --> 01:15:06,160
Speaker 6: get pitched some things and then we kind of, I

1419
01:15:06,160 --> 01:15:11,840
Speaker 6: guess just pick the craziest one. Really yeah, but yeah

1420
01:15:12,040 --> 01:15:16,000
Speaker 6: it was Frankie Sinatra. I hope this doesn't sound bad,

1421
01:15:16,040 --> 01:15:19,160
Speaker 6: but we we actually had a zoom or a skype

1422
01:15:19,200 --> 01:15:22,840
Speaker 6: with the producers who were gonna be shooting the video,

1423
01:15:22,920 --> 01:15:26,880
Speaker 6: and there French and like we struggled to understand what.

1424
01:15:30,760 --> 01:15:34,000
Speaker 2: I'm just like you guys.

1425
01:15:35,000 --> 01:15:35,880
Speaker 6: Kind of sounds.

1426
01:15:36,680 --> 01:15:39,480
Speaker 4: The lovely people were so.

1427
01:15:39,280 --> 01:15:41,760
Speaker 6: Sweet and and the lady had this beautiful voice. It

1428
01:15:41,760 --> 01:15:44,680
Speaker 6: was almost like a movie like it was just and

1429
01:15:44,880 --> 01:15:45,559
Speaker 6: we like, oh.

1430
01:15:45,400 --> 01:15:54,639
Speaker 2: Look whatever, oh my god, Wow Wow. Can I ask

1431
01:15:54,680 --> 01:15:55,360
Speaker 2: one more question?

1432
01:15:56,880 --> 01:16:01,240
Speaker 5: So, in messing with loops and sample and beats and

1433
01:16:02,240 --> 01:16:05,840
Speaker 5: things like movie dialogue and horses and everything that you

1434
01:16:06,000 --> 01:16:08,560
Speaker 5: that you end up creating your music.

1435
01:16:09,800 --> 01:16:12,880
Speaker 2: With, how often do.

1436
01:16:12,840 --> 01:16:15,080
Speaker 5: You go in with with an idea, I'm going for

1437
01:16:15,520 --> 01:16:20,400
Speaker 5: something specific, but then as quest eleven, I am constantly

1438
01:16:20,400 --> 01:16:24,800
Speaker 5: talking about, yeah, some kind of happy accident happens and

1439
01:16:25,240 --> 01:16:28,759
Speaker 5: ends up something better than your original idea or different.

1440
01:16:28,880 --> 01:16:34,800
Speaker 5: And how often does that play into what we hear

1441
01:16:34,800 --> 01:16:35,719
Speaker 5: in the final product.

1442
01:16:37,520 --> 01:16:41,360
Speaker 3: It happens all the time. Really, that's almost the whole thing.

1443
01:16:42,000 --> 01:16:46,120
Speaker 3: Like you know, like we will talk about like where

1444
01:16:46,120 --> 01:16:48,600
Speaker 3: we want to try and go next, but you but

1445
01:16:48,800 --> 01:16:51,280
Speaker 3: you can't predict the mood you're going to be in

1446
01:16:52,000 --> 01:16:54,040
Speaker 3: and the record you're going to be sampling at that time,

1447
01:16:54,080 --> 01:16:57,680
Speaker 3: and maybe just one little like a bit of atmosphere

1448
01:16:57,720 --> 01:16:59,840
Speaker 3: at the end of someone's song or something. It's like

1449
01:17:00,920 --> 01:17:03,360
Speaker 3: and you're just in the right mood to hear how

1450
01:17:03,400 --> 01:17:04,360
Speaker 3: you could flip that.

1451
01:17:04,320 --> 01:17:05,400
Speaker 4: Moment and.

1452
01:17:07,800 --> 01:17:12,000
Speaker 5: If you put something, if you put something in the

1453
01:17:12,040 --> 01:17:16,160
Speaker 5: wrong spot, and then if you put it a beat

1454
01:17:16,200 --> 01:17:20,080
Speaker 5: behind or something, and suddenly you're a rhythmic genius.

1455
01:17:22,760 --> 01:17:24,479
Speaker 4: That's also like our friendship too.

1456
01:17:24,520 --> 01:17:26,840
Speaker 3: It's like having to be able to tell each other

1457
01:17:26,880 --> 01:17:29,920
Speaker 3: that you know, that thing you made yesterday morning in

1458
01:17:30,040 --> 01:17:33,240
Speaker 3: five minutes is like, is better than the thing you

1459
01:17:34,280 --> 01:17:36,320
Speaker 3: spend a month on when you had this big concept

1460
01:17:36,439 --> 01:17:40,000
Speaker 3: and you know, yeah, you just captured some magic there,

1461
01:17:40,080 --> 01:17:42,760
Speaker 3: and that's we should roll with that, you know. I

1462
01:17:42,760 --> 01:17:45,920
Speaker 3: think that was that was also part of Wildflow two,

1463
01:17:46,000 --> 01:17:47,840
Speaker 3: is like that magic of the five minutes, finding the

1464
01:17:47,840 --> 01:17:49,960
Speaker 3: great loop and everything, and then we were just layer

1465
01:17:50,040 --> 01:17:53,479
Speaker 3: and layer and layer, and in the end the initial

1466
01:17:53,520 --> 01:17:55,840
Speaker 3: thing is like this much of something that's like that,

1467
01:17:55,880 --> 01:17:58,080
Speaker 3: and then we like we went through a process towards

1468
01:17:58,120 --> 01:18:00,599
Speaker 3: the end of making it with which took a lot

1469
01:18:00,640 --> 01:18:02,719
Speaker 3: of that away and this started to shine again.

1470
01:18:03,640 --> 01:18:04,000
Speaker 2: I don't know.

1471
01:18:04,240 --> 01:18:08,960
Speaker 7: Yeah, Kurt vow Man, how did y'all go with him

1472
01:18:09,000 --> 01:18:11,000
Speaker 7: his record? He's all right, that's like I love that

1473
01:18:11,080 --> 01:18:14,240
Speaker 7: song and I always dug him. How did y'all hook up?

1474
01:18:15,120 --> 01:18:15,439
Speaker 4: It was?

1475
01:18:15,520 --> 01:18:17,960
Speaker 3: That was like a last song we finished for the record,

1476
01:18:18,000 --> 01:18:19,960
Speaker 3: and once again it was a beautiful piece of music.

1477
01:18:19,960 --> 01:18:22,640
Speaker 3: But we just and I just play his records like

1478
01:18:22,680 --> 01:18:29,840
Speaker 3: all the time, so huge fan, and we just reached out,

1479
01:18:30,560 --> 01:18:32,760
Speaker 3: which reached out on Instagram and he was like down

1480
01:18:32,800 --> 01:18:35,120
Speaker 3: for it. I think he might have meant messaged us

1481
01:18:35,120 --> 01:18:37,200
Speaker 3: about something else in the past and then we're like,

1482
01:18:37,240 --> 01:18:40,960
Speaker 3: we've got this song and yeah, he just did this

1483
01:18:41,000 --> 01:18:45,439
Speaker 3: beautiful kind of like poetic rambling spoken word thing that

1484
01:18:45,520 --> 01:18:46,000
Speaker 3: was beautiful.

1485
01:18:46,040 --> 01:18:48,320
Speaker 4: I still remember the day that that arrived. Actually, it

1486
01:18:48,400 --> 01:18:52,640
Speaker 4: was like.

1487
01:18:50,600 --> 01:18:53,120
Speaker 6: Like I remember the day that that Robbie played it

1488
01:18:53,160 --> 01:18:55,080
Speaker 6: to me, and after he put the vocals into the track,

1489
01:18:55,080 --> 01:18:57,120
Speaker 6: and we had that track for a long time and

1490
01:18:57,320 --> 01:18:59,240
Speaker 6: it was just kind of like what do we do

1491
01:18:59,280 --> 01:19:01,679
Speaker 6: with it? Like the melodic kind of thing, and then

1492
01:19:02,520 --> 01:19:04,320
Speaker 6: he played with the thing that curtain and I was

1493
01:19:04,360 --> 01:19:09,719
Speaker 6: just like, played again he played. I just went that's done.

1494
01:19:09,840 --> 01:19:12,479
Speaker 6: That's perfect. That's exactly what you know. Just one of

1495
01:19:12,520 --> 01:19:13,960
Speaker 6: those things where you're like you don't have to am

1496
01:19:14,000 --> 01:19:16,200
Speaker 6: and a about it. It's like, oh, we have to

1497
01:19:16,280 --> 01:19:17,880
Speaker 6: change it around a little bit, or maybe if we

1498
01:19:18,000 --> 01:19:21,439
Speaker 6: cut this bit of perfect. It just felt so good

1499
01:19:21,520 --> 01:19:23,320
Speaker 6: and it was just like, that's it, that's done.

1500
01:19:23,400 --> 01:19:24,360
Speaker 2: Yeah.

1501
01:19:24,400 --> 01:19:26,800
Speaker 7: What made y'all come back? Because I'm be real, I

1502
01:19:26,880 --> 01:19:30,000
Speaker 7: was surprised to see that we got an Avalanche's album

1503
01:19:30,040 --> 01:19:33,280
Speaker 7: in twenty twenty because after Wildflower, I was expecting Night

1504
01:19:33,320 --> 01:19:37,040
Speaker 7: we would be another ten years. I was ready to

1505
01:19:37,040 --> 01:19:38,760
Speaker 7: wait it out, but y'all came back. I was like,

1506
01:19:38,760 --> 01:19:42,439
Speaker 7: all right, what led to the I guess the quicker

1507
01:19:42,479 --> 01:19:44,640
Speaker 7: turnaround in records like where are you'll at now? In

1508
01:19:44,680 --> 01:19:46,680
Speaker 7: your lives where y'all can kind of turn around a

1509
01:19:46,680 --> 01:19:47,320
Speaker 7: little quicker.

1510
01:19:48,280 --> 01:19:50,280
Speaker 3: I think we were just freed up from the long

1511
01:19:50,320 --> 01:19:53,439
Speaker 3: sixteen years. You know, we felt the pressure to follow

1512
01:19:53,439 --> 01:19:57,040
Speaker 3: offense I left you, and then once we made another

1513
01:19:57,120 --> 01:20:00,680
Speaker 3: really great sample based record in Wildcloud, that we felt like,

1514
01:20:01,479 --> 01:20:03,960
Speaker 3: you know that that was a really worthy follow up

1515
01:20:04,040 --> 01:20:06,360
Speaker 3: since I left you, we just felt free, and you know,

1516
01:20:06,439 --> 01:20:09,160
Speaker 3: we just got back to the very simple flow of

1517
01:20:09,200 --> 01:20:11,840
Speaker 3: creating and not overthinking, and it's just flowing really quickly.

1518
01:20:11,880 --> 01:20:14,240
Speaker 3: We've already got a bunch more songs as well, and.

1519
01:20:15,720 --> 01:20:18,799
Speaker 6: It's so it's so fun to be an actual touring

1520
01:20:18,840 --> 01:20:22,919
Speaker 6: band and not you know, broke musicians in our houses

1521
01:20:22,960 --> 01:20:26,880
Speaker 6: working around you know, we played Coachella and we're doing

1522
01:20:26,920 --> 01:20:29,400
Speaker 6: Glaston Raymond, like what we should have been doing this

1523
01:20:29,640 --> 01:20:34,200
Speaker 6: ten years ago. Like that's inspiration for us.

1524
01:20:34,040 --> 01:20:40,200
Speaker 2: And brand I love it.

1525
01:20:40,680 --> 01:20:46,559
Speaker 1: Wait, my last question about a guest on your record, what.

1526
01:20:46,600 --> 01:20:50,360
Speaker 2: Was the process of like working with a River's Kuma? Yeah?

1527
01:20:50,760 --> 01:20:55,200
Speaker 1: Yeah, And did you did you resist any Pinkerton fan

1528
01:20:55,280 --> 01:20:58,720
Speaker 1: out moments or just you.

1529
01:20:58,760 --> 01:21:03,360
Speaker 3: Know that was so cool And I think we grew

1530
01:21:03,439 --> 01:21:06,040
Speaker 3: up loving like you know, we have love for like

1531
01:21:06,080 --> 01:21:08,320
Speaker 3: the beach boys, and he's someone who I can hear

1532
01:21:08,360 --> 01:21:10,439
Speaker 3: that in his music and he's like, I can write

1533
01:21:10,680 --> 01:21:15,280
Speaker 3: such an amazing pop hook. Yeah, you know, And I

1534
01:21:15,320 --> 01:21:17,439
Speaker 3: mean Tony can tell the story. But I think we'd

1535
01:21:17,479 --> 01:21:20,200
Speaker 3: already tracked the song. And then he was in Melbourne.

1536
01:21:20,960 --> 01:21:23,200
Speaker 3: Did we meet him beforehand, Tony or no?

1537
01:21:23,240 --> 01:21:27,400
Speaker 6: He so he sent us like the vocals, so he

1538
01:21:27,479 --> 01:21:31,280
Speaker 6: had like sent a spreadsheet with three different lyric lyric

1539
01:21:31,400 --> 01:21:33,599
Speaker 6: paragraphs of.

1540
01:21:33,520 --> 01:21:37,680
Speaker 3: All his hooks, just in a spreadsheet laid out, and he.

1541
01:21:37,720 --> 01:21:43,720
Speaker 6: Was like, choose, choose one, but we need to hear

1542
01:21:43,760 --> 01:21:46,080
Speaker 6: the melodies, like we want to hear how it goes.

1543
01:21:46,160 --> 01:21:49,400
Speaker 6: So he's like, okay, and he set the melodies for

1544
01:21:49,960 --> 01:21:53,040
Speaker 6: each you know, little lyric thing he had and.

1545
01:21:53,600 --> 01:21:55,959
Speaker 2: Like a whole bunch of hooks and you could choose.

1546
01:21:55,760 --> 01:22:02,200
Speaker 6: One, he said, he said three. So in the end

1547
01:22:02,240 --> 01:22:04,600
Speaker 6: we were just like, they're all really good. Can we

1548
01:22:04,680 --> 01:22:08,719
Speaker 6: have them all? So, I mean we worked them all

1549
01:22:08,800 --> 01:22:11,760
Speaker 6: into the into the track eventually, and you know, like

1550
01:22:11,840 --> 01:22:14,680
Speaker 6: the outro and the verse of the chorus and so

1551
01:22:14,760 --> 01:22:18,240
Speaker 6: that made up the three different things. But and so

1552
01:22:18,280 --> 01:22:22,080
Speaker 6: we ended up meeting him in Melbourne and like they

1553
01:22:22,080 --> 01:22:24,840
Speaker 6: were out they were supporting the food fighters at Big

1554
01:22:24,880 --> 01:22:27,760
Speaker 6: Stadium and we're like, okay, we'll go. So Robbie and

1555
01:22:27,760 --> 01:22:29,839
Speaker 6: I spent a day like looking at all the coolest

1556
01:22:29,880 --> 01:22:32,479
Speaker 6: bars to take him in Melbourne, and you know, you

1557
01:22:32,520 --> 01:22:34,559
Speaker 6: want to impress him and do all these really cool things.

1558
01:22:34,600 --> 01:22:36,960
Speaker 6: And in the end it was raining, and all he

1559
01:22:37,000 --> 01:22:38,800
Speaker 6: wanted to do is like we got some umbrellas from

1560
01:22:38,840 --> 01:22:40,599
Speaker 6: the hotel. He just wanted to walk around the city

1561
01:22:40,640 --> 01:22:43,600
Speaker 6: in the rain. And then we stopped at a Starbucks

1562
01:22:43,600 --> 01:22:45,479
Speaker 6: and had a coffee and spoke for about an hour

1563
01:22:45,800 --> 01:22:51,400
Speaker 6: and then went back to the hotel. So I was like, Okay,

1564
01:22:51,479 --> 01:22:53,040
Speaker 6: I guess we won't be going to this cool bar

1565
01:22:53,080 --> 01:22:55,280
Speaker 6: where there's like, you know, all the girls and all

1566
01:22:55,320 --> 01:22:58,440
Speaker 6: the crazy shit. Come on, We're just sit in Starbucks.

1567
01:22:58,439 --> 01:23:00,320
Speaker 6: But in that way, it was like perfect.

1568
01:23:00,760 --> 01:23:05,759
Speaker 1: Well, actually, wait, speaking of your Beach Boys fandom, assuming

1569
01:23:05,920 --> 01:23:09,080
Speaker 1: assuming that the woman who worked with you for sample

1570
01:23:09,120 --> 01:23:13,120
Speaker 1: clearances is the same lady that cleared the samples for

1571
01:23:13,439 --> 01:23:15,800
Speaker 1: Paul's boutique. I don't know which albums he did it for,

1572
01:23:16,200 --> 01:23:18,040
Speaker 1: but I would assume it's Paul's boutique because there's a

1573
01:23:18,080 --> 01:23:22,240
Speaker 1: lot of samples. Were you guys even aware of Brian

1574
01:23:22,280 --> 01:23:26,799
Speaker 1: Wilson's hip hop album that was produced by the Dust Brothers.

1575
01:23:27,760 --> 01:23:30,120
Speaker 4: The world question does not.

1576
01:23:30,240 --> 01:23:35,920
Speaker 1: Know about this? Yeah, so, uh, I guess the story

1577
01:23:36,000 --> 01:23:40,400
Speaker 1: is that, you know. I mean, at the time when

1578
01:23:40,400 --> 01:23:43,800
Speaker 1: the Beast Boys first signed a Capitol, I guess, uh.

1579
01:23:44,680 --> 01:23:48,160
Speaker 1: Brian Wilson had gotten a copy of Paul's boutique and

1580
01:23:48,280 --> 01:23:49,920
Speaker 1: was kind of impressed because they explained to him and

1581
01:23:50,000 --> 01:23:51,680
Speaker 1: like how the album was made and how all these

1582
01:23:51,720 --> 01:23:53,320
Speaker 1: samples and that sort of thing.

1583
01:23:53,439 --> 01:23:55,080
Speaker 2: He was really impressed by it.

1584
01:23:55,360 --> 01:23:59,320
Speaker 1: So he hit up the Dust Brothers and said, I

1585
01:23:59,800 --> 01:24:03,719
Speaker 1: too want to do uh an album, and he wound

1586
01:24:03,800 --> 01:24:07,280
Speaker 1: up making a I think they made like five or

1587
01:24:07,360 --> 01:24:09,479
Speaker 1: six songs together, and.

1588
01:24:09,360 --> 01:24:11,559
Speaker 2: One of them I think was called smart Girls or whatever.

1589
01:24:11,840 --> 01:24:15,760
Speaker 7: But it's it's nice Brian he rapping, or it's just

1590
01:24:16,640 --> 01:24:17,679
Speaker 7: oh boy.

1591
01:24:18,120 --> 01:24:24,160
Speaker 2: I think YouTube if you if you YouTube, no.

1592
01:24:26,479 --> 01:24:27,240
Speaker 6: Check this out?

1593
01:24:27,840 --> 01:24:29,240
Speaker 2: Yeah wait wait wait.

1594
01:24:32,200 --> 01:24:35,040
Speaker 1: No, no, no, no, Because the thing is is that every

1595
01:24:35,040 --> 01:24:37,640
Speaker 1: time I tell the story, I'm like, wait a minute.

1596
01:24:37,960 --> 01:24:41,080
Speaker 1: I know, I know for starters that I actually talked

1597
01:24:41,120 --> 01:24:44,639
Speaker 1: to Brian Wilson about this in person, and I talked

1598
01:24:44,640 --> 01:24:48,479
Speaker 1: to the Dust Brothers, But even in my mind, I'm like, wait,

1599
01:24:48,520 --> 01:24:49,800
Speaker 1: did I imagine that, but.

1600
01:24:51,920 --> 01:24:53,479
Speaker 6: It's no, it doesn't seem real.

1601
01:24:54,840 --> 01:24:58,080
Speaker 2: Wait is it still on on YouTube? Yeah?

1602
01:24:58,200 --> 01:25:00,320
Speaker 1: He he did it. He did a song. Okay, so

1603
01:25:00,360 --> 01:25:06,240
Speaker 1: smart Girls, Yeah, Smart Girls. Capitol rejected the album, but

1604
01:25:06,280 --> 01:25:08,760
Speaker 1: it's still out there. It came out in nineteen ninety one,

1605
01:25:09,520 --> 01:25:14,160
Speaker 1: and yeah, Matt Matt Dyke like the yeah, yeah, yeah,

1606
01:25:14,479 --> 01:25:18,720
Speaker 1: those those guys produced it, and yeah it was.

1607
01:25:18,800 --> 01:25:22,280
Speaker 2: It was the Brian Wilson rap album. It was called

1608
01:25:22,280 --> 01:25:23,880
Speaker 2: Sweet Insanity.

1609
01:25:23,960 --> 01:25:29,559
Speaker 6: Yeah, that's it. That seems like a fitting title for it.

1610
01:25:32,080 --> 01:25:32,599
Speaker 2: Yeah, it is.

1611
01:25:34,600 --> 01:25:38,680
Speaker 1: I just want to say just you know, like I

1612
01:25:39,000 --> 01:25:42,240
Speaker 1: try to keep my cool with guests, you know, half

1613
01:25:42,240 --> 01:25:45,599
Speaker 1: the time on this platform, but yeah, man, I want

1614
01:25:45,640 --> 01:25:48,519
Speaker 1: to thank you guys personally because I will say that

1615
01:25:49,160 --> 01:25:53,920
Speaker 1: in hearing your record that's what really planted the seed

1616
01:25:53,960 --> 01:25:57,320
Speaker 1: in my head on how my DJ gigs should go,

1617
01:25:58,520 --> 01:26:02,439
Speaker 1: because I just never thought, I mean, yeah, like again,

1618
01:26:02,479 --> 01:26:05,320
Speaker 1: I was raised on that certain bomb.

1619
01:26:05,160 --> 01:26:08,240
Speaker 2: Squad type of hip hop that anything could go.

1620
01:26:09,200 --> 01:26:14,880
Speaker 1: But when when I heard this album, that's when I realized, like, oh,

1621
01:26:15,080 --> 01:26:19,479
Speaker 1: anything can really happen in a DJ set in a

1622
01:26:19,640 --> 01:26:23,280
Speaker 1: sort of a creative context. So I will say that

1623
01:26:23,439 --> 01:26:27,760
Speaker 1: after hearing your album, and I guess I heard it

1624
01:26:27,800 --> 01:26:31,080
Speaker 1: in two thousand and two thousand and one, Like that's

1625
01:26:31,120 --> 01:26:35,080
Speaker 1: when I just totally wipe the slate clean of what

1626
01:26:35,360 --> 01:26:39,320
Speaker 1: was current, what was then my DJ set, and my

1627
01:26:39,400 --> 01:26:42,200
Speaker 1: whole goal was like, well, I'm just doing the avalanches

1628
01:26:42,240 --> 01:26:45,760
Speaker 1: do and just throw any and everything in my DJ set,

1629
01:26:45,880 --> 01:26:51,440
Speaker 1: be it something normal, something off kilter, is something unorthodox,

1630
01:26:51,520 --> 01:26:54,760
Speaker 1: something you know. Just I thank y'all for that. Like,

1631
01:26:54,800 --> 01:26:58,439
Speaker 1: you guys were definitely the impetus to like my my

1632
01:26:58,439 --> 01:27:02,320
Speaker 1: my DJ rebirth that I've been running away with like

1633
01:27:02,360 --> 01:27:05,800
Speaker 1: for the last twenty years. Man, but you guys are are

1634
01:27:06,000 --> 01:27:07,840
Speaker 1: are are are true geniuses?

1635
01:27:07,880 --> 01:27:08,040
Speaker 3: Man.

1636
01:27:08,280 --> 01:27:10,320
Speaker 2: I thank you for doing the show with us.

1637
01:27:10,680 --> 01:27:12,200
Speaker 4: Oh, thank you. That's really cold.

1638
01:27:14,520 --> 01:27:16,439
Speaker 6: This has been yeah, this has been so fun.

1639
01:27:16,920 --> 01:27:20,439
Speaker 2: O thank you guys. Thanks you really all right? Well

1640
01:27:20,960 --> 01:27:21,840
Speaker 2: are you done?

1641
01:27:22,800 --> 01:27:24,840
Speaker 7: Oh? I was just gonna ask because I guess my

1642
01:27:24,920 --> 01:27:30,120
Speaker 7: last thing. The other artists like kind of soul artists

1643
01:27:30,160 --> 01:27:33,000
Speaker 7: in uh in you guys region, So yeah, Australia. So

1644
01:27:33,120 --> 01:27:38,160
Speaker 7: like I'm thinking of course Highest Coyote, Fat Freddy's Drop.

1645
01:27:38,200 --> 01:27:39,680
Speaker 7: I know they're kind of more of a ska uh

1646
01:27:39,880 --> 01:27:43,200
Speaker 7: kind of band. Lisa could call it, like what relationship

1647
01:27:43,280 --> 01:27:48,600
Speaker 7: do you have with that? Community that the soul you know,

1648
01:27:48,640 --> 01:27:49,880
Speaker 7: I guess R and B community.

1649
01:27:51,120 --> 01:27:51,800
Speaker 2: What's that like?

1650
01:27:53,080 --> 01:27:56,519
Speaker 3: Well where where just like kind of a couple of

1651
01:27:56,600 --> 01:28:00,479
Speaker 3: old men who liked each other on the pod benchit

1652
01:28:00,600 --> 01:28:02,640
Speaker 3: every day and talk about the weather or whatever. Like

1653
01:28:02,720 --> 01:28:04,840
Speaker 3: we don't like I guess we're off and traveling, but

1654
01:28:04,880 --> 01:28:06,240
Speaker 3: we're kind of not really like.

1655
01:28:07,680 --> 01:28:09,439
Speaker 7: On the scene.

1656
01:28:09,600 --> 01:28:13,400
Speaker 3: Yeah, except that, except to say that there is just

1657
01:28:13,479 --> 01:28:17,040
Speaker 3: like it's just a very warm music community here in Melbourne.

1658
01:28:17,040 --> 01:28:19,479
Speaker 3: Everybody is very supportive. I think it's maybe because it's

1659
01:28:19,479 --> 01:28:25,360
Speaker 3: so geographically isolated. It's like there's there's just like it's

1660
01:28:25,439 --> 01:28:27,720
Speaker 3: very supportive. Anyway, we always feel very supportive.

1661
01:28:28,439 --> 01:28:32,840
Speaker 2: That's what's up, Steve. That's right.

1662
01:28:33,560 --> 01:28:36,400
Speaker 5: Yeah, you left me out of the Michelle Obama episode

1663
01:28:36,560 --> 01:28:38,479
Speaker 5: and the jimmyown as well.

1664
01:28:43,240 --> 01:28:47,639
Speaker 1: For great callback, greatback. We have a quest love supreme

1665
01:28:47,720 --> 01:28:50,560
Speaker 1: fan Ticcolo and Steve. We like to thank the Avalanches

1666
01:28:51,000 --> 01:28:53,479
Speaker 1: uh for for kicking it with us.

1667
01:28:53,600 --> 01:28:54,880
Speaker 2: Oh my god, yeah man.

1668
01:28:54,800 --> 01:28:57,479
Speaker 7: This is I never thought. Yeah, I'm I don't think

1669
01:28:57,479 --> 01:28:59,640
Speaker 7: I've read an interview with y'all let alone, you know

1670
01:29:00,080 --> 01:29:02,599
Speaker 7: and a half, So this was this is a dream

1671
01:29:02,640 --> 01:29:05,839
Speaker 7: Cone Drew Man. Thank you guys.

1672
01:29:05,960 --> 01:29:08,080
Speaker 6: Yeah, seriously, it has been so much, so good, so

1673
01:29:08,160 --> 01:29:08,599
Speaker 6: much fun.

1674
01:29:08,840 --> 01:29:11,839
Speaker 1: All right, thank you guys, Thank you guys on behalf

1675
01:29:11,880 --> 01:29:16,960
Speaker 1: of Fun. Take Alottle, Unpaid Bill and Layah and uh

1676
01:29:17,280 --> 01:29:20,240
Speaker 1: Sugar Steve, quest Love and this is quest Love Supreme.

1677
01:29:20,280 --> 01:29:23,000
Speaker 2: We will see you next week next co Ran. Thank you.

1678
01:29:26,240 --> 01:29:27,519
Speaker 6: Hey, this is Sugar Steve.

1679
01:29:28,200 --> 01:29:30,360
Speaker 5: Make sure you keep up with us on Instagram at

1680
01:29:30,439 --> 01:29:31,520
Speaker 5: q LS.

1681
01:29:32,200 --> 01:29:34,479
Speaker 6: Let us know what you thinks and it should be

1682
01:29:34,479 --> 01:29:35,240
Speaker 6: next to sit.

1683
01:29:35,080 --> 01:29:35,799
Speaker 2: Down with us.

1684
01:29:36,520 --> 01:29:45,519
Speaker 6: Don't forget to subscribe to our podcast, What's.

1685
01:29:45,520 --> 01:29:48,080
Speaker 2: Up Supreme is a production of iHeart Radio.

1686
01:29:50,960 --> 01:29:54,240
Speaker 1: For more podcasts from iHeart Radio, visit the iHeart Radio app,

1687
01:29:54,439 --> 01:29:57,880
Speaker 1: Apple Podcasts, or wherever you listen to your favorite shows.