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Speaker 1: Quest Love Supreme is a production of iHeartRadio. Hey What's

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Speaker 1: up y'all?

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Speaker 2: Back in twenty twenty one, Fante Sugar Steve and I

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Speaker 2: sat down with the Avalanches, and, as I say in

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Speaker 2: the intro, this Australian duolet a fuse for me as

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Speaker 2: a producer with their visionary approach to sampling and make music.

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Speaker 2: Since this classic QLs interview, Robbie and Tony have put

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Speaker 2: out some recent singles, including collaborations with Jamie Xx. This

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Speaker 2: conversation was a lot of fun for me, and you'll

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Speaker 2: hear why. Quest Love Supreme classic with the Avalanches.

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Speaker 3: All right, enjoy, ladies and gentlemen.

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Speaker 1: Welcome to another episode of Quest Love Supreme.

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Speaker 3: I'm your host Quest Love with Us. We have fragmented Supremers.

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Speaker 3: We got fan ticket in the house. What's up, brother,

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Speaker 3: I'm still here?

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Speaker 1: Man up?

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Speaker 4: What up?

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Speaker 5: What up? We're here?

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Speaker 1: Sugar Steve?

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Speaker 4: Yep, I'm not fragmented that I've never missed a show

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Speaker 4: except the ones you told me not to attend.

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Speaker 1: Wait when did I ban youse that.

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Speaker 4: That purple roundtable joint?

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Speaker 1: Oh you're holding that against me? Yes, but let's talk

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Speaker 1: a lot.

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Speaker 3: That's fired in the introut ladies and gentlemen. I will

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Speaker 3: say that probably our guests have single handedly at least

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Speaker 3: changed And I'm making this introduction person, I'm making it

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Speaker 3: about me, not about you or the audience.

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Speaker 1: I'll say that our guest.

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Speaker 3: Today have single handedly probably changed my trajectory or changed

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Speaker 3: my perspective on how to deliver music. And that's pretty

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Speaker 3: much all I can say. I heard their Taput album

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Speaker 3: and it just cracked my skull, cracked all of our

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Speaker 3: sculls open, uh in a way that really hasn't uh

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Speaker 3: really hasn't done that, probably since the days of Prime

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Speaker 3: Bomb Squad productions of like Public Enemy and Ice Cube,

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Speaker 3: or even the three feet hind rising in Daylight Soul's

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Speaker 3: Dead albums of the early nineties. I'll say that Rick

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Speaker 3: Rubin has taught us on the show that editing is

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Speaker 3: necessary for smart pop music making, and you know, the

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Speaker 3: ability to leave the basic necessities for you know, for

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Speaker 3: the most part of that theory, you know, with self

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Speaker 3: editing has worked miracles for pop music in the last

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Speaker 3: seven years. But our guests have done the opposite of that,

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Speaker 3: and they've left no stone unturned as far as a

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Speaker 3: sonic landscape Therefore, ever classic debut album, now twenty twenty

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Speaker 3: years old, called Since I Left You is probably personally

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Speaker 3: one of my top ten favorite albums of all times,

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Speaker 3: with over one thousand mind staggering amples and soundbites.

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Speaker 1: We all got to investigate how this was made.

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Speaker 3: When we found out that they wanted to come on

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Speaker 3: the show, it was an instant yes on my part, saying, yeah,

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Speaker 3: I'm just honored they're here to share their story with us,

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Speaker 3: because I don't even know if I can properly explain

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Speaker 3: to you how important there art is. But ladies and gentlemen,

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Speaker 3: please welcome the Quest of Supreme the Avalanches. We have

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Speaker 3: Robbie and Tony. Robbie, what's your last name? Robbie Taita. Welcome, Robbia.

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Speaker 1: Where are you right now? How is it over there

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Speaker 1: right now?

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Speaker 5: Yeah, it's pretty good. We had we had like a

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Speaker 5: really hard lockdown last year, but we're coming out of

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Speaker 5: it now. It's really good. We just played our first

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Speaker 5: live show in three years on Friday. It was incredible.

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Speaker 5: It was it was so amazing, you know, just to

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Speaker 5: be with the people again, and you know, I don't know,

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Speaker 5: it just it just felt like at the start it

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Speaker 5: felt really strange, like, you know, it was a little

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Speaker 5: bit rusty, but then you kind of get into it

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Speaker 5: for twenty minutes and you're like, I remember what it's like.

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Speaker 5: Instead of being scared, it's like this joyous experience and yeah,

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Speaker 5: I mean, we just missed it so much.

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Speaker 1: So it was so good.

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Speaker 3: So it's hard like working your muscle memory for what

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Speaker 3: the show was when you well with this particular show,

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Speaker 3: was it was it crafted from scratch or was it

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Speaker 3: the show that you were developing around the time when

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Speaker 3: covid first hit us.

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Speaker 6: No, it was from scratch, So it was a lot.

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Speaker 6: It was like our hometown first show back, brand new show.

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Speaker 6: All the equipment too, has been like in storage and

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Speaker 6: all covered in dust, and you know, it's like it

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Speaker 6: was like.

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Speaker 5: Family and friends. Yeah. Yeah, we had a few technical

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Speaker 5: issues that that we were that seems like every like

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Speaker 5: whenever there's a first show, there's always a few things

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Speaker 5: that go down or go wrong. But in the end

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Speaker 5: it was it was really incredible and we've got so

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Speaker 5: much love from the audience.

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Speaker 3: And I would imagine that the amount of research that

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Speaker 3: you have to put into your product as far as

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Speaker 3: your creativity is concerned, that I mean, was this time

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Speaker 3: off with Covid. Was it a total time off for

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Speaker 3: you guys, or was it just like, okay, let's go

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Speaker 3: back to woodshedd and create new product or did you

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Speaker 3: just stop period and just you know, kind of see

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Speaker 3: what happens until the world opens.

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Speaker 6: It was tough. I mean, we went we were finishing

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Speaker 6: an album as COVID hit, and we kind of got

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Speaker 6: that done and got that, got that ready to go.

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Speaker 6: But like Melbourne's Lockdown, we're in it for like two

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Speaker 6: hundred days. It was one of the hardest lockdowns in

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Speaker 6: the world. And you couldn't You could only leave your

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Speaker 6: house for an hour a day. There was a curfew

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Speaker 6: in the evenings.

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Speaker 5: Eight pm to five am. You couldn't go outside your house.

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Speaker 1: Will you guys get it right?

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Speaker 3: You actually did it right, and you know the world

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Speaker 3: would have actually caught up to you guys. And yeah,

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Speaker 3: because after some point, once we saw your numbers go down,

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Speaker 3: and then like a whole bunch of movie productions and

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Speaker 3: a lot of my friends in the industry, we're going

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Speaker 3: to melt, you know, going over over there to Australia,

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Speaker 3: to New Zealand. Over Zealand, you guys are just doing

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Speaker 3: it right. So but yeah, you had to be strict

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Speaker 3: with it.

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Speaker 6: We had to be strict. I mean the payoff was

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Speaker 6: like we got to do a show, you know, like

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Speaker 6: now you know and things are opening up. But at

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Speaker 6: the time it was hard and we thought, well, we've

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Speaker 6: got all this free time, will be creative. But it

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Speaker 6: was pretty intense and the city was, you know, a

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Speaker 6: ghost town. And really it made me learn how much

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Speaker 6: that we rely on the collective energy and other people

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Speaker 6: to feed our creativity. So even though we had this

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Speaker 6: fair time, like we didn't write a lot last year

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Speaker 6: because it was just kind of getting through day by day,

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Speaker 6: you know, the lockdown was.

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Speaker 5: I'm very uninspiring.

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Speaker 3: Yeah, well both of you were DJs for starters, Like

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Speaker 3: what got you interested in DJ culture?

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Speaker 1: Like how did it hit you over there?

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Speaker 6: We actually, uh, well, we grew up in different suburbs

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Speaker 6: of Melbourne and then both ended up in the same

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Speaker 6: country town during high school and that's where we met

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Speaker 6: and became friends. And we weren't DJs initially. We were

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Speaker 6: like bad punk musicians and punk musicians.

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Speaker 5: We say punk because we were so bad.

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Speaker 6: It was noise noise.

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Speaker 1: It's kind of like the Beastie Boys story like Boys. Yeah, yeah,

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Speaker 1: they started off.

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Speaker 6: Punk and then you know, that's right, and we so

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Speaker 6: we were just I mean, I had no money or whatever,

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Speaker 6: so we were buying old guitars and broken guitars and

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Speaker 6: organs in junk stores and then we started to find

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Speaker 6: all these old records and it sort of grew from there.

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Speaker 6: I was doing a court a film school course at university,

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Speaker 6: and they had a big studio for all the film scores,

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Speaker 6: and of course everybody doing that course wanted to be

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Speaker 6: like a famous director, so nobody wanted to do the soundtrack.

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Speaker 6: So I just had the studio to myself for like

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Speaker 6: three years, and there was an old end sonic sampler

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Speaker 6: in there that I learned how to use and started

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Speaker 6: sampling all these junk store records and it just grew

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Speaker 6: from there. Really.

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Speaker 1: Yeah, So how were you when you made the transition

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Speaker 1: to DJ oriented music, like away from punk and more

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Speaker 1: into what we now know is DJ culture.

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Speaker 6: I guess it was like a gradual process between the

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Speaker 6: ages of like sixteen and twenty.

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Speaker 1: Okay, okay, was there a particular record that just spoke

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Speaker 1: to you that said, like, Okay, this is the direction

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Speaker 1: I want to go personally for both of you.

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Speaker 3: Was there like one particular album that wash for me?

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Speaker 6: I reckon It was like some of Prince Paul's productions,

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Speaker 6: the Bomb Squad, the things you mentioned.

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Speaker 3: Yeah, yeah, so prince Ville he just remixed Since I

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Speaker 3: left you. That was excellent.

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Speaker 6: Yeah, And because you know, like the records were finding

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Speaker 6: in junk stores were just strange, weird records. They weren't

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Speaker 6: like sort of cool, like a lot of the beautiful

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Speaker 6: funk and soul records from the States never made it

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Speaker 6: out here, you know, so we were they were junk

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Speaker 6: store records of exotic and strange stuff like that. And

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Speaker 6: Prince Paul, I think, showed us that, you know, you

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Speaker 6: can use anything and you can make music with humor

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Speaker 6: from from all these different bits and pieces, and we

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Speaker 6: were like, we can do that, you know. And also

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Speaker 6: we love like the Beach Boys and seventies rock and stuff,

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Speaker 6: so we thought, would imagine if we like take his

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Speaker 6: sort of approach but like try and make like pop

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Speaker 6: songs with it, And that's how the whole idea began.

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Speaker 1: So how did you two meet each other at high school?

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Speaker 5: We met in high school. I was from Melbourne and

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Speaker 5: at eighteen went and moved to this country town where

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Speaker 5: I met Robbie, and it was it was a very

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Speaker 5: very for the for the early nineties, very backward kind

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Speaker 5: of place like country Victoria and sorry. It was just

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Speaker 5: like a lot of football players and they were all

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Speaker 5: the cool people and stuff like that, and like so

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Speaker 5: the music people who are into music kind of gravitated

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Speaker 5: to each other. So so we kind of started hanging out.

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Speaker 5: And the first thing I remember, Robbie was like, I

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Speaker 5: was into all types of music, but he played me

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Speaker 5: My Bloody Valentine and that just kind of broke my

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Speaker 5: brain of like what the hell is this? And I

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Speaker 5: was like, all right, this is this is really cool.

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Speaker 5: I think I like this guy. I think I like

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Speaker 5: his taste in music. And so so from then then

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Speaker 5: on we kind of, you know, just had a few

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Speaker 5: other little small bands that we were in, and then

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Speaker 5: we both moved back down to Melbourne and started you know,

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Speaker 5: doing the punk thing just in our landro and really badly,

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Speaker 5: and it just kind of grew from there.

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Speaker 3: Did y'all were y'all any of y'all folks involved in

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Speaker 3: music in any way? Or what did your parents do?

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Speaker 6: No? I mean my father would my mom was a teacher,

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Speaker 6: but I did. I do remember being fascinated with my

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Speaker 6: father's record collection when I was a little kid, and

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Speaker 6: when he would let me, like, you know, handle the records.

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Speaker 6: I was obsessed with the line of notes and you

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Speaker 6: know he had he was like into like the band

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Speaker 6: and Bob Gil and the Neil Young and and all.

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Speaker 3: That stuff, single songwriter stuff.

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Speaker 6: That's right.

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Speaker 3: I know that because you guys developed early. I guess

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Speaker 3: what ninety three ninety four is when you guys first

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Speaker 3: started so without sort of like culture colonialism, well not

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Speaker 3: culture colonialism, but just the the idea of like you know,

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Speaker 3: now with the Internet, someone could release something and the

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Speaker 3: entire world get it at the same time. Where you know,

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Speaker 3: really before in nineteen ninety seven, like just it was regionalism,

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Speaker 3: like certain parts of the world had certain types of

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Speaker 3: music or whatnot. Now I know for Australia kind of

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Speaker 3: the inside joke. And again this is before like the

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Speaker 3: really the age of the internet spreading becoming law.

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Speaker 1: Like a lot of groups.

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Speaker 3: That were wildly popular from America from that were wildly

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Speaker 3: popular in.

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Speaker 1: Australia really weren't that big in America.

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Speaker 3: And I always wanted to know I never got to

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Speaker 3: talk to anyone like specifically from Australia or New Zealand

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Speaker 3: to find out why. Like I'll say that there was

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Speaker 3: a point where like the Jurassic Five pre Fergie, Black

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Speaker 3: Eye Peas, Ben Harper, like those acts could damn near

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Speaker 3: sell out stadiums and we'd hear about the United States like, yo, man,

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Speaker 3: do you know the Black Eyed Peas could sell out

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Speaker 3: a stadium in Australia Like this is again back when

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Speaker 3: they were just like a club act, like a bar.

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Speaker 1: You know that that's ayah, But what what? What is it?

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Speaker 3: I noticed with Australia especially for their their embracing of

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Speaker 3: like soul music, Like you guys have that big giant

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Speaker 3: soul festival down there where you know, you guys have

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Speaker 3: this this this festival for soul music that's sort of

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Speaker 3: like Coachella, but it's just like all Neil soul artists

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Speaker 3: and even now everybody from Kim Like and again I've

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Speaker 3: my friends have told me that, you know, New Zealand

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Speaker 3: and Australia like we tend to lump just that entire

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Speaker 3: area one thing. But you know, I see right, and

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Speaker 3: you guys are like we're not the same but but

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Speaker 3: there's so many like minded, cool artists from down there

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Speaker 3: that were like influenced by a certain type of soul

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Speaker 3: music that's very niche to us here, Like what what

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Speaker 3: was the what's the radio like there? Like what is

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Speaker 3: it that that turned people onto that particular type of

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Speaker 3: soul music? Whereas now years later, like a lot of

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Speaker 3: these acts are coming out better, like really incredible, like Hiatus.

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Speaker 1: Coyote and.

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Speaker 3: A Theme a Billion, But yeah, what is it about?

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Speaker 3: What was the music atmosphere?

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Speaker 6: Like it's a rock culture, I would say, like when

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Speaker 6: we were starting out, So it's like there's the pub venues.

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Speaker 6: You know, there's a very heavy drinking culture in Australia.

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Speaker 6: There's the pub venues and all the bands that we

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Speaker 6: grew up with came through this pub scene. It's like

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Speaker 6: hard rock and roll, like ACDC and this kind of theme.

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Speaker 6: I guess there's the Bad Seeds. You came in the

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Speaker 6: Bad Seeds as well, or the Birthday Party came out

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Speaker 6: of that sort of dark pub scene as well in Melbourne.

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Speaker 6: But then something started to change in the nineties exactly

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Speaker 6: like you're talking about. And I think it was just

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Speaker 6: it was pre internet, but people just just this passion

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Speaker 6: for music that wasn't like that, and something just started

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Speaker 6: beautiful to started to grow. I don't know how it happened,

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Speaker 6: but it was very very like when we started playing.

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Speaker 6: You know, every band we played with was just two guitars,

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Speaker 6: bass player, drums, and so we rock up with a

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Speaker 6: sampler and the sound people were like, what's this?

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Speaker 5: What do we do? And no one knew what it was.

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Speaker 5: So I was like in the in that way we

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Speaker 5: were kind of breaking ground in this country as far

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Speaker 5: as like every little festival we do, it's like every

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Speaker 5: band was the same guitar, drums, everything like that, and

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Speaker 5: then we just have you know, s nine hundred sampler

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Speaker 5: and some shitty organs that work sometimes and didn't and

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Speaker 5: so so yeah, to your question, it was a very

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Speaker 5: rock and roll culture back then in Australia.

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Speaker 3: So the it was that the nine hundred was that

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Speaker 3: did your your weapon?

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Speaker 5: That was the jam?

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Speaker 1: Yeah, yeah, because.

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Speaker 3: Then they came with the nine fifty. The nine fifty

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Speaker 3: I think that was the one that the nine.

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Speaker 6: Fifty Oh we were loading. We were loading off songs

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Speaker 6: off floppy disc. When we've played live, every song was

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Speaker 6: on a different flopping.

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Speaker 5: So we'd stop a song and then have to load

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Speaker 5: for forty five seconds and just sit there in silence,

299
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Speaker 5: or just try and make up some stupid banter in between.

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Speaker 1: Again again.

301
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Speaker 3: You guys and DiAngelo, Okay, that's good. To this day,

302
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Speaker 3: D'Angelo still uses floppy disk I didn't even know that.

303
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Speaker 3: Oh wow, that that can that still and you know

304
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Speaker 3: they still made them. Yeah, you know, drive Really.

305
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Speaker 5: We had to search the internet to find floppy discs.

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Speaker 6: You finish, we just did.

307
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Speaker 1: Yeah. Wait, so to this day you still use it.

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Speaker 1: That's your weapon.

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Speaker 6: When we were bringing to pull out the old samplers

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Speaker 6: for this show that we just did so we wanted

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Speaker 6: to bring back and really show how we made the music.

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Speaker 6: But we couldn't find floppy discs anyway. Tiny had to

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Speaker 6: order them online and they arrived like two days before

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Speaker 6: the show, just in time.

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Speaker 1: So wow, Really.

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Speaker 5: We're not using that. We're kind of using computers and

317
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Speaker 5: now as our main backing tracks, so we're not relying

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Speaker 5: on the forty five second loads anymore. But we used

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Speaker 5: the sample it's just a trigger samples during the show

320
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Speaker 5: because that's the way we used to do it. I mean,

321
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Speaker 5: and it's such a fun you know, right, what was.

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Speaker 3: The period of which you guys discovered like breakbea culture.

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Speaker 3: And as far as like, at least I would like

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Speaker 3: to think that you guys, you know, had to put

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Speaker 3: a lot of time in researching like all the sounds

326
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Speaker 3: and for you know, for your arsenal of sounds, your drums,

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Speaker 3: your samples and whatnot.

328
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Speaker 1: So at what point.

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Speaker 3: Did you guys discover or at least like do away

330
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Speaker 3: with kind of your rock backdrop and get to what

331
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Speaker 3: we know is like breakbe culture.

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Speaker 6: I think it was like a gradual process, and all

333
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Speaker 6: of a sudden we realized, like I think we had,

334
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Speaker 6: you know, all these big sounds and big dreams in

335
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Speaker 6: our heads, but you know, no money, and then you

336
00:18:07,000 --> 00:18:09,680
Speaker 6: start sampling an old orchestral record because a lot of

337
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Speaker 6: the records that we were finding junk stores were like

338
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Speaker 6: schmaltzy kind of like junk like Fifth Andres, Galanti, strings

339
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Speaker 6: and games all that stuff. But but we were we

340
00:18:20,600 --> 00:18:23,280
Speaker 6: could find beautiful little bits and then realized we can

341
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Speaker 6: create these you know, big sounds with you know, for

342
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Speaker 6: for two from a two dollars record, And we gradually realized, look,

343
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Speaker 6: we're not great musicians, that are, and we can't sing,

344
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Speaker 6: but maybe we can invent our own little world if

345
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Speaker 6: we don't, if we just use samples, and it sort

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Speaker 6: of grew from there, and then you know, a whole

347
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Speaker 6: bunch of records were coming out, Like the Gust Brothers

348
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Speaker 6: produced the record, and you know, there were early Chemical

349
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Speaker 6: Brothers records, and all these records had breakbeats.

350
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Speaker 1: There was Yeah.

351
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Speaker 6: Day La Soul, and even like the Far Side records

352
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Speaker 6: and all these kind of early hip hop records, and

353
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Speaker 6: we kind of in our you know, it's because we're

354
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Speaker 6: so geographically removed from the rest of the world. You know,

355
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Speaker 6: we would just get strange little influences coming through before

356
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Speaker 6: the Internet. So in some way we'd way like a

357
00:19:22,200 --> 00:19:23,960
Speaker 6: bit of Prince Paul, a bit of the Bomb Squad,

358
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Speaker 6: a bit of the Beach Boys, a bit of My

359
00:19:25,400 --> 00:19:29,040
Speaker 6: Bloody Valentine. All kind of made sense to us, and

360
00:19:30,640 --> 00:19:33,000
Speaker 6: we just kind of started developing our own sound from there.

361
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Speaker 3: When you formed the group, was it instantaneous that you

362
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Speaker 3: called yourself the Avalanches, or were you just like you know,

363
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Speaker 3: DJ Robbie, DJ Tony.

364
00:19:51,119 --> 00:19:54,520
Speaker 5: We had a few we had a few name incarnations

365
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Speaker 5: before we came up with the Avalanches.

366
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Speaker 6: The Avalanche's name was actually on. It was a surf

367
00:20:01,320 --> 00:20:03,280
Speaker 6: rock group from the fifties, one of these bands we

368
00:20:03,320 --> 00:20:05,320
Speaker 6: sampled and then and we used to change our name

369
00:20:05,359 --> 00:20:08,280
Speaker 6: every time we played, and that that one just stuck.

370
00:20:08,760 --> 00:20:11,400
Speaker 1: It just stuck. Yeah, Oh, just randomly.

371
00:20:13,359 --> 00:20:15,720
Speaker 5: Maybe we had a good, a good gig the day

372
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Speaker 5: that we called ourselves the Avalanches, and we went, this

373
00:20:18,520 --> 00:20:21,600
Speaker 5: is an open We'll stick with this name because I

374
00:20:21,600 --> 00:20:24,719
Speaker 5: think we had a few gigs where we were different names.

375
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Speaker 3: So what was the first product that you guys worked

376
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Speaker 3: on when you decided to form the Avalanches.

377
00:20:35,600 --> 00:20:38,960
Speaker 6: It was like, I think it was a mixtape we

378
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Speaker 6: made in the studio. I was talking about it the

379
00:20:42,240 --> 00:20:45,480
Speaker 6: film school studio that was made to send around to

380
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Speaker 6: various promoters to try and get a gig, try and

381
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Speaker 6: get shows. And then I think they pulled a couple

382
00:20:52,400 --> 00:20:54,000
Speaker 6: of tracks off that and our friend pulled it out

383
00:20:54,000 --> 00:20:57,200
Speaker 6: as our first seven inch that was called rock City. Yeah.

384
00:20:57,200 --> 00:21:00,040
Speaker 6: I think that was the first release we have, Yeah, seven.

385
00:20:59,760 --> 00:21:06,359
Speaker 3: Inch Yeah, even then, Like was your theory? What was

386
00:21:06,400 --> 00:21:11,280
Speaker 3: the theory based on how to create the music? I

387
00:21:11,320 --> 00:21:15,040
Speaker 3: know a lot of times, especially with where we are

388
00:21:15,080 --> 00:21:19,360
Speaker 3: today with hip hop culture in America, you know, and

389
00:21:20,119 --> 00:21:23,840
Speaker 3: I won't say that flipping samples. Of course, you know,

390
00:21:23,880 --> 00:21:26,720
Speaker 3: flipping is a way of survival to at least avoid

391
00:21:27,800 --> 00:21:31,600
Speaker 3: you know, lawsuits are getting caught out there. But I mean,

392
00:21:31,600 --> 00:21:36,560
Speaker 3: there's there's definitely a slew of producers that flip just

393
00:21:36,600 --> 00:21:39,120
Speaker 3: for the sport of it, you know, especially like these

394
00:21:39,160 --> 00:21:42,560
Speaker 3: post J Dilla times where he could take something make

395
00:21:42,600 --> 00:21:44,600
Speaker 3: it so unrecognizable that you don't know it.

396
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Speaker 1: So but for you guys, like, were you.

397
00:21:47,680 --> 00:21:53,120
Speaker 3: Guys even aware of kind of sample cultured almost being

398
00:21:53,240 --> 00:21:57,359
Speaker 3: endangered species in the mid to late nineties to the

399
00:21:57,400 --> 00:22:00,640
Speaker 3: point where you know, now a lot of the backdrop

400
00:22:00,760 --> 00:22:03,000
Speaker 3: from America is far from that.

401
00:22:03,320 --> 00:22:05,919
Speaker 1: But were you guys aware of it then or was

402
00:22:05,920 --> 00:22:07,440
Speaker 1: it just you know.

403
00:22:09,400 --> 00:22:12,000
Speaker 6: Well, I think we were aware that the records that

404
00:22:12,080 --> 00:22:17,200
Speaker 6: were made in that way, that that we were rare

405
00:22:17,400 --> 00:22:20,359
Speaker 6: and were and you know, to find find them they

406
00:22:20,359 --> 00:22:22,480
Speaker 6: would like sort of these gems that would stick out,

407
00:22:22,520 --> 00:22:26,000
Speaker 6: like if a well made sample based record is just

408
00:22:26,080 --> 00:22:28,240
Speaker 6: like such a beautiful thing and they don't come along

409
00:22:28,320 --> 00:22:31,320
Speaker 6: all the time, you know, But we were we kind

410
00:22:31,359 --> 00:22:33,879
Speaker 6: of thought, no, like we're a million miles from anywhere,

411
00:22:33,960 --> 00:22:36,000
Speaker 6: no one's ever going to hear this, so well, we

412
00:22:36,040 --> 00:22:37,359
Speaker 6: can just sample anything and.

413
00:22:38,720 --> 00:22:44,000
Speaker 3: Were doing famous last words. I was going to say,

414
00:22:45,640 --> 00:22:48,639
Speaker 3: it's funny that he said that all the way in Australia,

415
00:22:48,680 --> 00:22:52,920
Speaker 3: because that's also where I was when I decided to

416
00:22:53,560 --> 00:23:00,119
Speaker 3: play Really Love, because I quite I didn't understand this

417
00:23:00,320 --> 00:23:02,400
Speaker 3: was going everywhere. Yeah, I thought it was on something

418
00:23:02,480 --> 00:23:05,760
Speaker 3: like local underground radio station that the world wouldn't hear of,

419
00:23:05,840 --> 00:23:08,440
Speaker 3: and then that shit happened.

420
00:23:08,520 --> 00:23:11,760
Speaker 5: Yeah, we've kind of got the same attitude to samples.

421
00:23:11,400 --> 00:23:14,440
Speaker 1: Of just like, we'll just use it and nobody.

422
00:23:17,200 --> 00:23:19,480
Speaker 5: It's you can't tell.

423
00:23:20,600 --> 00:23:23,560
Speaker 3: Okay, So let's let's we're twenty five minutes and let's

424
00:23:23,560 --> 00:23:29,800
Speaker 3: cut to the goddamn chase. How just that's my first question.

425
00:23:30,520 --> 00:23:34,760
Speaker 3: How can you tell us the story of Since I

426
00:23:34,920 --> 00:23:38,560
Speaker 3: Left You? And it's hard to explain. It's really hard,

427
00:23:38,880 --> 00:23:41,399
Speaker 3: even when you know that album is so perfect to

428
00:23:41,480 --> 00:23:45,760
Speaker 3: me that even when I explained to people who are,

429
00:23:46,080 --> 00:23:49,919
Speaker 3: you know, just casual music listeners, like, they're still not

430
00:23:50,200 --> 00:23:55,240
Speaker 3: getting the genius that every last thing you hear had

431
00:23:55,240 --> 00:23:58,320
Speaker 3: to be manipulated and edited in a way so that

432
00:23:58,359 --> 00:24:03,920
Speaker 3: it fits melodical we structurally. So tell us the beginning

433
00:24:03,960 --> 00:24:08,280
Speaker 3: of how you guys even thought to make this this

434
00:24:08,280 --> 00:24:09,359
Speaker 3: this classic album.

435
00:24:10,080 --> 00:24:12,760
Speaker 6: I think we I mean, I'll let Tony jump in.

436
00:24:12,800 --> 00:24:16,440
Speaker 6: But we were kind of doing gigs in these rock venues.

437
00:24:16,680 --> 00:24:20,240
Speaker 6: We're using samplers and our friend Darren would emc over

438
00:24:20,280 --> 00:24:22,000
Speaker 6: the top and we had some live drums. And then

439
00:24:22,080 --> 00:24:25,480
Speaker 6: as we got into the studio more we realized it

440
00:24:25,600 --> 00:24:28,240
Speaker 6: sounds so much cooler if we just remove ourselves from it.

441
00:24:28,320 --> 00:24:30,880
Speaker 6: You'll remove our voices, remove any live drums, and we'll

442
00:24:31,000 --> 00:24:35,520
Speaker 6: do it just with samples. And it was almost like

443
00:24:35,680 --> 00:24:36,000
Speaker 6: there was.

444
00:24:36,040 --> 00:24:38,679
Speaker 5: A bad beast ivoys or something to start off with

445
00:24:38,680 --> 00:24:41,959
Speaker 5: with this kind of wrapping that was a little bit

446
00:24:42,000 --> 00:24:46,720
Speaker 5: Doctor Octagon kind of lyrics and a big kind of beast,

447
00:24:46,840 --> 00:24:48,920
Speaker 5: and it was, you know, some cool stuff. But then

448
00:24:49,280 --> 00:24:50,919
Speaker 5: you know, it was like, let's just make all the

449
00:24:50,960 --> 00:24:53,280
Speaker 5: melody samples and use no voice.

450
00:24:54,320 --> 00:24:57,080
Speaker 3: Man, how long was that a process of working on

451
00:24:57,119 --> 00:24:58,480
Speaker 3: that record? How long did it take you out.

452
00:24:58,359 --> 00:24:58,760
Speaker 1: To make it?

453
00:24:59,359 --> 00:25:03,720
Speaker 6: Probably like eighteen intense months, but there was like maybe

454
00:25:03,760 --> 00:25:07,320
Speaker 6: three or four years of like collecting samples before then

455
00:25:07,359 --> 00:25:10,240
Speaker 6: and finding your way. And then it's almost like there's

456
00:25:10,240 --> 00:25:13,159
Speaker 6: this I mean, there's two sides to it. There's the

457
00:25:13,200 --> 00:25:15,240
Speaker 6: technical side of how you actually make it with the

458
00:25:15,280 --> 00:25:18,280
Speaker 6: samplers or whatever that we can talk about. But the

459
00:25:18,320 --> 00:25:21,879
Speaker 6: other side of like how you think, how you know,

460
00:25:21,920 --> 00:25:23,840
Speaker 6: how you can sive it, or the feeling behind it

461
00:25:23,880 --> 00:25:26,520
Speaker 6: is harder to talk about it because it's like we

462
00:25:26,600 --> 00:25:29,720
Speaker 6: just hit this period of a beautiful flow and it

463
00:25:29,760 --> 00:25:32,320
Speaker 6: was really just a love for music and discovery. And

464
00:25:32,520 --> 00:25:34,440
Speaker 6: when I listen to it now, that's what I can hear.

465
00:25:34,480 --> 00:25:36,680
Speaker 6: I can hear it like a twenty one year old

466
00:25:36,720 --> 00:25:41,520
Speaker 6: me just so in love with music, sampling and discovering

467
00:25:42,119 --> 00:25:45,080
Speaker 6: strange old records that that I think that joy is

468
00:25:45,160 --> 00:25:48,280
Speaker 6: just still what people can It's infectious.

469
00:25:48,320 --> 00:25:49,440
Speaker 5: You definitely true.

470
00:25:50,240 --> 00:25:51,560
Speaker 1: Yeah, it definitely came through for me.

471
00:25:51,640 --> 00:25:54,080
Speaker 3: I think you know, at the time when I discovered

472
00:25:54,119 --> 00:25:56,960
Speaker 3: you guys, this was when my band Little Brother, we

473
00:25:57,000 --> 00:26:00,080
Speaker 3: had put out our first record, The Listening and a

474
00:26:00,160 --> 00:26:04,160
Speaker 3: Mirror actually had listed his uh I guess the top

475
00:26:04,160 --> 00:26:06,600
Speaker 3: albums he was listening to at the time in uh

476
00:26:06,680 --> 00:26:09,960
Speaker 3: in Rolling Stone and so he listed like like fifty

477
00:26:10,000 --> 00:26:13,119
Speaker 3: cent Little Brother and then you know, the Avalanche since

478
00:26:13,160 --> 00:26:14,440
Speaker 3: I left you, And I was like, all right, if

479
00:26:14,480 --> 00:26:16,639
Speaker 3: he if they on the same list with us, I know,

480
00:26:16,680 --> 00:26:19,120
Speaker 3: I shit banging. So these motherfuckers got to have something

481
00:26:19,960 --> 00:26:22,520
Speaker 3: so I'm like, so, I'm like, that's how you got

482
00:26:23,640 --> 00:26:25,639
Speaker 3: straight up yeah, I mean I heard of him. That

483
00:26:25,760 --> 00:26:27,239
Speaker 3: was how I actually listened to him like I had

484
00:26:27,280 --> 00:26:30,280
Speaker 3: always seen but like you said, you know, y'all kind

485
00:26:30,280 --> 00:26:32,560
Speaker 3: of the rock culture and enjoyed. So I just thought

486
00:26:32,560 --> 00:26:33,959
Speaker 3: they were like a rock band. I thought they all

487
00:26:34,080 --> 00:26:36,240
Speaker 3: was kind of like The Strokes or like right, because

488
00:26:36,240 --> 00:26:38,439
Speaker 3: that was around that time, you know, I thought it

489
00:26:38,480 --> 00:26:40,640
Speaker 3: was just that kind of you know, that that rock

490
00:26:40,920 --> 00:26:42,919
Speaker 3: revival shit that was popping at the time. So I

491
00:26:42,920 --> 00:26:44,440
Speaker 3: was like, all right, this is just another rock band.

492
00:26:44,640 --> 00:26:47,600
Speaker 3: But then I heard the album and I hadn't heard anything.

493
00:26:47,640 --> 00:26:49,679
Speaker 3: I just went into it blind. I was like, all right,

494
00:26:49,680 --> 00:26:52,000
Speaker 3: well let me check it out, and man, that shit

495
00:26:52,080 --> 00:26:53,959
Speaker 3: blew me the fuck away. And the thing about it,

496
00:26:54,000 --> 00:26:57,359
Speaker 3: like up until that point, you know, Introducing by DJ Shadow,

497
00:26:57,400 --> 00:26:59,199
Speaker 3: I mean, we grew up on Bomb Squad and like

498
00:26:59,240 --> 00:27:01,680
Speaker 3: Prince Paul and all these guys, Dust Brothers, all those

499
00:27:01,680 --> 00:27:04,119
Speaker 3: guys doing that kind of collage and pay stuff. But

500
00:27:05,040 --> 00:27:08,000
Speaker 3: when I heard Introducing, I was like, oh wow, like

501
00:27:08,040 --> 00:27:11,359
Speaker 3: this is amazing, and it was something that kind of

502
00:27:11,680 --> 00:27:14,200
Speaker 3: took it for me, made it it felt like y'all

503
00:27:14,200 --> 00:27:16,800
Speaker 3: really it made it more emotional like that was I

504
00:27:16,840 --> 00:27:19,919
Speaker 3: think remember the first time sample based music instrumental in

505
00:27:19,960 --> 00:27:21,880
Speaker 3: that way. I was like, man, this is really emotional.

506
00:27:22,040 --> 00:27:23,639
Speaker 3: But then that was when I heard introduce it. But

507
00:27:23,680 --> 00:27:26,080
Speaker 3: then when I heard y'all shit and that damn three

508
00:27:26,359 --> 00:27:30,439
Speaker 3: two hearts and three four times, bro, I played that shit, man,

509
00:27:30,440 --> 00:27:32,360
Speaker 3: I played the MP three tags off that motherfucker.

510
00:27:32,400 --> 00:27:32,480
Speaker 5: Bro.

511
00:27:32,960 --> 00:27:37,960
Speaker 1: Listen, I ran the record in the ground man.

512
00:27:40,160 --> 00:27:42,400
Speaker 3: And the thing, you know, when Tony you're talking about

513
00:27:42,480 --> 00:27:45,040
Speaker 3: just kind of that spirit of just you know, the

514
00:27:45,880 --> 00:27:48,600
Speaker 3: you know, that discovery. The thing that I always liked

515
00:27:48,640 --> 00:27:51,800
Speaker 3: about all you guys records is that the way you

516
00:27:51,880 --> 00:27:54,639
Speaker 3: use the samples, it doesn't feel like in kind of

517
00:27:54,720 --> 00:27:57,920
Speaker 3: just a bastardized way. It really makes you want to

518
00:27:58,000 --> 00:28:01,280
Speaker 3: search what you guys use. It makes you more For me,

519
00:28:01,800 --> 00:28:03,280
Speaker 3: just as a love of music, it just made me

520
00:28:03,280 --> 00:28:06,200
Speaker 3: more curious to know more about the stuff you guys use.

521
00:28:06,320 --> 00:28:09,560
Speaker 3: And like even like since I left you, you know,

522
00:28:09,680 --> 00:28:12,320
Speaker 3: the way it starts is, you know, since I left you,

523
00:28:12,520 --> 00:28:14,920
Speaker 3: but then at the end when you bring back.

524
00:28:14,800 --> 00:28:17,680
Speaker 1: The just can't get you ever since the day imagine,

525
00:28:19,840 --> 00:28:22,680
Speaker 1: I was like, Yo, that ship is so fucking dope.

526
00:28:23,920 --> 00:28:26,080
Speaker 3: Yeah, So like how do y'all plot all that ship out?

527
00:28:26,119 --> 00:28:28,080
Speaker 3: And like, I know the sample you say you use

528
00:28:28,080 --> 00:28:30,119
Speaker 3: it was like the S you're using the S nine hundred.

529
00:28:30,440 --> 00:28:33,280
Speaker 3: Were you tracking it on tape? Was it like was

530
00:28:33,280 --> 00:28:35,280
Speaker 3: it pro tools at that time? Like how were y'all

531
00:28:35,600 --> 00:28:36,760
Speaker 3: storing all these ideas?

532
00:28:37,160 --> 00:28:40,000
Speaker 6: It was like S nine hundred, And then we got

533
00:28:40,000 --> 00:28:43,240
Speaker 6: a S two thousand, which had more memory. Two thousand.

534
00:28:43,320 --> 00:28:45,280
Speaker 6: We were like, this is this is insane. We're going

535
00:28:45,320 --> 00:28:47,160
Speaker 6: to be able to do anything with this no stopping.

536
00:28:47,800 --> 00:28:49,160
Speaker 5: Yeah.

537
00:28:49,200 --> 00:28:51,480
Speaker 6: So and by that I think by the time we're

538
00:28:51,480 --> 00:28:53,600
Speaker 6: making since I left you, we had a ZIP drive

539
00:28:53,680 --> 00:29:02,280
Speaker 6: for the yes, sir, yeah, yeah, yeah, I know. It

540
00:29:02,480 --> 00:29:05,920
Speaker 6: was literally just that and and at a shitty old

541
00:29:05,920 --> 00:29:08,400
Speaker 6: turntable and two dollars junks store records.

542
00:29:08,000 --> 00:29:09,920
Speaker 1: And how the work.

543
00:29:12,960 --> 00:29:16,760
Speaker 6: You know what that the limitation is what is beautiful because.

544
00:29:16,560 --> 00:29:18,160
Speaker 1: Then drives the ingenuity.

545
00:29:18,600 --> 00:29:22,760
Speaker 6: Yeah. And then we had a there's an op code

546
00:29:22,800 --> 00:29:25,920
Speaker 6: program called studio Vision. There was a sequence that I

547
00:29:25,920 --> 00:29:29,520
Speaker 6: didn't have any audio, but that ran medi into the samplers,

548
00:29:29,920 --> 00:29:32,560
Speaker 6: and so that's how we could sequence the samples. And

549
00:29:33,040 --> 00:29:34,680
Speaker 6: it was all done like that. And if I came

550
00:29:34,720 --> 00:29:37,040
Speaker 6: to work again in the morning, like there was nothing

551
00:29:37,080 --> 00:29:38,840
Speaker 6: on tape, no pro tools. I would have to load

552
00:29:38,880 --> 00:29:41,200
Speaker 6: it all up again and to hear what the song

553
00:29:41,240 --> 00:29:43,240
Speaker 6: sounded like and to remember, you know, or if I

554
00:29:43,280 --> 00:29:46,080
Speaker 6: wanted to burn a demo, make a demo, would have

555
00:29:46,120 --> 00:29:49,440
Speaker 6: to like bounce it, burn it onto CD, put it

556
00:29:49,480 --> 00:29:51,520
Speaker 6: in my CD, walkman, and go for a walk or

557
00:29:51,560 --> 00:29:55,520
Speaker 6: something and have a listen to it where we're at.

558
00:29:55,680 --> 00:30:00,600
Speaker 3: Yeah, I was going to ask, do you have all

559
00:30:00,640 --> 00:30:04,840
Speaker 3: the discs saved from that album? Or was it just

560
00:30:04,960 --> 00:30:08,320
Speaker 3: like once you track it and once it's on tape

561
00:30:08,400 --> 00:30:13,200
Speaker 3: or once it's recorded, then you just unplugged your machine

562
00:30:13,200 --> 00:30:13,680
Speaker 3: and that's it.

563
00:30:13,720 --> 00:30:16,760
Speaker 1: You don't save the samples. You don't any of those things,

564
00:30:16,800 --> 00:30:19,920
Speaker 1: Like is there a flap? Like if I were to

565
00:30:19,960 --> 00:30:25,040
Speaker 1: ask you, like, could you get the either diners from whatever? Yeah,

566
00:30:25,080 --> 00:30:29,080
Speaker 1: Pablo Cruise, Like, could you actually get the floppy.

567
00:30:28,600 --> 00:30:31,560
Speaker 6: Disc some of them I've got, I've got some and

568
00:30:31,600 --> 00:30:34,000
Speaker 6: I've got I've kept most of the records when I

569
00:30:34,360 --> 00:30:36,240
Speaker 6: sold my record collection, but I kept all this since

570
00:30:36,280 --> 00:30:39,280
Speaker 6: I left you once And we just found the stems

571
00:30:39,280 --> 00:30:42,840
Speaker 6: recently from because we eventually tracked it to an early

572
00:30:42,920 --> 00:30:44,480
Speaker 6: version of pro tools when we went to like a

573
00:30:44,520 --> 00:30:49,000
Speaker 6: Proper studio. We were like, wow, this is like and

574
00:30:49,240 --> 00:30:52,120
Speaker 6: they had like about four different engineers helping us to

575
00:30:52,240 --> 00:30:55,040
Speaker 6: like get it from this from out the back of

576
00:30:55,040 --> 00:30:57,920
Speaker 6: our samplers onto recording into pro tools and then we

577
00:30:57,960 --> 00:31:00,360
Speaker 6: mixed it from there. So we've got those stems and

578
00:31:00,400 --> 00:31:05,160
Speaker 6: some of the some of the floppy discs.

579
00:31:07,400 --> 00:31:10,440
Speaker 1: Okay, so what is the what is the accurate number?

580
00:31:10,480 --> 00:31:16,360
Speaker 3: I know that, you know, sometimes these stories can be exaggerated.

581
00:31:17,680 --> 00:31:23,560
Speaker 1: How many samples do you believe are on that album?

582
00:31:23,800 --> 00:31:27,400
Speaker 6: I've got no idea I reckon there would be. Like

583
00:31:27,640 --> 00:31:29,600
Speaker 6: I think I figured it out once by working out

584
00:31:29,640 --> 00:31:31,880
Speaker 6: how much the five thousand could store and how many

585
00:31:31,920 --> 00:31:36,240
Speaker 6: samples in a program. And because it was every every zip,

586
00:31:36,960 --> 00:31:39,640
Speaker 6: every song was you know, the sampler memory was full.

587
00:31:40,600 --> 00:31:43,600
Speaker 6: So it was probably like around three thousand because all

588
00:31:43,640 --> 00:31:46,960
Speaker 6: the little drum hits and little bird noises all.

589
00:31:52,360 --> 00:31:55,360
Speaker 3: Yo. I won't say, man, when y'all use the part

590
00:31:55,400 --> 00:31:57,640
Speaker 3: they got me because like I mean, I listened to Recon,

591
00:31:57,680 --> 00:31:59,280
Speaker 3: I was like, okay, this is do the part where

592
00:31:59,320 --> 00:32:01,480
Speaker 3: I realized them. I'm like, okay, they know what's up.

593
00:32:01,720 --> 00:32:04,960
Speaker 1: When y'all use the ray Kwan, yeah exactly.

594
00:32:05,840 --> 00:32:10,320
Speaker 6: I was like, yes, I was like, yes, yes, yeah, she.

595
00:32:10,440 --> 00:32:11,920
Speaker 1: Was so dope. Yeah.

596
00:32:11,960 --> 00:32:15,560
Speaker 3: So your guess like I've read nine hundred samples, I've

597
00:32:15,560 --> 00:32:19,440
Speaker 3: read four thousand samples. I mean, of course, for the

598
00:32:19,560 --> 00:32:23,760
Speaker 3: legend of it, four thousand samples is a way better thing.

599
00:32:23,880 --> 00:32:28,720
Speaker 3: And I believe, you know, I believe anything, but baseball

600
00:32:28,760 --> 00:32:30,280
Speaker 3: guests baseball estimate.

601
00:32:31,120 --> 00:32:33,480
Speaker 6: I think two to three thousand, like like when you

602
00:32:33,520 --> 00:32:36,080
Speaker 6: consider every little up here and everything, because it was

603
00:32:36,920 --> 00:32:38,040
Speaker 6: it was a lot.

604
00:32:38,320 --> 00:32:41,800
Speaker 3: So Okay, when you're when you guys are at least

605
00:32:41,920 --> 00:32:45,880
Speaker 3: at the let's say the ninety percent mark. Let's say

606
00:32:45,920 --> 00:32:51,040
Speaker 3: that you have fifteen songs down already as you're creating

607
00:32:51,080 --> 00:32:55,880
Speaker 3: this album in your mind, are you like, there's no

608
00:32:56,040 --> 00:32:59,440
Speaker 3: way in hell we can ever clear this or sell

609
00:32:59,480 --> 00:33:02,880
Speaker 3: this to the outside world, Like, I mean, at this way,

610
00:33:03,000 --> 00:33:04,760
Speaker 3: is it just a passion project to you?

611
00:33:05,560 --> 00:33:08,560
Speaker 5: Yeah, I think we were, But but I think we

612
00:33:08,560 --> 00:33:12,040
Speaker 5: were just thinking not even of the legality of the

613
00:33:12,080 --> 00:33:15,000
Speaker 5: whole thing. We were just like trying to put together

614
00:33:15,040 --> 00:33:19,200
Speaker 5: this amazing thing, and there it was just kind of

615
00:33:19,640 --> 00:33:22,520
Speaker 5: record company, you do your thing and just get it out.

616
00:33:22,960 --> 00:33:24,840
Speaker 5: So it was good for us because we didn't have

617
00:33:24,880 --> 00:33:27,920
Speaker 5: that limitation, where whereas now we're you know, we have

618
00:33:28,000 --> 00:33:31,720
Speaker 5: to be more aware of samples we use and you know,

619
00:33:31,840 --> 00:33:33,760
Speaker 5: clearing and all that kind of stuff. But back then

620
00:33:33,800 --> 00:33:36,600
Speaker 5: it was still a little bit of a you know,

621
00:33:36,640 --> 00:33:38,520
Speaker 5: a little bit of a more of a free for all.

622
00:33:38,840 --> 00:33:40,560
Speaker 5: I guess we'll just say Robbie.

623
00:33:41,360 --> 00:33:44,600
Speaker 6: Yeah. But also nobody knew who we were, Like, yeah,

624
00:33:44,680 --> 00:33:49,160
Speaker 6: we didn't think anyone would ever you know, it would

625
00:33:49,200 --> 00:33:51,960
Speaker 6: get a wide audience. So in that way, we were

626
00:33:52,080 --> 00:33:56,120
Speaker 6: free to do what, to sample whatever we wanted, you know,

627
00:33:56,320 --> 00:33:59,520
Speaker 6: like we kind of just didn't really like I think

628
00:33:59,560 --> 00:34:01,440
Speaker 6: as we were as it was growing, we knew we

629
00:34:01,440 --> 00:34:03,040
Speaker 6: were very passionate, and we knew that it was this

630
00:34:03,080 --> 00:34:05,520
Speaker 6: beautiful thing, but we certainly didn't expect it to be

631
00:34:06,160 --> 00:34:11,319
Speaker 6: become what it was. So we weren't restrained by thinking that,

632
00:34:11,560 --> 00:34:13,239
Speaker 6: you know, we have a high profile and people are

633
00:34:13,280 --> 00:34:14,480
Speaker 6: going to a lot of people are going to hear

634
00:34:14,560 --> 00:34:15,160
Speaker 6: this record.

635
00:34:15,880 --> 00:34:18,120
Speaker 5: We've done an EP before that as well and didn't

636
00:34:18,160 --> 00:34:21,960
Speaker 5: clear one sample from that, so it just kind of

637
00:34:22,000 --> 00:34:27,000
Speaker 5: like didn't care to be nice, all right, so we

638
00:34:27,520 --> 00:34:28,600
Speaker 5: can't do that anymore.

639
00:34:29,360 --> 00:34:31,399
Speaker 3: Yeah, when I was my ass so when people came

640
00:34:31,480 --> 00:34:34,719
Speaker 3: to about you know, samples and stuff, what was it like,

641
00:34:34,800 --> 00:34:36,360
Speaker 3: were they like honored?

642
00:34:36,400 --> 00:34:37,960
Speaker 1: Were they like like fuck you pay me?

643
00:34:38,080 --> 00:34:42,120
Speaker 3: Like what was the what was the feeling like back then?

644
00:34:42,200 --> 00:34:44,840
Speaker 6: It was it was pretty nice. I mean some people

645
00:34:44,960 --> 00:34:48,200
Speaker 6: didn't even know what sample was, or you know, we

646
00:34:48,239 --> 00:34:55,680
Speaker 6: would track down someone who they'd inherited, like their grandfather's catalog,

647
00:34:56,120 --> 00:34:57,680
Speaker 6: you know, in a willis they didn't even know they

648
00:34:57,680 --> 00:34:59,279
Speaker 6: had it, and we would find them and say, hey,

649
00:34:59,320 --> 00:35:03,239
Speaker 6: you know you own it music and so and some

650
00:35:03,280 --> 00:35:05,920
Speaker 6: people just were like a flat out no, like Rogers

651
00:35:05,960 --> 00:35:07,439
Speaker 6: and Hammerstein and people like that.

652
00:35:08,360 --> 00:35:10,480
Speaker 1: Oh, so there are songs that did not make.

653
00:35:10,360 --> 00:35:14,640
Speaker 6: It, samples, samples that didn't make it. Yeah, and then

654
00:35:15,040 --> 00:35:17,560
Speaker 6: other people like John Kale, like he was super cool

655
00:35:17,560 --> 00:35:21,879
Speaker 6: because like, ah, that song two Hearts and three four time,

656
00:35:21,960 --> 00:35:23,560
Speaker 6: it was going to work out that like there was

657
00:35:23,600 --> 00:35:26,359
Speaker 6: five main samples and they all wanted twenty percent each,

658
00:35:26,400 --> 00:35:30,399
Speaker 6: so we were going to get nothing. And John Klee

659
00:35:30,520 --> 00:35:33,279
Speaker 6: was like, no, no, we the sample owners should all

660
00:35:33,320 --> 00:35:34,799
Speaker 6: take a little bit less. So the dudes that made

661
00:35:34,800 --> 00:35:36,040
Speaker 6: the song can get a little bit too.

662
00:35:36,200 --> 00:35:43,080
Speaker 1: And so that what's up that never happens that never.

663
00:35:42,960 --> 00:35:45,960
Speaker 5: It's probably never happened again, never happened again.

664
00:35:46,040 --> 00:35:52,280
Speaker 3: Can you represent us please this This never ever happens

665
00:35:52,680 --> 00:35:53,760
Speaker 3: in real life.

666
00:35:54,080 --> 00:35:56,600
Speaker 5: This is being unknown in Australia.

667
00:35:56,800 --> 00:36:00,279
Speaker 3: I mean I got people that like come after me

668
00:36:00,560 --> 00:36:02,000
Speaker 3: for like a snare drum.

669
00:36:02,960 --> 00:36:05,439
Speaker 1: Yeah, let alone and want like.

670
00:36:05,360 --> 00:36:09,440
Speaker 3: Seventy percent of it that's a snare drum. Yeah okay,

671
00:36:09,480 --> 00:36:13,799
Speaker 3: So when you're this, this was on actually recordings. So

672
00:36:14,080 --> 00:36:18,879
Speaker 3: when you played the final product to your company, how

673
00:36:18,920 --> 00:36:22,840
Speaker 3: long did it take for them to even start the

674
00:36:22,920 --> 00:36:28,480
Speaker 3: process to clear this? Because again, like I yeah, man, yeah,

675
00:36:28,840 --> 00:36:34,600
Speaker 3: usually okay. So the obstacles that I run into are okay,

676
00:36:34,640 --> 00:36:39,440
Speaker 3: say I create a song and uh okay, I have

677
00:36:39,520 --> 00:36:43,440
Speaker 3: this situation once where I used Hey Bulldog by the

678
00:36:43,480 --> 00:36:49,640
Speaker 3: Beatles and they wanted like one of the publishing, which

679
00:36:49,719 --> 00:36:53,040
Speaker 3: then left no space for like the other things I sampled.

680
00:36:53,520 --> 00:36:57,919
Speaker 3: And I've learned, I've learned, at least in the last

681
00:36:57,960 --> 00:37:01,280
Speaker 3: ten years, that relationships are key to making these things happen.

682
00:37:01,400 --> 00:37:07,600
Speaker 3: And oftentimes lawyers and red tape lawyers and administrative people

683
00:37:07,719 --> 00:37:11,600
Speaker 3: are kind of the the demons of the situation. And

684
00:37:11,840 --> 00:37:13,800
Speaker 3: half the time, if you can get to the actual

685
00:37:13,920 --> 00:37:18,760
Speaker 3: artists themselves, then you can you know, sort of iron

686
00:37:18,800 --> 00:37:23,160
Speaker 3: out and make it smooth. So again, how.

687
00:37:24,560 --> 00:37:29,760
Speaker 5: This we had this amazing lady called Pat Shanahan, who

688
00:37:30,840 --> 00:37:33,360
Speaker 5: I mean, she would have been in her sixties or seventies.

689
00:37:33,440 --> 00:37:37,439
Speaker 5: She just passed away recently. So she would clear all

690
00:37:37,800 --> 00:37:41,360
Speaker 5: samples for us, and she'd done like Beastie Boys records

691
00:37:41,400 --> 00:37:44,440
Speaker 5: and iced Tea and all stuff like that. So she

692
00:37:44,520 --> 00:37:48,040
Speaker 5: used to work at Ireland Records for many years and

693
00:37:48,160 --> 00:37:50,840
Speaker 5: had a lot of contacts just through the whole industry.

694
00:37:51,360 --> 00:37:53,600
Speaker 5: So when we were clear on his sample, she would

695
00:37:53,640 --> 00:37:56,879
Speaker 5: be like, Hey, I know him, I used to work

696
00:37:56,920 --> 00:37:59,120
Speaker 5: with him here or I notice. So she had a

697
00:37:59,160 --> 00:38:03,640
Speaker 5: lot of personal relationships with relationships. Yeah, So so that

698
00:38:03,680 --> 00:38:07,600
Speaker 5: helped us so much, and she would just be able

699
00:38:07,600 --> 00:38:10,480
Speaker 5: to get things over the line for us that you know,

700
00:38:10,480 --> 00:38:12,839
Speaker 5: if it was a lawyer or anything or anyone else

701
00:38:12,920 --> 00:38:15,040
Speaker 5: like that, it just wouldn't have happened. So well, I mean,

702
00:38:15,080 --> 00:38:16,480
Speaker 5: we're so lucky to have her.

703
00:38:17,640 --> 00:38:22,120
Speaker 6: Yeah, record one lady, And Yeah, she became a dear

704
00:38:22,120 --> 00:38:26,360
Speaker 6: friend actually Patch. She was just the most most lovely lady.

705
00:38:26,400 --> 00:38:30,120
Speaker 6: And I think she worked with who did she work

706
00:38:30,120 --> 00:38:32,320
Speaker 6: out before Island? I can't remember, but she sort of

707
00:38:32,400 --> 00:38:35,799
Speaker 6: knew everybody in the industry since like the sixties, had

708
00:38:35,840 --> 00:38:38,840
Speaker 6: seen that there was a niche for someone who just

709
00:38:38,960 --> 00:38:42,200
Speaker 6: specifically cleared samples, and so I think she left the

710
00:38:42,280 --> 00:38:44,480
Speaker 6: record label. And then the first record she cleared was

711
00:38:44,520 --> 00:38:46,680
Speaker 6: like the Tone Low Record or something like that. And

712
00:38:46,719 --> 00:38:49,880
Speaker 6: then and then she did Beck and the Beastie Boys,

713
00:38:49,960 --> 00:38:53,200
Speaker 6: and yeah, so she helped us a lot, and then

714
00:38:53,200 --> 00:38:56,600
Speaker 6: there were other personal relationships that Richard Russell at XL

715
00:38:58,320 --> 00:38:59,760
Speaker 6: helped us clear. The Madonna sample.

716
00:39:01,640 --> 00:39:05,959
Speaker 3: Yeah, I was, yeah that that was to be when

717
00:39:06,160 --> 00:39:08,480
Speaker 3: even when I heard it in the car. Now my

718
00:39:08,880 --> 00:39:12,480
Speaker 3: story of hearing it. I heard that album on my birthday.

719
00:39:12,520 --> 00:39:15,400
Speaker 3: I was doing a DJ gig in Indiana and I

720
00:39:15,440 --> 00:39:19,080
Speaker 3: was born in January, so it was like cold, and

721
00:39:20,640 --> 00:39:23,880
Speaker 3: the guy that picked me up from an airport played it,

722
00:39:24,080 --> 00:39:29,040
Speaker 3: and you know, because the album runs, uh sort of

723
00:39:29,080 --> 00:39:31,439
Speaker 3: as a continuous flow, like it doesn't go from song

724
00:39:31,520 --> 00:39:35,200
Speaker 3: to song, I just thought he was you know, normally

725
00:39:35,320 --> 00:39:37,279
Speaker 3: when the guy picks me up from the airport, they're

726
00:39:37,280 --> 00:39:38,399
Speaker 3: always like sneaking their.

727
00:39:41,960 --> 00:39:46,359
Speaker 1: So complain yeah no, no no.

728
00:39:46,920 --> 00:39:50,560
Speaker 3: From like the from the airport to my hotel room,

729
00:39:50,760 --> 00:39:52,600
Speaker 3: I was under the impression he was playing me his

730
00:39:52,680 --> 00:39:56,400
Speaker 3: ship and that's just that had me wide open. And

731
00:39:56,440 --> 00:39:58,680
Speaker 3: then like finally he gave me the bad news twenty

732
00:39:58,680 --> 00:40:01,480
Speaker 3: minutes into it like oh no, no, no, this is some

733
00:40:01,520 --> 00:40:04,920
Speaker 3: cats from Australia called the Avalanches. I was like, oh man,

734
00:40:04,960 --> 00:40:06,560
Speaker 3: I thought it was your ship, all right, never mind,

735
00:40:09,040 --> 00:40:12,239
Speaker 3: all right, right, but what WI wound up happened? I

736
00:40:12,280 --> 00:40:14,480
Speaker 3: asked him, can I borrow the CDs?

737
00:40:14,560 --> 00:40:15,160
Speaker 1: I could hear it?

738
00:40:15,200 --> 00:40:19,719
Speaker 3: And like, actually the same story with little brother when

739
00:40:19,719 --> 00:40:25,239
Speaker 3: I heard Fonte's thing, like, I rarely have dedicated so many,

740
00:40:25,800 --> 00:40:27,960
Speaker 3: like a lot of hours just to listen to product

741
00:40:28,040 --> 00:40:30,880
Speaker 3: over and over and over again, and I just I

742
00:40:31,000 --> 00:40:34,839
Speaker 3: just couldn't believe it. Well, because you guys worked on

743
00:40:35,239 --> 00:40:41,239
Speaker 3: and what you said earlier about how limitation studio limitations

744
00:40:41,800 --> 00:40:44,960
Speaker 3: makes you more creative, that makes sense because a lot

745
00:40:44,960 --> 00:40:48,040
Speaker 3: of my favorite guys like use you know, with with

746
00:40:48,640 --> 00:40:51,480
Speaker 3: Fonte's group, what did you guys do everything on fruity loops?

747
00:40:51,840 --> 00:40:54,560
Speaker 3: Everything was fruity loops and a compact we had We

748
00:40:54,600 --> 00:40:59,239
Speaker 3: had a compact computer, yeah, you know, we let it

749
00:40:59,239 --> 00:41:00,920
Speaker 3: pro That was what we quart of vocals and cool

750
00:41:00,960 --> 00:41:01,239
Speaker 3: litter or.

751
00:41:01,200 --> 00:41:03,320
Speaker 1: A sony acid like something real primitive.

752
00:41:04,000 --> 00:41:07,120
Speaker 3: So what I want to know is how do you

753
00:41:07,400 --> 00:41:12,400
Speaker 3: how do you bend samples to your will melodically, especially

754
00:41:12,440 --> 00:41:18,040
Speaker 3: back then without you know, the aid of a MacBook

755
00:41:18,080 --> 00:41:21,120
Speaker 3: pro to instantly, you know you could do.

756
00:41:21,080 --> 00:41:25,200
Speaker 1: That time stretching, yeah, yeah, thirty seconds.

757
00:41:25,400 --> 00:41:29,480
Speaker 3: But how are you able to bend these samples to

758
00:41:29,520 --> 00:41:33,440
Speaker 3: your will so that they melodically fit the song? And

759
00:41:34,400 --> 00:41:36,680
Speaker 3: with that primitive equipment how.

760
00:41:38,120 --> 00:41:40,040
Speaker 6: I think it comes back to what you're saying about

761
00:41:40,200 --> 00:41:45,520
Speaker 6: just how limitations can be really powerful, because it was

762
00:41:45,600 --> 00:41:48,400
Speaker 6: just like I just remember going, this is this actus sampler.

763
00:41:48,440 --> 00:41:50,640
Speaker 6: I'm just going to get really fucking good at this

764
00:41:50,800 --> 00:41:53,759
Speaker 6: one thing, and that's all I'm going to do, you know,

765
00:41:54,239 --> 00:41:58,600
Speaker 6: And so once it just becomes almost invisible, so you're

766
00:41:58,600 --> 00:42:00,560
Speaker 6: not even thinking about how to use it. You know

767
00:42:00,640 --> 00:42:03,640
Speaker 6: it so well, and so it was just just literally

768
00:42:03,680 --> 00:42:07,560
Speaker 6: tuning samples in the sampler. So you know, you might

769
00:42:07,600 --> 00:42:10,319
Speaker 6: have stuck with a drum bead and kind of a

770
00:42:10,360 --> 00:42:12,799
Speaker 6: beginning sample, and the beginning sample just kind of gets

771
00:42:12,840 --> 00:42:14,680
Speaker 6: you going it might not even be there at the end.

772
00:42:15,080 --> 00:42:18,279
Speaker 6: But then it's just literally getting samples in tune and

773
00:42:18,360 --> 00:42:20,279
Speaker 6: whole bunch of samples just on the MIDI keyboard that

774
00:42:20,320 --> 00:42:23,759
Speaker 6: are living in the sampler's memory and playing around and

775
00:42:23,760 --> 00:42:25,279
Speaker 6: then going, oh, that might be a verse that might

776
00:42:25,280 --> 00:42:28,000
Speaker 6: be a chorus. I've kind of stuck. Save it, put

777
00:42:28,040 --> 00:42:30,719
Speaker 6: it away, maybe give it to Tony Hills see if

778
00:42:30,719 --> 00:42:33,040
Speaker 6: he can find a sample for it. And slowly and

779
00:42:33,080 --> 00:42:35,399
Speaker 6: slowly the layers built up. So it's just using your

780
00:42:35,520 --> 00:42:37,240
Speaker 6: ear tuning samples by ear.

781
00:42:38,239 --> 00:42:40,680
Speaker 3: So that is not easy to do. People, that is

782
00:42:40,719 --> 00:42:42,200
Speaker 3: that is that is not easy to do.

783
00:42:42,239 --> 00:42:43,640
Speaker 1: Which leads to my next question.

784
00:42:43,800 --> 00:42:47,120
Speaker 3: So when I asked the bomb squad how they created

785
00:42:47,280 --> 00:42:51,200
Speaker 3: Nation of Millions, I guess Keith Shockley explained to me

786
00:42:51,280 --> 00:42:55,680
Speaker 3: that basically the process that they were doing, they would

787
00:42:55,680 --> 00:42:58,520
Speaker 3: have jam sessions. So the way that the engineer was

788
00:42:58,560 --> 00:43:02,520
Speaker 3: set up was Eric Sadler had his sampler on his

789
00:43:02,560 --> 00:43:06,759
Speaker 3: side of the room, Keith Shockley was probably on turntable

790
00:43:06,800 --> 00:43:10,160
Speaker 3: doing his stuff, and then Hank would have his bit

791
00:43:10,960 --> 00:43:14,480
Speaker 3: and they would start with a drum beat and when

792
00:43:14,480 --> 00:43:18,439
Speaker 3: they were satisfied. Their theory was that if you took

793
00:43:18,480 --> 00:43:21,600
Speaker 3: everything away, like are the drums banging enough? Like the

794
00:43:21,680 --> 00:43:24,279
Speaker 3: drums have to be perfect. Once the drums are there,

795
00:43:25,080 --> 00:43:33,120
Speaker 3: then each chef would add their particular ingredient into the

796
00:43:33,800 --> 00:43:37,680
Speaker 3: musical stew until it felt complete and felt right. So

797
00:43:38,239 --> 00:43:42,200
Speaker 3: how do you guys source or like what's the back

798
00:43:42,200 --> 00:43:45,920
Speaker 3: and forth or the work process to adding things like

799
00:43:46,440 --> 00:43:48,120
Speaker 3: you know, whose idea was it? Like oh, I got

800
00:43:48,120 --> 00:43:52,239
Speaker 3: this horse noise over here. Even with the first song

801
00:43:52,280 --> 00:43:56,040
Speaker 3: on Wildflower where the kid is talking, I don't know

802
00:43:56,080 --> 00:43:59,200
Speaker 3: if that's a SoundBite, and you guys manipulated his voice

803
00:43:59,200 --> 00:44:04,440
Speaker 3: to go right and key with that intro. But you know,

804
00:44:04,600 --> 00:44:08,600
Speaker 3: even with the Wildflower intro, like how do you guys,

805
00:44:09,840 --> 00:44:12,120
Speaker 3: how do you guys communicate back and forth like what

806
00:44:12,320 --> 00:44:13,360
Speaker 3: gets inside the.

807
00:44:14,840 --> 00:44:15,120
Speaker 1: Meal?

808
00:44:16,120 --> 00:44:20,560
Speaker 3: And also subsequently, how do you tell each other that

809
00:44:20,680 --> 00:44:24,120
Speaker 3: doesn't work? Like Okay, I don't know if that fits

810
00:44:24,239 --> 00:44:27,080
Speaker 3: or whatever, or is it just like whatever works thrown in?

811
00:44:28,480 --> 00:44:31,600
Speaker 5: I think that, I mean definitely. Robbie is the great

812
00:44:31,960 --> 00:44:36,520
Speaker 5: producer of the records. And it's almost like where, you know,

813
00:44:36,680 --> 00:44:38,440
Speaker 5: we used to have all the other members in the

814
00:44:38,480 --> 00:44:41,480
Speaker 5: band and we you know, have a little sample, you know, loops,

815
00:44:41,480 --> 00:44:44,120
Speaker 5: a couple of things that go together or something like that,

816
00:44:44,160 --> 00:44:46,880
Speaker 5: but then kind of give them over to him where

817
00:44:47,239 --> 00:44:51,240
Speaker 5: he's putting it all together and you know, chopping up everything,

818
00:44:51,320 --> 00:44:54,239
Speaker 5: and I mean it's just what he's amazing now. He's

819
00:44:54,280 --> 00:44:58,799
Speaker 5: just doing all the layers and incredible production work and

820
00:44:59,600 --> 00:45:02,080
Speaker 5: you know the horse noises and all that kind.

821
00:45:05,239 --> 00:45:06,560
Speaker 1: I was just like, the hell.

822
00:45:09,680 --> 00:45:13,160
Speaker 6: Because no no I heard. I was like it was

823
00:45:13,200 --> 00:45:14,960
Speaker 6: like DJ Muggs and Cypress Hill and you know that

824
00:45:15,080 --> 00:45:16,279
Speaker 6: squeal noise he had.

825
00:45:17,000 --> 00:45:19,280
Speaker 1: Yeah, yeah, I'm.

826
00:45:19,120 --> 00:45:20,920
Speaker 6: Gonna try and make a noise like that. And then

827
00:45:20,960 --> 00:45:23,560
Speaker 6: I was watching an old Western movie and there was

828
00:45:23,560 --> 00:45:25,400
Speaker 6: this horse. I was like that that might work.

829
00:45:25,560 --> 00:45:28,600
Speaker 4: So how did you get the horse to clear the sample?

830
00:45:36,960 --> 00:45:39,040
Speaker 5: The horse to this day still doesn't know that he's

831
00:45:39,080 --> 00:45:39,680
Speaker 5: on the record.

832
00:45:41,800 --> 00:45:45,520
Speaker 3: How did you guys even know because movie soundbites are

833
00:45:45,680 --> 00:45:48,400
Speaker 3: also a big part of the.

834
00:45:50,040 --> 00:45:53,360
Speaker 1: Kind of the structure here, How.

835
00:45:53,200 --> 00:45:57,360
Speaker 3: Did how did you guys even source or even figure

836
00:45:57,400 --> 00:46:02,799
Speaker 3: out clearing all of the non musical elements of the

837
00:46:02,840 --> 00:46:04,920
Speaker 3: song that had to be clear, Like I'm certain that

838
00:46:04,960 --> 00:46:06,760
Speaker 3: with movie dialogue?

839
00:46:06,880 --> 00:46:09,359
Speaker 1: Or was it just like the Wild West? Like if

840
00:46:09,360 --> 00:46:13,719
Speaker 1: they come to you, then you admit it? Or never mind,

841
00:46:17,320 --> 00:46:18,920
Speaker 1: please don't incriminate yourself.

842
00:46:19,040 --> 00:46:22,239
Speaker 3: I think never mind. I got my answer. This is

843
00:46:23,360 --> 00:46:25,600
Speaker 3: this is Quest Love Supreme, not DJ Last.

844
00:46:27,000 --> 00:46:29,360
Speaker 1: Oh my god, I don't never compare me.

845
00:46:30,320 --> 00:46:33,040
Speaker 5: Would you like al answer or the record label?

846
00:46:33,680 --> 00:46:34,280
Speaker 1: Never mind?

847
00:46:34,719 --> 00:46:39,920
Speaker 3: I just never mind, forget it. One thing I was

848
00:46:39,960 --> 00:46:43,520
Speaker 3: I was curious to know for two things. One just

849
00:46:43,680 --> 00:46:46,520
Speaker 3: the making of a Wildflower, because you know, we've read

850
00:46:46,560 --> 00:46:48,359
Speaker 3: a lot and if you guys have talked a lot

851
00:46:48,400 --> 00:46:49,120
Speaker 3: about they make it.

852
00:46:49,280 --> 00:46:50,000
Speaker 1: Since I left you.

853
00:46:50,120 --> 00:46:54,440
Speaker 3: Wildflower was like other than Dangelo's Black Messiah, that was

854
00:46:54,960 --> 00:46:57,040
Speaker 3: those were neck and those are like my two most

855
00:46:57,040 --> 00:47:02,960
Speaker 3: anticipated records of that decade. Yeah, just as long and

856
00:47:02,960 --> 00:47:05,480
Speaker 3: and I remember it. You know, we've been hearing about

857
00:47:05,480 --> 00:47:07,120
Speaker 3: it for a while and I was like it dropped

858
00:47:07,120 --> 00:47:08,839
Speaker 3: and I was like, holy shit, this is really here.

859
00:47:09,000 --> 00:47:11,759
Speaker 3: And you know, it was really inspiring me because it

860
00:47:11,880 --> 00:47:14,640
Speaker 3: sounded like you guys picked up like right where you

861
00:47:14,760 --> 00:47:16,960
Speaker 3: left off. It didn't even you could listen to since

862
00:47:16,960 --> 00:47:19,840
Speaker 3: I Left You a Wildflower back to back and aside

863
00:47:19,840 --> 00:47:22,560
Speaker 3: from the cameos, you know, you would sound like they

864
00:47:22,560 --> 00:47:24,360
Speaker 3: were done at the same time. So I was curious

865
00:47:24,400 --> 00:47:27,000
Speaker 3: to know just you know, working on that record and

866
00:47:27,120 --> 00:47:29,919
Speaker 3: you know what took so long? A what took so long?

867
00:47:30,120 --> 00:47:33,080
Speaker 3: From uh since I left you the Wildflower? In two Uh,

868
00:47:33,200 --> 00:47:37,200
Speaker 3: the you guys picking your mcs, because you really picked

869
00:47:37,520 --> 00:47:40,080
Speaker 3: you know guys that weren't you know, like you know,

870
00:47:40,160 --> 00:47:42,120
Speaker 3: Danny Brown and camp Low and you know what I mean,

871
00:47:42,239 --> 00:47:45,160
Speaker 3: Like you guys worked with some kind of unorthodox people,

872
00:47:45,239 --> 00:47:47,920
Speaker 3: So how do y'all go about choosing that?

873
00:47:47,920 --> 00:47:51,960
Speaker 6: That? I mean Camplow. That first Camplow Camp Saturday Night

874
00:47:52,160 --> 00:47:55,799
Speaker 6: was like a favorite record. We would just play that NonStop,

875
00:47:55,840 --> 00:47:58,480
Speaker 6: and some great sampling in that record too, So we

876
00:47:58,560 --> 00:48:02,200
Speaker 6: actually sampled Camplow on Since I Left You, So it

877
00:48:02,280 --> 00:48:04,400
Speaker 6: was really nice to kind of go full circle and

878
00:48:04,440 --> 00:48:05,560
Speaker 6: then work with that.

879
00:48:05,880 --> 00:48:08,200
Speaker 5: Whenever we played live, we'd always have a bit where

880
00:48:08,400 --> 00:48:14,920
Speaker 5: Luccini would coming after a song, So massive Camblow fans.

881
00:48:16,000 --> 00:48:20,400
Speaker 3: Before you answer Fantie's question, how how did you guys?

882
00:48:21,120 --> 00:48:22,920
Speaker 3: How did you guys deliver the album live?

883
00:48:23,200 --> 00:48:27,239
Speaker 1: Like? How does that even happen? Or what's the star?

884
00:48:27,600 --> 00:48:27,680
Speaker 6: Like?

885
00:48:28,200 --> 00:48:30,480
Speaker 3: I only saw you guys when you guys finally came

886
00:48:30,520 --> 00:48:34,719
Speaker 3: to the Tonight show for the Wildflower album. That's the

887
00:48:34,719 --> 00:48:37,720
Speaker 3: first time I got to see you, like actually perform.

888
00:48:38,040 --> 00:48:41,000
Speaker 3: But when you're when you made Since I Left You,

889
00:48:42,600 --> 00:48:46,680
Speaker 3: then how do you decide how to deliver this in concert?

890
00:48:47,719 --> 00:48:49,920
Speaker 6: We still when we were touring Since I Left You,

891
00:48:49,960 --> 00:48:53,239
Speaker 6: we were still like in live band mode because that's

892
00:48:53,440 --> 00:48:55,440
Speaker 6: we still had that element from you know, when we

893
00:48:55,440 --> 00:48:59,360
Speaker 6: were starting out, So we would sort of do like

894
00:48:59,480 --> 00:49:01,880
Speaker 6: kind of like there was like a big party with

895
00:49:01,960 --> 00:49:05,640
Speaker 6: live drums and kind of like I don't know, guitar

896
00:49:07,000 --> 00:49:08,960
Speaker 6: key yeah.

897
00:49:08,320 --> 00:49:10,759
Speaker 5: But most of everything was just like on a on

898
00:49:10,840 --> 00:49:13,960
Speaker 5: a mini keyboard and we'd have the samples. It would

899
00:49:14,000 --> 00:49:20,200
Speaker 5: just be that key chorus break horse. So I was

900
00:49:21,480 --> 00:49:24,400
Speaker 5: just triggering live and then the drama playing along to it.

901
00:49:24,400 --> 00:49:26,880
Speaker 5: So there's no like you know, time code or anything

902
00:49:26,920 --> 00:49:29,560
Speaker 5: into a computer or anything like that when we did

903
00:49:29,680 --> 00:49:31,439
Speaker 5: to it Since I Left You, So it was still

904
00:49:31,440 --> 00:49:32,839
Speaker 5: pretty organic in that way.

905
00:49:33,800 --> 00:49:36,279
Speaker 3: One of the guys in your band man hold, I'm

906
00:49:36,280 --> 00:49:38,960
Speaker 3: a big fan of Johnty. How did y'all? How did

907
00:49:39,040 --> 00:49:41,200
Speaker 3: y'all hook up? And what's his Rolling You guys band?

908
00:49:42,560 --> 00:49:44,960
Speaker 6: Oh? Yeah, he was part of our touring group for

909
00:49:45,239 --> 00:49:49,160
Speaker 6: around the Wildflower era. We came and Dido and and

910
00:49:49,200 --> 00:49:51,719
Speaker 6: we I think we heard his first EP and it

911
00:49:51,760 --> 00:49:54,080
Speaker 6: was really cool and then he did some vocals on

912
00:49:54,160 --> 00:49:58,760
Speaker 6: Wildflower and then we were like, come come on the road. Yeah,

913
00:49:59,280 --> 00:49:59,640
Speaker 6: and so.

914
00:49:59,680 --> 00:50:03,120
Speaker 5: He was So he also did a it was Since

915
00:50:03,160 --> 00:50:07,240
Speaker 5: I Left You. He put a band together of about

916
00:50:07,280 --> 00:50:10,000
Speaker 5: fifteen musicians and played Since I Left You front to

917
00:50:10,120 --> 00:50:13,560
Speaker 5: back really and did it live around Australia and we

918
00:50:13,640 --> 00:50:16,520
Speaker 5: were like, oh, let's let's go check this out. And

919
00:50:16,719 --> 00:50:18,680
Speaker 5: it was kind of like really weird to just be

920
00:50:19,080 --> 00:50:23,719
Speaker 5: you know, yeah, and weren't played so long. We're just like, hey,

921
00:50:24,160 --> 00:50:26,440
Speaker 5: we should get back on running, like do this. So

922
00:50:27,280 --> 00:50:30,480
Speaker 5: it was really it was really cool to see and

923
00:50:31,320 --> 00:50:33,560
Speaker 5: from now, I mean, you know, we developed the relationship.

924
00:50:34,440 --> 00:50:35,719
Speaker 1: No, he's really dope.

925
00:50:35,960 --> 00:50:39,000
Speaker 3: I'm a big fan of Yeah, but what's but the

926
00:50:39,040 --> 00:50:41,440
Speaker 3: gap between the first album and wild Flower? You know

927
00:50:41,480 --> 00:50:45,480
Speaker 3: that eighteen years sixteen years, welter, what what happened?

928
00:50:46,040 --> 00:50:48,279
Speaker 1: I got admit I thought they threw you guys under

929
00:50:48,280 --> 00:50:52,239
Speaker 1: the jail. I really ad meant. I was they got

930
00:50:52,239 --> 00:50:56,200
Speaker 1: thrown under the jail. You don't got our money? Fuck it?

931
00:50:58,040 --> 00:51:03,120
Speaker 6: Yeah? Yeah, I mean, I mean there's many ways to

932
00:51:03,160 --> 00:51:07,040
Speaker 6: answer that question, but the short answer is like was like,

933
00:51:08,280 --> 00:51:10,520
Speaker 6: you know, you make since I left you with no money,

934
00:51:11,400 --> 00:51:14,640
Speaker 6: no equipment, you have a success, You get an advance

935
00:51:14,760 --> 00:51:17,480
Speaker 6: to make your second record, you buy all this equipment,

936
00:51:18,520 --> 00:51:21,680
Speaker 6: and then but it doesn't flow and it doesn't happen

937
00:51:22,520 --> 00:51:27,040
Speaker 6: sitting there around with compressors all day and like outboard gear,

938
00:51:27,080 --> 00:51:28,839
Speaker 6: and we had none of that before, and it took

939
00:51:28,880 --> 00:51:31,520
Speaker 6: a long time to get back to that point of

940
00:51:31,560 --> 00:51:35,279
Speaker 6: realizing it's not about that, it's just about your imagination

941
00:51:36,080 --> 00:51:38,719
Speaker 6: a turntable and a sampler and you can add all

942
00:51:38,719 --> 00:51:40,560
Speaker 6: that shit later in the studio. But it was like,

943
00:51:41,000 --> 00:51:43,600
Speaker 6: you've got to write the songs, the beautiful songs first,

944
00:51:43,760 --> 00:51:46,359
Speaker 6: you know, and all the gear to help you. Well,

945
00:51:46,400 --> 00:51:47,879
Speaker 6: you know, we were young and we had to learn

946
00:51:47,880 --> 00:51:50,319
Speaker 6: that ourselves. And now we're back to like I don't

947
00:51:50,320 --> 00:51:53,440
Speaker 6: have the studio in my house anymore, Like I just

948
00:51:53,560 --> 00:51:55,919
Speaker 6: back to the same sympath start.

949
00:51:56,520 --> 00:52:00,120
Speaker 3: So you purposely wanted to go back to square one.

950
00:52:00,280 --> 00:52:05,640
Speaker 5: It took us sixteen years to realize that. But eventually,

951
00:52:05,680 --> 00:52:08,720
Speaker 5: and the thing is like, like in all honesty, as

952
00:52:09,360 --> 00:52:11,239
Speaker 5: as the time went on, kind of since I left,

953
00:52:11,280 --> 00:52:15,840
Speaker 5: you started to grow in stature, so we were a

954
00:52:15,840 --> 00:52:18,480
Speaker 5: lot of pressure started to build. And then that pressure,

955
00:52:18,560 --> 00:52:20,440
Speaker 5: you know, came a little bit from the record company,

956
00:52:20,480 --> 00:52:23,120
Speaker 5: just from fans in general and everything when's it's going

957
00:52:23,200 --> 00:52:27,279
Speaker 5: to happen, And that got to us a lot as well,

958
00:52:27,320 --> 00:52:30,440
Speaker 5: I think as it went along, and you know, and

959
00:52:30,480 --> 00:52:32,279
Speaker 5: then like Robbie said, we kind of just got back

960
00:52:32,320 --> 00:52:34,399
Speaker 5: to the essence of what it was all about, and

961
00:52:35,200 --> 00:52:39,759
Speaker 5: almost just in our own personal journeys kind of declinded

962
00:52:39,840 --> 00:52:43,080
Speaker 5: our minds and stopped with all the pressure within ourselves

963
00:52:43,160 --> 00:52:44,960
Speaker 5: and just let go of all that that goal of

964
00:52:45,160 --> 00:52:48,400
Speaker 5: all the equipment, and from that point like it didn't

965
00:52:48,440 --> 00:52:51,200
Speaker 5: take that long at all to finish.

966
00:52:51,880 --> 00:52:54,439
Speaker 4: I'm just curious, what, so, what equipment did you use

967
00:52:54,480 --> 00:52:58,919
Speaker 4: for a wildflower and the new one specifically the same?

968
00:53:00,320 --> 00:53:04,120
Speaker 5: No, we use pro Tools for this one. We were

969
00:53:04,200 --> 00:53:07,880
Speaker 5: using Vision for since I left it, which that program

970
00:53:07,960 --> 00:53:12,440
Speaker 5: actually they stopped making it in nineteen ninety seven and

971
00:53:12,560 --> 00:53:15,840
Speaker 5: Robbie was still using that up to two thousand and six.

972
00:53:21,560 --> 00:53:22,160
Speaker 1: It ain't broke.

973
00:53:23,320 --> 00:53:27,080
Speaker 3: How long did it take you to learn how to

974
00:53:27,280 --> 00:53:32,560
Speaker 3: master updated equipment or were you just stubborn, like I'll

975
00:53:32,600 --> 00:53:34,560
Speaker 3: never it's this or nothing.

976
00:53:35,719 --> 00:53:42,279
Speaker 6: I was stubborn for a long time. But now I'm

977
00:53:42,360 --> 00:53:44,719
Speaker 6: just like it's pro Tools, and I just editing pro

978
00:53:44,760 --> 00:53:46,840
Speaker 6: Tools and it's just like second Nation to me again.

979
00:53:47,480 --> 00:53:49,280
Speaker 6: So it's just like it's just like a tape recorder,

980
00:53:49,280 --> 00:53:50,880
Speaker 6: and it reminds me of like when I was like

981
00:53:51,080 --> 00:53:54,440
Speaker 6: fifteen and learn me how to make tape loots and stuff.

982
00:53:54,480 --> 00:53:56,880
Speaker 6: You know, it's like as long as long as I

983
00:53:56,960 --> 00:53:57,920
Speaker 6: keep it simple, you know.

984
00:53:58,239 --> 00:54:03,200
Speaker 4: It's what's the what's what are the pros and constant

985
00:54:03,280 --> 00:54:05,320
Speaker 4: You know, when pro tools you're now able to see

986
00:54:05,680 --> 00:54:09,520
Speaker 4: your music and your samples, and back in the day

987
00:54:09,760 --> 00:54:15,120
Speaker 4: you couldn't. So what are the advantages and disadvantages to that,

988
00:54:15,360 --> 00:54:15,799
Speaker 4: if any?

989
00:54:16,880 --> 00:54:20,440
Speaker 6: That's an amazing question because you're so right. I mean,

990
00:54:20,480 --> 00:54:22,799
Speaker 6: you can't see the waveforms when the sampler, you know,

991
00:54:22,840 --> 00:54:25,080
Speaker 6: you don't see You're just listening and you're kind of

992
00:54:25,160 --> 00:54:27,640
Speaker 6: like looking at the window almost, you know. So it's

993
00:54:27,640 --> 00:54:30,200
Speaker 6: just a feeling thing, and it has been a big

994
00:54:30,280 --> 00:54:34,160
Speaker 6: change because you know, pro tools can grit everything so easily,

995
00:54:34,239 --> 00:54:37,040
Speaker 6: and everything can get tight, and like you can make

996
00:54:37,080 --> 00:54:40,040
Speaker 6: so many different versions of the one song, and it's

997
00:54:40,040 --> 00:54:43,200
Speaker 6: almost like you can again get too out of control

998
00:54:43,239 --> 00:54:49,759
Speaker 6: with limitlessness of things like pro tools. And even just

999
00:54:49,760 --> 00:54:53,080
Speaker 6: going back to Wildflower the way, you know, we used

1000
00:54:53,080 --> 00:54:55,600
Speaker 6: the sample to just just pick up a record, put

1001
00:54:55,600 --> 00:54:58,440
Speaker 6: it on, find a sample from a you know, pretty.

1002
00:54:58,760 --> 00:55:01,680
Speaker 5: Simple like that. But during world Flow, we just for

1003
00:55:01,680 --> 00:55:05,840
Speaker 5: some reason we'd go, okay, let's just collect samples. So

1004
00:55:05,880 --> 00:55:09,560
Speaker 5: we just collect samples without like thousands and categorize them

1005
00:55:09,600 --> 00:55:11,839
Speaker 5: without it and really making songs. We're just like we'll

1006
00:55:11,840 --> 00:55:14,880
Speaker 5: do that later. So it almost became like this story

1007
00:55:15,680 --> 00:55:22,719
Speaker 5: and administration process of making music. So so that just

1008
00:55:22,760 --> 00:55:23,880
Speaker 5: that the limitlessness of that.

1009
00:55:24,400 --> 00:55:30,480
Speaker 3: Years later we're like work, Yeah, I was gonna ask

1010
00:55:30,600 --> 00:55:33,480
Speaker 3: just in the sixteen years you know between those records

1011
00:55:34,400 --> 00:55:36,560
Speaker 3: were your what would you guys make? Source of the income?

1012
00:55:36,600 --> 00:55:38,919
Speaker 3: Like how was yall able to stay going for that loan?

1013
00:55:40,600 --> 00:55:43,960
Speaker 6: It was a struggle, you know, and it's certainly not

1014
00:55:43,960 --> 00:55:47,400
Speaker 6: not what people think. It's like, you know, being in

1015
00:55:47,480 --> 00:55:49,640
Speaker 6: bad and like, for example, the song since I like

1016
00:55:49,680 --> 00:55:52,279
Speaker 6: talking about sample clearance, Like the song since I Left

1017
00:55:52,320 --> 00:55:55,400
Speaker 6: You is like I don't own any of it, you know,

1018
00:55:55,400 --> 00:55:58,960
Speaker 6: it's all owned by samples. So we don't get really

1019
00:55:59,040 --> 00:56:01,040
Speaker 6: walties to live OX. So it was tough, and we

1020
00:56:01,080 --> 00:56:04,439
Speaker 6: would get offers to do some big shows in that time,

1021
00:56:04,520 --> 00:56:06,759
Speaker 6: but we kind of thought, you know, if it gets

1022
00:56:06,800 --> 00:56:09,520
Speaker 6: to like twenty ten and we haven't put a new

1023
00:56:09,560 --> 00:56:11,279
Speaker 6: record out, we can't. We don't really want to go

1024
00:56:11,280 --> 00:56:12,799
Speaker 6: and do a show because it just seems like we're

1025
00:56:13,320 --> 00:56:13,800
Speaker 6: in all.

1026
00:56:13,680 --> 00:56:19,880
Speaker 5: These Yeah, I mean, you know MAXI credit credit cards.

1027
00:56:21,239 --> 00:56:24,520
Speaker 3: Well, were you guys did you ever consider it, like

1028
00:56:25,120 --> 00:56:29,360
Speaker 3: just going back to your roots and DJing, like just

1029
00:56:29,480 --> 00:56:33,280
Speaker 3: doing DJ sets as a duo, but without the pressure

1030
00:56:33,360 --> 00:56:36,480
Speaker 3: of here's our new album, that sort of thing.

1031
00:56:37,520 --> 00:56:39,840
Speaker 5: We did that a few times and that was able

1032
00:56:39,880 --> 00:56:47,520
Speaker 5: to to earness some income. We did like a couple

1033
00:56:47,600 --> 00:56:50,520
Speaker 5: of songs for a musical it was King Kong Musical

1034
00:56:50,800 --> 00:56:53,480
Speaker 5: that was here in Melbourne, so that kind of helps it.

1035
00:56:53,600 --> 00:56:55,600
Speaker 5: And we did have a lot of help from the

1036
00:56:55,640 --> 00:56:59,560
Speaker 5: record company who had just signed to so it was

1037
00:56:59,600 --> 00:57:02,200
Speaker 5: like an in dependent record company would just like being

1038
00:57:03,280 --> 00:57:05,759
Speaker 5: half yeah, half brought out by Universal.

1039
00:57:05,960 --> 00:57:07,520
Speaker 6: Which has a lot of money.

1040
00:57:07,760 --> 00:57:13,440
Speaker 5: So so you know, our man Steve pav would really

1041
00:57:13,640 --> 00:57:17,080
Speaker 5: help us out by constantly asking them if he can

1042
00:57:17,120 --> 00:57:19,720
Speaker 5: have a little bit more, and it's just around the corner,

1043
00:57:19,960 --> 00:57:24,000
Speaker 5: you know, six months away, six months later, it'd be

1044
00:57:24,040 --> 00:57:24,760
Speaker 5: the same thing.

1045
00:57:25,280 --> 00:57:26,520
Speaker 1: So faness.

1046
00:57:28,440 --> 00:57:29,240
Speaker 6: He was wonderful.

1047
00:57:30,080 --> 00:57:30,800
Speaker 5: He was really good.

1048
00:57:36,120 --> 00:57:39,760
Speaker 3: I always wanted to know, Okay, so I'm not I'm

1049
00:57:40,000 --> 00:57:45,120
Speaker 3: probably closer to to Robbie's theory on kind of staying

1050
00:57:46,680 --> 00:57:52,040
Speaker 3: intentionally ignorant too technology so that it doesn't destroy me,

1051
00:57:53,360 --> 00:57:54,320
Speaker 3: you know, like I don't.

1052
00:57:54,600 --> 00:57:55,000
Speaker 1: I don't.

1053
00:57:55,160 --> 00:57:56,960
Speaker 3: That's my excuse, Like I don't want to learn all

1054
00:57:57,000 --> 00:57:59,160
Speaker 3: this technology because then I'll lose.

1055
00:57:59,720 --> 00:58:01,960
Speaker 1: What I had in my magic period. That sort of thing,

1056
00:58:02,360 --> 00:58:03,960
Speaker 1: but I have to know.

1057
00:58:06,240 --> 00:58:10,200
Speaker 3: So when I first saw the demonstration of I hope

1058
00:58:10,200 --> 00:58:13,600
Speaker 3: I'm saying this right. And I prefaced all that to say, like,

1059
00:58:13,840 --> 00:58:17,200
Speaker 3: I really don't know the technical terms, but with the

1060
00:58:17,240 --> 00:58:23,200
Speaker 3: program melodim, that enables you to sort of like erase

1061
00:58:23,240 --> 00:58:27,440
Speaker 3: the DNA of a song, like if I could take

1062
00:58:27,440 --> 00:58:29,960
Speaker 3: a Stevie Wonder song and erase his vocals out of

1063
00:58:29,960 --> 00:58:32,800
Speaker 3: it and make it just an instrumental that sort of thing.

1064
00:58:33,160 --> 00:58:36,600
Speaker 3: When I first saw that, I saw that Jazzy Jeff's

1065
00:58:36,600 --> 00:58:40,360
Speaker 3: house and the first thing I said to him was, yo, Like,

1066
00:58:41,600 --> 00:58:44,320
Speaker 3: I can't wait to see what happens when the avalanches

1067
00:58:44,360 --> 00:58:45,960
Speaker 3: get a hold of this machine.

1068
00:58:46,240 --> 00:58:47,440
Speaker 1: Where they can now.

1069
00:58:48,720 --> 00:58:53,480
Speaker 3: Really manipulate and bend sounds to the you know, or

1070
00:58:53,520 --> 00:58:56,440
Speaker 3: like y'all, or like Ableton, like the avalanches were Ableton.

1071
00:58:56,520 --> 00:59:00,680
Speaker 3: It's like, that's fucking scary exactly. So, like, have you

1072
00:59:00,760 --> 00:59:04,680
Speaker 3: guys even created songs to that level?

1073
00:59:04,720 --> 00:59:06,360
Speaker 1: Like it's weird.

1074
00:59:06,680 --> 00:59:09,520
Speaker 3: I don't know if someone has fully taken advantage of

1075
00:59:10,800 --> 00:59:13,880
Speaker 3: like it's to me, it seems so grandiose and so

1076
00:59:14,840 --> 00:59:18,840
Speaker 3: attimidating that I haven't even I think maybe once last

1077
00:59:18,880 --> 00:59:21,920
Speaker 3: year I decided, like, all right, let me take the

1078
00:59:21,920 --> 00:59:24,440
Speaker 3: Fender Rhodes from this particular song that I don't have

1079
00:59:24,520 --> 00:59:26,720
Speaker 3: the stems to and see if I could build a

1080
00:59:26,720 --> 00:59:27,240
Speaker 3: song from that.

1081
00:59:27,440 --> 00:59:29,240
Speaker 1: But besides that.

1082
00:59:29,120 --> 00:59:31,720
Speaker 3: One moment, like I kind of thought it was going

1083
00:59:31,800 --> 00:59:36,800
Speaker 3: to be just a flood of kind of a return

1084
00:59:37,160 --> 00:59:39,840
Speaker 3: or at least a part two of the sample. Wow

1085
00:59:39,880 --> 00:59:43,000
Speaker 3: Wow West, that was you know, eighty six to ninety two,

1086
00:59:43,080 --> 00:59:45,720
Speaker 3: that sort of thing. But what this sort of sampling

1087
00:59:45,760 --> 00:59:49,080
Speaker 3: have you guys ever been Have you guys even decided

1088
00:59:49,600 --> 00:59:55,040
Speaker 3: or considered that level of sampling where you start erasing

1089
00:59:55,080 --> 01:00:00,160
Speaker 3: the DNA of samples that exist to create new material.

1090
01:00:00,760 --> 01:00:02,480
Speaker 1: I hope I asked that question right.

1091
01:00:02,720 --> 01:00:06,680
Speaker 5: Yep, totally, Okay, totally did. It feels like it's a

1092
01:00:06,720 --> 01:00:08,320
Speaker 5: strange crime.

1093
01:00:08,360 --> 01:00:10,960
Speaker 3: I also feel like it's a concept a crime, so

1094
01:00:11,240 --> 01:00:12,880
Speaker 3: a little bit I.

1095
01:00:12,840 --> 01:00:14,400
Speaker 1: Feel every time I use it.

1096
01:00:14,440 --> 01:00:17,440
Speaker 3: I asked someone last week to like, you know, astract

1097
01:00:17,480 --> 01:00:20,480
Speaker 3: some vocals from a song, and even then I felt guilty.

1098
01:00:20,520 --> 01:00:24,400
Speaker 1: So my heart was to make it because you.

1099
01:00:24,360 --> 01:00:28,000
Speaker 3: Know, no, it's it's it's it'll because it'll start off

1100
01:00:28,040 --> 01:00:31,800
Speaker 3: innocent now with just music, but then who knows, like

1101
01:00:31,840 --> 01:00:33,400
Speaker 3: what they'll use it for thirty years.

1102
01:00:33,280 --> 01:00:35,960
Speaker 1: From now with identity thefts.

1103
01:00:36,000 --> 01:00:38,440
Speaker 3: So I think I'm kind of scared of jumping in

1104
01:00:38,480 --> 01:00:41,400
Speaker 3: that pool because I feel like this is the beginning

1105
01:00:41,400 --> 01:00:45,240
Speaker 3: of the danger period. But what is your relationship with

1106
01:00:45,280 --> 01:00:47,600
Speaker 3: that level of technology and sampling.

1107
01:00:49,120 --> 01:00:51,080
Speaker 5: I don't think we thought about it too much. I know,

1108
01:00:51,160 --> 01:00:55,040
Speaker 5: we bought Maldine maybe three years ago and I personally

1109
01:00:55,040 --> 01:00:58,919
Speaker 5: haven't used it once. We were like, yeah, it's gonna

1110
01:00:58,960 --> 01:01:01,640
Speaker 5: be great. Kind of looked at it now, not now,

1111
01:01:02,280 --> 01:01:05,320
Speaker 5: But I know, I feel like that's kind of in

1112
01:01:05,360 --> 01:01:11,000
Speaker 5: a way dishonoring the sample and the people who played

1113
01:01:11,040 --> 01:01:14,040
Speaker 5: on it, and and I don't know, maybe that's if

1114
01:01:14,040 --> 01:01:16,439
Speaker 5: that's just kind of an old fashioned attitude, and then

1115
01:01:16,480 --> 01:01:19,120
Speaker 5: the future is just going to be like taking out

1116
01:01:19,360 --> 01:01:20,560
Speaker 5: you know, Steavy.

1117
01:01:21,480 --> 01:01:24,000
Speaker 1: It was never that one song. If I could just

1118
01:01:24,040 --> 01:01:25,720
Speaker 1: give her of the vocals on.

1119
01:01:25,880 --> 01:01:29,880
Speaker 5: That, Yeah, we try and do that with filters, But

1120
01:01:32,200 --> 01:01:34,560
Speaker 5: who knows what the future holds are. I don't know

1121
01:01:34,560 --> 01:01:36,640
Speaker 5: how Robbie thinks about that, but I.

1122
01:01:36,640 --> 01:01:38,480
Speaker 6: Don't know, Like I think there's some cool stuff like

1123
01:01:38,640 --> 01:01:40,400
Speaker 6: you mentioned able to and stuff like being able to

1124
01:01:40,400 --> 01:01:44,320
Speaker 6: stretch a sample, like a really really really far way

1125
01:01:44,360 --> 01:01:46,240
Speaker 6: further than we have could. Like we've done some of

1126
01:01:46,280 --> 01:01:49,000
Speaker 6: that kind of stuff. But I also love, you know,

1127
01:01:49,320 --> 01:01:52,400
Speaker 6: the art form of like like say, the vocal sample

1128
01:01:52,480 --> 01:01:55,000
Speaker 6: for Since I Left You has got music underneath. We

1129
01:01:55,200 --> 01:01:56,600
Speaker 6: just had to filter it and then I had to

1130
01:01:56,680 --> 01:01:58,560
Speaker 6: chop it very finely, but you can still hear all

1131
01:01:58,560 --> 01:02:01,040
Speaker 6: these little bells and stuff, and it all adds to

1132
01:02:01,120 --> 01:02:04,200
Speaker 6: the sort of magic, even though yeah, auto tune and stuff.

1133
01:02:04,240 --> 01:02:07,800
Speaker 6: It's like, it's kind of it's kind of beautiful that

1134
01:02:07,840 --> 01:02:09,920
Speaker 6: way too. You know. I think things would get quite

1135
01:02:09,960 --> 01:02:14,120
Speaker 6: clean and really like Christine sounding if you can like

1136
01:02:14,600 --> 01:02:17,280
Speaker 6: forensically remove elements, but I don't know if it would

1137
01:02:17,280 --> 01:02:18,120
Speaker 6: still have the magic.

1138
01:02:18,520 --> 01:02:20,720
Speaker 5: Yeah, and it take away like the layers that you

1139
01:02:21,080 --> 01:02:24,880
Speaker 5: don't necessarily hear but you feel. And then if you

1140
01:02:25,240 --> 01:02:27,680
Speaker 5: do take them away, you're like, hey, something's missing here,

1141
01:02:27,720 --> 01:02:29,600
Speaker 5: but I can't tell what it is.

1142
01:02:29,720 --> 01:02:32,000
Speaker 3: Yeah. Yeah, that's the thing with like sample based music.

1143
01:02:32,040 --> 01:02:34,960
Speaker 3: It's just so like even when like trying to replace

1144
01:02:35,000 --> 01:02:37,560
Speaker 3: stuff or you know, and it's just like, dude, when

1145
01:02:37,600 --> 01:02:40,840
Speaker 3: you sample something, you're not just sampling that song. You're

1146
01:02:40,880 --> 01:02:44,000
Speaker 3: sampling that day. You're sampling the engineer, you're sampling the

1147
01:02:44,040 --> 01:02:46,880
Speaker 3: outboard gear. You know, there's so many things that made it.

1148
01:02:46,920 --> 01:02:49,320
Speaker 3: What it was, and when you start manipulating that a

1149
01:02:49,320 --> 01:02:50,439
Speaker 3: lot of times you can't kind.

1150
01:02:50,360 --> 01:02:51,920
Speaker 1: Of get too far away from home to where you

1151
01:02:51,960 --> 01:02:52,680
Speaker 1: lose the magic.

1152
01:02:53,240 --> 01:02:56,760
Speaker 5: Yeah, and that's like a spirit, a spirit in the music.

1153
01:02:57,040 --> 01:02:57,640
Speaker 1: Absolutely.

1154
01:02:58,120 --> 01:03:00,320
Speaker 4: Yeah, engineers should get paid for sham bull.

1155
01:03:00,480 --> 01:03:04,840
Speaker 1: Shut up, Steve. Yeah, that's real wrap.

1156
01:03:05,080 --> 01:03:07,280
Speaker 4: I'm gonna start at a petition.

1157
01:03:08,800 --> 01:03:09,760
Speaker 1: On the Sugar Network.

1158
01:03:10,080 --> 01:03:14,280
Speaker 3: Hey, oh, another question I have. I have a theory,

1159
01:03:14,320 --> 01:03:17,560
Speaker 3: but I want to see if I'm correct. What was

1160
01:03:17,600 --> 01:03:21,360
Speaker 3: the What was the inspiration for the Wildflower album cover?

1161
01:03:22,640 --> 01:03:25,000
Speaker 6: It was that sliced down cover.

1162
01:03:25,520 --> 01:03:26,200
Speaker 1: I knew it.

1163
01:03:26,440 --> 01:03:34,320
Speaker 7: Yeah when I first nd when when literally when I

1164
01:03:34,320 --> 01:03:36,200
Speaker 7: first saw it, I was like, wow, Like in an

1165
01:03:36,240 --> 01:03:42,160
Speaker 7: alternative world where Sly was was happy with his life.

1166
01:03:41,640 --> 01:03:44,640
Speaker 3: And everything was going swimmingly, this would have been the

1167
01:03:44,680 --> 01:03:48,560
Speaker 3: album covered too. There's a ride going on and always.

1168
01:03:49,200 --> 01:03:49,480
Speaker 1: Wow.

1169
01:03:49,720 --> 01:03:55,560
Speaker 6: Okay, we actually got it founder World Quilting Champion who

1170
01:03:55,600 --> 01:03:59,520
Speaker 6: she lives in Nebraska and she quilted that cover for us,

1171
01:03:59,520 --> 01:04:01,360
Speaker 6: and we just took a photo of it so we

1172
01:04:01,440 --> 01:04:03,800
Speaker 6: wanted it to look real like the Sly cover.

1173
01:04:04,360 --> 01:04:06,440
Speaker 3: Wow. So that's an actual.

1174
01:04:06,160 --> 01:04:08,600
Speaker 5: Que made Yeah, that's a quilt.

1175
01:04:09,280 --> 01:04:10,120
Speaker 1: Whoa ship?

1176
01:04:10,760 --> 01:04:13,840
Speaker 3: No, I thought it was animated ship. Oh my god,

1177
01:04:13,880 --> 01:04:15,360
Speaker 3: you're right. I'm looking at it right now.

1178
01:04:16,400 --> 01:04:18,720
Speaker 1: Who yeah, who got it?

1179
01:04:23,040 --> 01:04:25,280
Speaker 5: He still sleeps on his bed you do.

1180
01:04:27,160 --> 01:04:31,640
Speaker 1: Congratulations, Robbie, there for it. Yeah.

1181
01:04:31,920 --> 01:04:34,240
Speaker 3: Man, I wanted to ask y'all on the on the

1182
01:04:34,280 --> 01:04:38,920
Speaker 3: new record, Man, bruh, where did y'all find Trin Darby?

1183
01:04:39,120 --> 01:04:41,680
Speaker 1: Yo? For real?

1184
01:04:42,000 --> 01:04:44,760
Speaker 3: I mean Sonanda, Sonanda Montreal, that's you know what he

1185
01:04:45,080 --> 01:04:47,280
Speaker 3: goes by. It's been going back for the past few years.

1186
01:04:47,440 --> 01:04:49,800
Speaker 3: But yeah, I was so happy.

1187
01:04:50,640 --> 01:04:52,520
Speaker 6: I can't remember how we got in touch, but we

1188
01:04:52,560 --> 01:04:56,600
Speaker 6: had this song and Tony and myself and I collaborate

1189
01:04:56,640 --> 01:04:59,720
Speaker 6: on this record and he it was like this beautiful

1190
01:04:59,720 --> 01:05:02,880
Speaker 6: piece music. We had this fashy Bunian vocal and it

1191
01:05:02,960 --> 01:05:05,680
Speaker 6: was honestly not going to make the record because it

1192
01:05:05,760 --> 01:05:09,480
Speaker 6: was like, there's just no voice that can that can fit.

1193
01:05:09,640 --> 01:05:12,280
Speaker 6: And I can't remember. One day it was Tony and

1194
01:05:12,360 --> 01:05:14,120
Speaker 6: myself we just had this idea and we were like,

1195
01:05:14,160 --> 01:05:17,240
Speaker 6: we wonder if we could ever get in touch with him,

1196
01:05:17,280 --> 01:05:20,480
Speaker 6: or if he would know who we are. And somebody

1197
01:05:21,120 --> 01:05:23,480
Speaker 6: got in touch with Sernanda and it's been honestly the

1198
01:05:23,520 --> 01:05:26,919
Speaker 6: most incredible, one of the most beautiful experiences in my life.

1199
01:05:26,960 --> 01:05:31,120
Speaker 1: He's warm answer. I didn't know.

1200
01:05:32,440 --> 01:05:37,960
Speaker 6: He is incredible, so open hearted and just so generous

1201
01:05:37,960 --> 01:05:40,200
Speaker 6: with his time. That's probably the most beautiful thing that,

1202
01:05:40,320 --> 01:05:43,280
Speaker 6: like people just don't dial in a vocal and he

1203
01:05:43,480 --> 01:05:46,240
Speaker 6: goes it's like so generous with their time to go

1204
01:05:46,280 --> 01:05:49,640
Speaker 6: back and forth and really get something that feels like

1205
01:05:49,680 --> 01:05:51,120
Speaker 6: it was meant to be there.

1206
01:05:51,200 --> 01:05:54,080
Speaker 3: You know, YA tracked that together or was he tracked

1207
01:05:54,120 --> 01:05:54,960
Speaker 3: it on his side?

1208
01:05:55,680 --> 01:05:57,520
Speaker 5: Yeah, he tracked it on his side. But there were

1209
01:05:57,520 --> 01:05:59,400
Speaker 5: a lot of back and forth with emails and stuff,

1210
01:05:59,400 --> 01:06:02,480
Speaker 5: and he's his emails are an absolute joy to read.

1211
01:06:02,560 --> 01:06:09,240
Speaker 5: It's it is he's so eccentric but smart and expressive

1212
01:06:09,360 --> 01:06:12,760
Speaker 5: in his emails and he's just like Robbie, go, we

1213
01:06:12,800 --> 01:06:15,080
Speaker 5: couldn't you email from Sernandra and go send it? I

1214
01:06:15,080 --> 01:06:18,000
Speaker 5: want to read it. It's like a it was so

1215
01:06:18,440 --> 01:06:19,320
Speaker 5: amazing to read.

1216
01:06:19,360 --> 01:06:21,560
Speaker 6: And then poetry, really real.

1217
01:06:22,120 --> 01:06:25,880
Speaker 5: Poetry, and just listening to his voice, it's like it

1218
01:06:26,000 --> 01:06:29,560
Speaker 5: is one of the great voices in my opinion of

1219
01:06:29,640 --> 01:06:34,840
Speaker 5: all time. He's still incredible, Like I listened to that

1220
01:06:34,960 --> 01:06:38,640
Speaker 5: song and I still just go, what a vocal performance.

1221
01:06:38,800 --> 01:06:41,800
Speaker 5: It's incredible, incredible.

1222
01:06:42,240 --> 01:06:46,240
Speaker 3: So on the other side, I guess maybe the polar opposite.

1223
01:06:47,280 --> 01:06:48,160
Speaker 1: Tricky. What was that?

1224
01:06:48,280 --> 01:06:48,400
Speaker 6: Like?

1225
01:06:51,560 --> 01:06:53,400
Speaker 3: I love him, man, I love him.

1226
01:06:53,520 --> 01:06:56,480
Speaker 6: Actually, actually we should have mentioned when we're talking about

1227
01:06:56,560 --> 01:06:59,200
Speaker 6: nineties sample music too, like his first.

1228
01:06:58,960 --> 01:07:02,280
Speaker 3: Record Massive Oh yeah, Max and Ka Yeah.

1229
01:07:01,880 --> 01:07:04,280
Speaker 6: Yeah exactly, and so that that was stuff that was

1230
01:07:04,280 --> 01:07:06,840
Speaker 6: filtering through to us from England at the time too,

1231
01:07:06,920 --> 01:07:09,360
Speaker 6: So it was like he was one of our heroes,

1232
01:07:09,400 --> 01:07:13,760
Speaker 6: you know, and the Massive Attack records, and he was

1233
01:07:13,800 --> 01:07:16,800
Speaker 6: in Berlin making a record. He just put that record

1234
01:07:16,840 --> 01:07:18,720
Speaker 6: out last year. It's a really great record, and he

1235
01:07:18,880 --> 01:07:21,120
Speaker 6: was just like, I happen to be in the studio

1236
01:07:21,200 --> 01:07:22,760
Speaker 6: right now, what have you got? And we would just

1237
01:07:22,760 --> 01:07:26,000
Speaker 6: send him a song. The first song the next morning

1238
01:07:26,800 --> 01:07:29,560
Speaker 6: came back with full lyrics and then he was like

1239
01:07:29,600 --> 01:07:31,480
Speaker 6: that was great, send me another one. And we ended

1240
01:07:31,520 --> 01:07:33,200
Speaker 6: up that went on for like two weeks. We did

1241
01:07:33,240 --> 01:07:38,120
Speaker 6: like eight songs together, and then we got like a

1242
01:07:38,160 --> 01:07:40,720
Speaker 6: message from his management to our management, who didn't know

1243
01:07:40,720 --> 01:07:42,680
Speaker 6: anything about this, and they were like, are you guys

1244
01:07:42,800 --> 01:07:45,560
Speaker 6: recording together? What you've made half a record? What's going on?

1245
01:07:45,680 --> 01:07:50,640
Speaker 6: Like we need the paperwork something, But yeah, that was

1246
01:07:50,760 --> 01:07:52,880
Speaker 6: he was like just he was on a hot streak

1247
01:07:52,920 --> 01:07:55,120
Speaker 6: making that record, so he was like anything you can

1248
01:07:55,160 --> 01:07:57,400
Speaker 6: send me. I'm on fire at the moment.

1249
01:07:58,960 --> 01:08:00,680
Speaker 5: And it is so good when it when it's just

1250
01:08:00,720 --> 01:08:03,520
Speaker 5: the artist to artists as well, and it's not going

1251
01:08:03,600 --> 01:08:06,000
Speaker 5: through so you know that the management obviously they didn't

1252
01:08:06,040 --> 01:08:08,560
Speaker 5: know what was happening or whatever, and we were just

1253
01:08:08,600 --> 01:08:12,400
Speaker 5: doing our own thing without all that and and that's that's,

1254
01:08:12,560 --> 01:08:16,000
Speaker 5: you know, such a rewarding relationship for us to kind

1255
01:08:16,000 --> 01:08:19,160
Speaker 5: of you know, they have that situation with people we

1256
01:08:19,200 --> 01:08:21,479
Speaker 5: grew up listening to and our heroes and everything, and

1257
01:08:21,920 --> 01:08:23,320
Speaker 5: I think he gets to so much of a more

1258
01:08:23,360 --> 01:08:25,960
Speaker 5: pure product when it's not you know, through their people,

1259
01:08:26,000 --> 01:08:28,360
Speaker 5: through their people and stuff.

1260
01:08:28,760 --> 01:08:31,479
Speaker 3: Yeah, like you guys, the people y'all picked. Man, you know,

1261
01:08:31,479 --> 01:08:34,680
Speaker 3: I can'tfront like it is pretty much. I mean, it's

1262
01:08:34,760 --> 01:08:37,960
Speaker 3: it's like a dream, you know, just just me being

1263
01:08:38,040 --> 01:08:40,680
Speaker 3: just the music nerd. I am like the people you

1264
01:08:40,720 --> 01:08:43,000
Speaker 3: get on every record. I'm like, yo, like that was

1265
01:08:43,000 --> 01:08:45,479
Speaker 3: a perfect fit. And when I saw that it was

1266
01:08:45,560 --> 01:08:48,920
Speaker 3: you know, Terrence tranp Darbys on this one and then Tricky.

1267
01:08:49,280 --> 01:08:51,479
Speaker 3: But when I saw the y'all got fucking Cornelius, I

1268
01:08:51,520 --> 01:08:54,000
Speaker 3: was like, yo, dude, like, yeah, they've been in my

1269
01:08:54,080 --> 01:08:57,360
Speaker 3: iTunes or some ship like you'll almost know, like, what was.

1270
01:08:58,120 --> 01:09:02,200
Speaker 1: I'm like, dude, they pick it all my guys. What

1271
01:09:02,200 --> 01:09:03,840
Speaker 1: what was he like? Man? What was it? What was

1272
01:09:03,880 --> 01:09:05,040
Speaker 1: it like working with him?

1273
01:09:05,600 --> 01:09:07,880
Speaker 6: But I don't I don't know what to say about Keego. Really,

1274
01:09:07,920 --> 01:09:10,599
Speaker 6: he's like he's a dear friend. And we met him

1275
01:09:10,640 --> 01:09:12,920
Speaker 6: like in two thousand and one or something because he

1276
01:09:13,080 --> 01:09:17,559
Speaker 6: put out that album Pasthma, Yeah, and we were making

1277
01:09:17,600 --> 01:09:19,760
Speaker 6: since I left you listening to that album. Just got

1278
01:09:19,840 --> 01:09:21,160
Speaker 6: this is my check.

1279
01:09:21,200 --> 01:09:22,120
Speaker 1: That was my ship.

1280
01:09:23,920 --> 01:09:26,800
Speaker 6: My check exactly. But it's kind of.

1281
01:09:26,720 --> 01:09:30,599
Speaker 3: Like Disney one two.

1282
01:09:30,880 --> 01:09:35,920
Speaker 6: Four exactly, yes, because Tokyo is only like the same

1283
01:09:35,960 --> 01:09:38,320
Speaker 6: time zoners here in ten hours. We go a lot

1284
01:09:38,360 --> 01:09:40,679
Speaker 6: to DJ and so we've become friends over the years

1285
01:09:40,680 --> 01:09:43,639
Speaker 6: and he'll always show us like record stores and everything.

1286
01:09:43,720 --> 01:09:48,760
Speaker 6: He's this sweetest guy. And then he just happened to

1287
01:09:48,760 --> 01:09:50,600
Speaker 6: be in Los Angeles doing a show when we were

1288
01:09:50,640 --> 01:09:53,519
Speaker 6: there recording, so that song just came about, like it

1289
01:09:53,600 --> 01:09:55,640
Speaker 6: was probably birthday.

1290
01:09:54,960 --> 01:09:55,479
Speaker 5: At the time.

1291
01:09:56,040 --> 01:09:58,960
Speaker 6: Yeah, recording recording with him a happy birthday.

1292
01:09:59,439 --> 01:10:02,320
Speaker 5: The recording with him was so incredible the process because

1293
01:10:02,320 --> 01:10:04,840
Speaker 5: we kind of had the beach just going and he

1294
01:10:04,920 --> 01:10:07,000
Speaker 5: just had a guitar there and he'd be like, all right,

1295
01:10:07,080 --> 01:10:09,920
Speaker 5: let's do some takes and just you know, just all around.

1296
01:10:10,400 --> 01:10:17,040
Speaker 5: And so we sit there and go the comp, the comp,

1297
01:10:17,439 --> 01:10:22,400
Speaker 5: then the next take. Then I just all started layering

1298
01:10:22,479 --> 01:10:25,719
Speaker 5: up that you got there. We were all like okay, okay,

1299
01:10:25,800 --> 01:10:29,080
Speaker 5: and then towards the end, everyone's like, oh, we understand now.

1300
01:10:29,800 --> 01:10:31,559
Speaker 5: So he had this whole thing and he said it

1301
01:10:31,600 --> 01:10:35,400
Speaker 5: was like twelve layers of different guitar tracks that he

1302
01:10:35,520 --> 01:10:37,439
Speaker 5: was just like making and it just I mean, that's

1303
01:10:37,439 --> 01:10:38,479
Speaker 5: how came about it.

1304
01:10:38,800 --> 01:10:39,280
Speaker 3: That's him.

1305
01:10:39,840 --> 01:10:41,759
Speaker 5: Yeah, that that's so incredible to watch.

1306
01:10:41,800 --> 01:10:46,080
Speaker 3: It was fantasma like fantasma like fantasma like that fucked

1307
01:10:46,080 --> 01:10:47,960
Speaker 3: me up when I heard it. And then the one

1308
01:10:48,040 --> 01:10:50,000
Speaker 3: that like when I think it was after I graduated

1309
01:10:50,000 --> 01:10:53,200
Speaker 3: college when he came with point like I played, I

1310
01:10:53,280 --> 01:10:56,360
Speaker 3: still play that record, like, you know, I love that album. Man,

1311
01:10:56,400 --> 01:10:57,200
Speaker 3: he's he's a nut.

1312
01:10:57,320 --> 01:10:57,720
Speaker 1: I love it.

1313
01:10:57,800 --> 01:10:59,840
Speaker 5: Yeah.

1314
01:11:00,320 --> 01:11:02,920
Speaker 1: Can I ask what was it like working with Johnny Moyer?

1315
01:11:04,200 --> 01:11:07,439
Speaker 6: That that was another one that was done remotely, But

1316
01:11:07,600 --> 01:11:10,759
Speaker 6: I still remember the morning actually that you didn't get.

1317
01:11:10,600 --> 01:11:13,679
Speaker 1: The nerd out on any Smith's questions or oh.

1318
01:11:13,520 --> 01:11:18,000
Speaker 6: My goodness, I think we would have overwhelmed him.

1319
01:11:18,200 --> 01:11:20,880
Speaker 3: I think yeah, yeah, when he when he came to

1320
01:11:20,880 --> 01:11:24,400
Speaker 3: sitting with us, like I think we I that's probably

1321
01:11:24,439 --> 01:11:27,040
Speaker 3: the only time that we really nerded out on like

1322
01:11:28,120 --> 01:11:30,240
Speaker 3: tell us more stories, you know, that's what.

1323
01:11:31,040 --> 01:11:35,679
Speaker 5: Yeah, but we actually met we we saw him even

1324
01:11:35,760 --> 01:11:39,360
Speaker 5: before we approached him to play on the track. We

1325
01:11:39,360 --> 01:11:42,320
Speaker 5: were like he was at the next table and asked

1326
01:11:42,320 --> 01:11:45,679
Speaker 5: at Fuji Rock Festival, like just backstage, and we'll both

1327
01:11:45,720 --> 01:11:48,120
Speaker 5: just go up to him and ask him, no, you

1328
01:11:48,120 --> 01:11:52,559
Speaker 5: go on, come on say something him. For about fifteen minutes,

1329
01:11:52,600 --> 01:11:54,680
Speaker 5: we're trying to pick each other up to go after him,

1330
01:11:54,680 --> 01:11:56,760
Speaker 5: and in the end room just like we can't do it.

1331
01:11:57,640 --> 01:11:59,840
Speaker 5: But you know, we got to come back eventually, and

1332
01:11:59,880 --> 01:12:03,000
Speaker 5: he was. He was really great, and he actually sent

1333
01:12:03,080 --> 01:12:04,960
Speaker 5: us a message off to the Divine Call, which is

1334
01:12:05,200 --> 01:12:07,200
Speaker 5: the song he's on it. It kind of got play

1335
01:12:07,240 --> 01:12:10,000
Speaker 5: in England and he's like, thanks Gods, my kids think

1336
01:12:10,000 --> 01:12:10,759
Speaker 5: I'm cool again.

1337
01:12:10,840 --> 01:12:17,000
Speaker 3: Now, Hey, if you guys even considered a thought thought

1338
01:12:17,000 --> 01:12:21,000
Speaker 3: about releasing like all instrumental versions of the last two

1339
01:12:21,000 --> 01:12:25,640
Speaker 3: records just for the Avalanche Purists or whatever, like just

1340
01:12:25,680 --> 01:12:30,599
Speaker 3: to hear it, because sometimes I you know, I know

1341
01:12:30,640 --> 01:12:34,920
Speaker 3: that you guys are going through a progression and you're

1342
01:12:35,000 --> 01:12:38,920
Speaker 3: the the you know, the metamorphosis of the group sort

1343
01:12:38,920 --> 01:12:42,400
Speaker 3: of blooming. But so there's no just there's not an

1344
01:12:42,439 --> 01:12:45,439
Speaker 3: instrumental mixed version of of of any of any of

1345
01:12:45,479 --> 01:12:46,280
Speaker 3: this stuff out there.

1346
01:12:47,439 --> 01:12:48,960
Speaker 6: No, but we have them.

1347
01:12:49,439 --> 01:12:54,880
Speaker 5: We have them. Yeah, I think we can. We can.

1348
01:12:59,160 --> 01:13:00,360
Speaker 1: That's really what working on.

1349
01:13:00,520 --> 01:13:03,320
Speaker 5: To ask exactly is this interviews are now?

1350
01:13:03,800 --> 01:13:04,080
Speaker 1: Yeah?

1351
01:13:04,240 --> 01:13:07,519
Speaker 3: Yeah, I just want to see the now will you

1352
01:13:07,680 --> 01:13:10,160
Speaker 3: do you do you guys ever think that you'll try

1353
01:13:10,280 --> 01:13:16,600
Speaker 3: to do another all instrumental project as far as I know,

1354
01:13:16,640 --> 01:13:19,160
Speaker 3: you're probably working on something now and just yeah.

1355
01:13:19,000 --> 01:13:22,720
Speaker 6: We're starting another now, I think yeah, because it's just like,

1356
01:13:23,760 --> 01:13:26,040
Speaker 6: I mean, working with vocalists like that for us is

1357
01:13:26,040 --> 01:13:29,720
Speaker 6: almost like it's still you know, an active curation and

1358
01:13:30,360 --> 01:13:32,880
Speaker 6: almost sampling in a way. But I feel like we're

1359
01:13:33,040 --> 01:13:35,720
Speaker 6: we're we're making a slight turn back towards just the

1360
01:13:35,760 --> 01:13:36,799
Speaker 6: sample based record.

1361
01:13:38,479 --> 01:13:40,800
Speaker 3: Well whatever, whatever the next record is, I'm putting my

1362
01:13:40,840 --> 01:13:46,559
Speaker 3: beard in. I won't end on that motherfucker. So saying hey, listen, man,

1363
01:13:46,800 --> 01:13:48,760
Speaker 3: even if you just just talking.

1364
01:13:48,640 --> 01:13:51,200
Speaker 5: Yeah, whatever, let's do it.

1365
01:13:56,000 --> 01:13:59,920
Speaker 3: This is probably the least that I've inserted questions and

1366
01:14:00,080 --> 01:14:03,680
Speaker 3: an interview only because I feel like every question that

1367
01:14:03,880 --> 01:14:07,960
Speaker 3: I want to know the answer to is almost like inconsequential,

1368
01:14:08,080 --> 01:14:11,439
Speaker 3: like just okay that particular snare that you use on

1369
01:14:11,479 --> 01:14:12,880
Speaker 3: this song versus.

1370
01:14:12,880 --> 01:14:15,360
Speaker 1: The wait I do.

1371
01:14:15,880 --> 01:14:19,479
Speaker 3: I do want to know who who decides the concept

1372
01:14:19,479 --> 01:14:24,720
Speaker 3: for your videos, man, especially with Frankie Sinatra, like or

1373
01:14:24,880 --> 01:14:25,599
Speaker 3: just all your videos.

1374
01:14:25,640 --> 01:14:26,720
Speaker 1: All your videos are just.

1375
01:14:26,680 --> 01:14:32,200
Speaker 3: Some next level shit, Like who comes with those concepts?

1376
01:14:32,200 --> 01:14:36,360
Speaker 5: That's mainly the video people. So we get we get

1377
01:14:36,360 --> 01:14:39,559
Speaker 5: pitched some things and then we kind of, I guess,

1378
01:14:39,680 --> 01:14:45,519
Speaker 5: just pick the craziest one. Really yeah, but yeah it

1379
01:14:45,560 --> 01:14:49,120
Speaker 5: was Frankie Sinatra. I met. I just don't sound bad,

1380
01:14:49,160 --> 01:14:52,400
Speaker 5: but we actually had a zoom or a skyt with

1381
01:14:52,479 --> 01:14:56,080
Speaker 5: the producers who were gonna be shooting the video and

1382
01:14:56,160 --> 01:15:04,360
Speaker 5: our French and like we struggled to understand just like

1383
01:15:05,439 --> 01:15:10,280
Speaker 5: you guys, okay kind of sounds I say.

1384
01:15:10,200 --> 01:15:12,800
Speaker 6: My lovely papers.

1385
01:15:12,040 --> 01:15:14,800
Speaker 5: So sweet, and and the lady had this beautiful voice.

1386
01:15:14,800 --> 01:15:16,400
Speaker 5: It was almost like a movie like it was just.

1387
01:15:18,160 --> 01:15:27,360
Speaker 1: Like look, okay, whatever, Oh my god, wow wow.

1388
01:15:27,280 --> 01:15:31,920
Speaker 4: Can I ask one more question? So in messing with

1389
01:15:32,000 --> 01:15:36,080
Speaker 4: loops and samples and beats and and things like movie

1390
01:15:36,120 --> 01:15:39,360
Speaker 4: dialogue and and horses and everything that you that you

1391
01:15:40,240 --> 01:15:46,080
Speaker 4: end up creating your music with how often do you

1392
01:15:46,120 --> 01:15:49,480
Speaker 4: go in with with an idea I'm going for something specific,

1393
01:15:49,520 --> 01:15:55,599
Speaker 4: but then as quest eleven, I am constantly talking about, yeah,

1394
01:15:55,760 --> 01:15:58,960
Speaker 4: some kind of happy accident happens and ends up something

1395
01:15:58,960 --> 01:16:04,760
Speaker 4: better than your idea or different. And how often does

1396
01:16:04,800 --> 01:16:08,839
Speaker 4: that play into what we hear in the final product?

1397
01:16:10,600 --> 01:16:13,920
Speaker 6: It happens all the time. But really that's almost the

1398
01:16:13,960 --> 01:16:18,960
Speaker 6: whole thing, Like you know, like we will talk about like

1399
01:16:19,000 --> 01:16:21,720
Speaker 6: where we want to try and go next, but but

1400
01:16:21,880 --> 01:16:24,400
Speaker 6: you can't predict the mood you're going to be in

1401
01:16:25,120 --> 01:16:27,160
Speaker 6: and the record you're going to be sampling at that time,

1402
01:16:27,200 --> 01:16:30,760
Speaker 6: and maybe just one little like a bit of atmosphere

1403
01:16:30,800 --> 01:16:32,960
Speaker 6: at the end of someone's song or something. It's like

1404
01:16:34,040 --> 01:16:36,439
Speaker 6: and you're just in the right mood to hear how

1405
01:16:36,479 --> 01:16:37,400
Speaker 6: you could flip that.

1406
01:16:37,439 --> 01:16:44,240
Speaker 4: Moment or if you put something, if you put something

1407
01:16:44,880 --> 01:16:48,720
Speaker 4: in the wrong spot, and then if you put it

1408
01:16:48,960 --> 01:16:53,200
Speaker 4: a bit behind or something, and suddenly you're a rhythmic genius.

1409
01:16:55,840 --> 01:16:58,920
Speaker 6: That's also like our friendship too. It's like having to

1410
01:16:58,960 --> 01:17:00,880
Speaker 6: be able to tell each other that you know, that

1411
01:17:00,920 --> 01:17:04,439
Speaker 6: thing you made yesterday morning in five minutes is like

1412
01:17:05,240 --> 01:17:08,000
Speaker 6: it is better than the thing you spent a month

1413
01:17:08,040 --> 01:17:11,559
Speaker 6: on when you had this big concept and you know, yeah,

1414
01:17:11,600 --> 01:17:14,439
Speaker 6: you just captured some magic there and that's we should

1415
01:17:14,520 --> 01:17:16,400
Speaker 6: roll with that, you know. And I think that was

1416
01:17:16,439 --> 01:17:19,439
Speaker 6: that was also part of Wildflow two, is like that

1417
01:17:19,520 --> 01:17:21,840
Speaker 6: magic of the five minutes finding the great loop and everything,

1418
01:17:21,880 --> 01:17:24,080
Speaker 6: and then we were just layer and layer and layer,

1419
01:17:24,400 --> 01:17:27,240
Speaker 6: and in the end the initial thing is like this

1420
01:17:27,439 --> 01:17:29,960
Speaker 6: much of something that's like that, and then we like

1421
01:17:30,000 --> 01:17:32,360
Speaker 6: we went through a process towards the end of you know,

1422
01:17:32,439 --> 01:17:34,240
Speaker 6: making it, we just took a lot of that away

1423
01:17:34,280 --> 01:17:35,800
Speaker 6: and this started to shine again.

1424
01:17:36,720 --> 01:17:40,360
Speaker 3: I don't know, Yeah, it's so dope. Kurt vow Man,

1425
01:17:41,120 --> 01:17:43,360
Speaker 3: how did y'all go with him his record? He's all right,

1426
01:17:43,400 --> 01:17:45,880
Speaker 3: that's like I love that song and I always dug him.

1427
01:17:46,439 --> 01:17:47,400
Speaker 3: How did y'all hook up?

1428
01:17:48,240 --> 01:17:50,479
Speaker 6: It was? That was like a last song we finished

1429
01:17:50,479 --> 01:17:52,439
Speaker 6: for the record, and once again it was a beautiful

1430
01:17:52,439 --> 01:17:55,080
Speaker 6: piece of music. But we just and I just play

1431
01:17:55,120 --> 01:17:58,559
Speaker 6: his records like all the time, so huge fan, and

1432
01:17:59,360 --> 01:18:05,200
Speaker 6: we just reached which reached out on Instagram and he

1433
01:18:05,320 --> 01:18:06,960
Speaker 6: was like down for it. I think he might have

1434
01:18:07,040 --> 01:18:09,800
Speaker 6: meant messaged us about something else in the past, and

1435
01:18:09,840 --> 01:18:13,640
Speaker 6: then we're like, we've got this song, and yeah, he

1436
01:18:13,720 --> 01:18:17,240
Speaker 6: just did this beautiful kind of like poetic rambling spoken

1437
01:18:17,280 --> 01:18:20,080
Speaker 6: word thing that was beautiful. I still remember the day

1438
01:18:20,120 --> 01:18:20,839
Speaker 6: that that arrived.

1439
01:18:20,880 --> 01:18:24,720
Speaker 8: Actually, it was like, I'm like, I remember the day

1440
01:18:24,760 --> 01:18:27,200
Speaker 8: that Robbie played it to me after he put the

1441
01:18:27,240 --> 01:18:29,080
Speaker 8: vocals into the track, and we'd had that track for

1442
01:18:29,120 --> 01:18:31,720
Speaker 8: a long time, and it was just kind of like what.

1443
01:18:31,640 --> 01:18:33,879
Speaker 5: Do we do with it? Like is it a melodic

1444
01:18:33,960 --> 01:18:36,320
Speaker 5: kind of thing? And then he played with the thing

1445
01:18:36,360 --> 01:18:40,720
Speaker 5: that Kurt did and I was just like, played again.

1446
01:18:40,040 --> 01:18:44,800
Speaker 5: He went, that's done. That's perfect. That's exactly what I

1447
01:18:45,040 --> 01:18:46,360
Speaker 5: you know, just one of those things where you're like

1448
01:18:46,400 --> 01:18:48,320
Speaker 5: you don't have to arm and a about it. It's like, oh,

1449
01:18:48,920 --> 01:18:50,559
Speaker 5: we have to change it around a little bit, or

1450
01:18:50,560 --> 01:18:53,479
Speaker 5: maybe if we cut this bit of perfect. It just

1451
01:18:53,520 --> 01:18:55,600
Speaker 5: felt so good and it was just like, that's it,

1452
01:18:55,720 --> 01:18:56,599
Speaker 5: that that's done.

1453
01:18:57,520 --> 01:18:59,840
Speaker 3: What made y'all come back? Because I'm be real, I

1454
01:18:59,920 --> 01:19:03,200
Speaker 3: was surprise to see that we got Avalanche's album in

1455
01:19:03,200 --> 01:19:06,639
Speaker 3: twenty twenty because after Wildflower, I was speaking night, we'll

1456
01:19:06,680 --> 01:19:08,720
Speaker 3: be another teen years.

1457
01:19:09,520 --> 01:19:11,519
Speaker 1: I was ready to wait it out, but y'all came back.

1458
01:19:11,600 --> 01:19:14,920
Speaker 3: I was like, all right, what led to the I

1459
01:19:14,960 --> 01:19:17,360
Speaker 3: guess the quicker turnaround in records, like where you're at

1460
01:19:17,400 --> 01:19:19,679
Speaker 3: now in your lives, you're being kind of turned around

1461
01:19:19,720 --> 01:19:20,439
Speaker 3: a little quicker.

1462
01:19:21,400 --> 01:19:23,400
Speaker 6: I think we were just freed up from the long

1463
01:19:23,439 --> 01:19:26,519
Speaker 6: sixteen years. You know, we felt the pressure to follow

1464
01:19:26,560 --> 01:19:30,120
Speaker 6: offs I left you, and then once we made another

1465
01:19:30,200 --> 01:19:33,760
Speaker 6: really great sample based record in Wildflower, that we felt like,

1466
01:19:34,600 --> 01:19:37,040
Speaker 6: you know that that was a really worthy follow up

1467
01:19:37,160 --> 01:19:39,439
Speaker 6: since I left you, we just felt free and you know,

1468
01:19:39,520 --> 01:19:42,280
Speaker 6: we just got back to the very simple flow of

1469
01:19:42,320 --> 01:19:44,960
Speaker 6: creating and not overthinking, and it's just flowing really quickly.

1470
01:19:44,960 --> 01:19:49,840
Speaker 6: We've already got a bunch more songs as well, and.

1471
01:19:49,280 --> 01:19:52,519
Speaker 5: It's so fun to be an actual touring band and

1472
01:19:52,520 --> 01:19:56,719
Speaker 5: not you know, broke musicians in our houses working on around,

1473
01:19:58,360 --> 01:20:00,639
Speaker 5: you know, to play Coachella and we're doing listed dream

1474
01:20:00,840 --> 01:20:03,519
Speaker 5: like what we should have been doing this ten years ago.

1475
01:20:05,640 --> 01:20:07,240
Speaker 5: Like that's inspiration for us.

1476
01:20:07,160 --> 01:20:13,360
Speaker 1: And bring I love it.

1477
01:20:13,800 --> 01:20:17,360
Speaker 3: Wait, my last question about a guest on your record,

1478
01:20:19,479 --> 01:20:24,080
Speaker 3: What was the process of like working with Rivers Korma? Yeah, yeah,

1479
01:20:24,200 --> 01:20:28,599
Speaker 3: And did you did you resist any Pinkerton fan out

1480
01:20:29,479 --> 01:20:30,519
Speaker 3: moments or just.

1481
01:20:31,720 --> 01:20:36,040
Speaker 6: You know, that was so cool and I think we

1482
01:20:36,280 --> 01:20:39,000
Speaker 6: grew up loving like you know, we have love for

1483
01:20:39,080 --> 01:20:41,240
Speaker 6: like the Beach Boys, and he's someone who I can

1484
01:20:41,280 --> 01:20:43,200
Speaker 6: hear that in his music. And he's like, I can

1485
01:20:43,200 --> 01:20:47,680
Speaker 6: write such an amazing pop hook. Yeah, you know, and

1486
01:20:48,280 --> 01:20:50,360
Speaker 6: I mean Tony can tell the story. But I think

1487
01:20:50,360 --> 01:20:53,360
Speaker 6: we'd already tracked the song. And then he was in Melbourne.

1488
01:20:54,080 --> 01:20:56,280
Speaker 6: Did we meet him beforehand, Tony or no?

1489
01:20:56,600 --> 01:21:00,760
Speaker 5: So he sent us like the well, so he had

1490
01:21:00,800 --> 01:21:08,520
Speaker 5: like center spreadsheet with three different lyric lyric paragraphs.

1491
01:21:06,520 --> 01:21:10,599
Speaker 6: Of all his hooks. Yeah, just in the spreadsheet, and

1492
01:21:10,640 --> 01:21:16,559
Speaker 6: he was like, choose one, choose one, but we need

1493
01:21:16,600 --> 01:21:17,000
Speaker 6: to hear.

1494
01:21:16,880 --> 01:21:19,160
Speaker 5: The melodies, like we want to hear how it goes.

1495
01:21:19,240 --> 01:21:22,479
Speaker 5: So he's like okay, and he set the melodies for

1496
01:21:23,080 --> 01:21:25,519
Speaker 5: each you know, little lyric thing he.

1497
01:21:25,520 --> 01:21:28,360
Speaker 1: Had, and like a whole bunch of hooks and you

1498
01:21:28,360 --> 01:21:29,080
Speaker 1: could choose.

1499
01:21:28,840 --> 01:21:32,160
Speaker 5: One, he said, he said three.

1500
01:21:32,920 --> 01:21:34,240
Speaker 1: At all.

1501
01:21:34,680 --> 01:21:36,599
Speaker 5: So in the end we were just like, they're all

1502
01:21:36,680 --> 01:21:40,960
Speaker 5: really good? Can we have them all? I mean we

1503
01:21:41,080 --> 01:21:44,160
Speaker 5: worked them all into the into the track eventually, and

1504
01:21:44,160 --> 01:21:46,800
Speaker 5: and you know, like the outro and the verse of

1505
01:21:46,840 --> 01:21:49,759
Speaker 5: the chorus and so that made up the three different things.

1506
01:21:49,800 --> 01:21:54,360
Speaker 5: But so we ended up meeting him in Melbourne and

1507
01:21:54,880 --> 01:21:57,439
Speaker 5: like they were out they were supporting the food Fighters

1508
01:21:57,439 --> 01:22:00,360
Speaker 5: a big stadium and we're like, okay, well go. So

1509
01:22:00,560 --> 01:22:02,280
Speaker 5: Robbie and I spent a day like looking at all

1510
01:22:02,320 --> 01:22:05,479
Speaker 5: the coolest bars to take him in Melbourne, and you know,

1511
01:22:05,520 --> 01:22:07,080
Speaker 5: you want to impress him and do all these really

1512
01:22:07,080 --> 01:22:09,720
Speaker 5: cool things. And in the end it was raining, and

1513
01:22:09,760 --> 01:22:11,280
Speaker 5: all he wanted to do is like we got some

1514
01:22:11,360 --> 01:22:13,360
Speaker 5: umbrellas from the hotel. He just wanted to walk around

1515
01:22:13,400 --> 01:22:16,040
Speaker 5: the city in the rain. And then we stopped at

1516
01:22:16,040 --> 01:22:18,200
Speaker 5: a Starbucks and had a coffee and spoke for about

1517
01:22:18,240 --> 01:22:21,559
Speaker 5: an hour and then went back to the hotel. Wow,

1518
01:22:23,120 --> 01:22:25,439
Speaker 5: it sounds like, okay, I guess we won't be going

1519
01:22:25,479 --> 01:22:27,639
Speaker 5: to this cool bar where there's like, you know, hold

1520
01:22:27,640 --> 01:22:30,479
Speaker 5: the girls and all these crazy shit. Come on, We'll

1521
01:22:30,560 --> 01:22:32,320
Speaker 5: just sit in Starbucks. But in that way, it was

1522
01:22:32,320 --> 01:22:33,240
Speaker 5: like perfect.

1523
01:22:33,840 --> 01:22:38,879
Speaker 3: Well, actually, wait, speaking of your Beach Boys fandom, assuming

1524
01:22:39,000 --> 01:22:42,160
Speaker 3: assuming that the woman who worked with you for sample

1525
01:22:42,200 --> 01:22:46,200
Speaker 3: clearances is the same lady that cleared the samples for

1526
01:22:46,560 --> 01:22:48,840
Speaker 3: Paul's boutique. I don't know which albums he did it for,

1527
01:22:49,320 --> 01:22:51,160
Speaker 3: but I would assume it's Paul's boutique because there's a

1528
01:22:51,160 --> 01:22:55,320
Speaker 3: lot of samples. Were you guys even aware of Brian

1529
01:22:55,400 --> 01:22:59,960
Speaker 3: Wilson's hip hop album that was produced by the Dust Brothers.

1530
01:23:00,840 --> 01:23:07,080
Speaker 3: The world question does not know about this? Yeah, so uh,

1531
01:23:07,680 --> 01:23:12,880
Speaker 3: I guess the story is that, you know. I mean,

1532
01:23:12,920 --> 01:23:15,240
Speaker 3: at the time when the Beastie Boys first signed the Capitol,

1533
01:23:16,240 --> 01:23:19,320
Speaker 3: I guess, uh. Brian Wilson had gotten a copy of

1534
01:23:19,360 --> 01:23:22,759
Speaker 3: Paul's boutique and was kind of impressed because they explained

1535
01:23:22,840 --> 01:23:24,599
Speaker 3: him like how the album was made and how all

1536
01:23:24,640 --> 01:23:26,960
Speaker 3: these samples and that sort of thing. He was really

1537
01:23:26,960 --> 01:23:30,719
Speaker 3: impressed by it. So he hit up the Dust Brothers

1538
01:23:30,720 --> 01:23:36,080
Speaker 3: and said, I too want to do an album, and

1539
01:23:36,120 --> 01:23:39,519
Speaker 3: he wound up making a I think they made like

1540
01:23:39,760 --> 01:23:42,280
Speaker 3: five or six songs together.

1541
01:23:42,280 --> 01:23:44,240
Speaker 1: And one of them I think was called smart Girls

1542
01:23:44,320 --> 01:23:44,639
Speaker 1: or whatever.

1543
01:23:44,960 --> 01:23:48,480
Speaker 3: But it's it's nice Brian he rapping, or it's just

1544
01:23:49,720 --> 01:23:50,759
Speaker 3: oh boy.

1545
01:23:51,200 --> 01:23:53,559
Speaker 1: If you.

1546
01:23:54,880 --> 01:23:59,960
Speaker 5: If you YouTube, no, I'm gonna check.

1547
01:23:59,800 --> 01:24:05,760
Speaker 1: These yeah wait wait wait, no, no, no no.

1548
01:24:05,960 --> 01:24:08,639
Speaker 3: Because the thing is is that every time I tell

1549
01:24:08,680 --> 01:24:12,160
Speaker 3: the story, I'm like, wait a minute, I know, I

1550
01:24:12,200 --> 01:24:15,000
Speaker 3: know for starters that I actually talked to Brian Wilson

1551
01:24:15,040 --> 01:24:18,599
Speaker 3: about this in person, and I talked to the Dust Brothers,

1552
01:24:19,040 --> 01:24:21,960
Speaker 3: But even in my mind, I'm like wait did I

1553
01:24:21,960 --> 01:24:22,559
Speaker 3: imagine that?

1554
01:24:22,760 --> 01:24:25,640
Speaker 1: But it's no, it.

1555
01:24:25,680 --> 01:24:26,599
Speaker 5: Doesn't seem real.

1556
01:24:27,960 --> 01:24:31,240
Speaker 1: Wait is it still on on YouTube? Yeah?

1557
01:24:31,320 --> 01:24:35,479
Speaker 3: He did it. He did a song. Okay, so smart Girls, Yeah,

1558
01:24:35,520 --> 01:24:36,280
Speaker 3: smart Girls.

1559
01:24:36,560 --> 01:24:37,120
Speaker 1: Uh.

1560
01:24:37,800 --> 01:24:40,280
Speaker 3: Capitol rejected the album, but it's still out there. It

1561
01:24:40,560 --> 01:24:44,559
Speaker 3: came out in nineteen ninety one and yeah, Matt Matt

1562
01:24:44,640 --> 01:24:49,120
Speaker 3: Dike like the Yeah, yeah, yeah, those those guys produced it,

1563
01:24:49,800 --> 01:24:54,760
Speaker 3: and yeah it was. It was the Brian Wilson rap album.

1564
01:24:54,880 --> 01:24:58,400
Speaker 3: It was called Sweet Insanity. Yeah, I'd never heard.

1565
01:25:00,320 --> 01:25:02,720
Speaker 5: That's it. That seems like a fitting title for it.

1566
01:25:05,200 --> 01:25:05,720
Speaker 1: Yeah, it is.

1567
01:25:07,280 --> 01:25:11,800
Speaker 3: I just want to say just you know, like I

1568
01:25:12,120 --> 01:25:15,360
Speaker 3: try to keep my cool with guests, you know, half

1569
01:25:15,360 --> 01:25:18,720
Speaker 3: the time on this platform, but yeah, man, I want

1570
01:25:18,720 --> 01:25:21,639
Speaker 3: to thank you guys personally because I will say that

1571
01:25:22,280 --> 01:25:27,040
Speaker 3: in hearing your record, that's what really planted the seed

1572
01:25:27,040 --> 01:25:30,439
Speaker 3: in my head on how my DJ gigs should go,

1573
01:25:31,640 --> 01:25:35,559
Speaker 3: because I just never thought, I mean, yeah, like again,

1574
01:25:35,600 --> 01:25:38,880
Speaker 3: I was raised on that certain bomb squad type of

1575
01:25:38,960 --> 01:25:44,120
Speaker 3: hip hop that anything could go. But when when when

1576
01:25:44,160 --> 01:25:48,000
Speaker 3: I heard this album, that's when I realized, like, oh,

1577
01:25:48,200 --> 01:25:52,600
Speaker 3: anything can really happen in a DJ set and a

1578
01:25:52,720 --> 01:25:56,400
Speaker 3: sort of a creative context. So I will say that

1579
01:25:56,520 --> 01:26:00,880
Speaker 3: after hearing your album, and I guess I heard it

1580
01:26:00,880 --> 01:26:04,160
Speaker 3: in two thousand and two thousand and one, Like that's

1581
01:26:04,240 --> 01:26:08,400
Speaker 3: when I just totally wipe the slate clean of what

1582
01:26:08,439 --> 01:26:12,400
Speaker 3: was current what was then my DJ sets, And my

1583
01:26:12,520 --> 01:26:15,280
Speaker 3: whole goal was like, well, I'm just doing the avalanches

1584
01:26:15,320 --> 01:26:18,880
Speaker 3: do and just throw any and everything in my DJ set,

1585
01:26:18,960 --> 01:26:24,960
Speaker 3: be it something normal, something off kilter, something unorthodox, something

1586
01:26:25,120 --> 01:26:25,320
Speaker 3: you know.

1587
01:26:25,560 --> 01:26:28,519
Speaker 1: Just I thank y'all for that. Like, you guys were

1588
01:26:28,560 --> 01:26:31,920
Speaker 1: definitely the impetus to like my my.

1589
01:26:31,560 --> 01:26:35,400
Speaker 3: My DJ rebirth that I've been running away with like

1590
01:26:35,439 --> 01:26:36,439
Speaker 3: for the last twenty years.

1591
01:26:36,479 --> 01:26:41,160
Speaker 1: Man, but you guys are are are are are true geniuses? Man,

1592
01:26:41,400 --> 01:26:43,439
Speaker 1: I thank you for doing the show with us.

1593
01:26:43,760 --> 01:26:45,320
Speaker 6: Oh thank you. That's really cold.

1594
01:26:47,600 --> 01:26:49,519
Speaker 5: This has made yeah, this has beene so fun.

1595
01:26:50,040 --> 01:26:56,080
Speaker 1: Oh thank you? Thanks really all right, Well are you done? Oh?

1596
01:26:56,200 --> 01:26:58,479
Speaker 3: I was just gonna ask because I guess my last thing.

1597
01:26:59,760 --> 01:27:03,880
Speaker 3: The other artists like kind of soul artists in uh

1598
01:27:03,960 --> 01:27:06,920
Speaker 3: in you guys region, So yeah, Australia. So like I'm thinking,

1599
01:27:07,520 --> 01:27:11,400
Speaker 3: of course, how it's Coyote Fat Freddy's Drop. I know

1600
01:27:11,439 --> 01:27:14,040
Speaker 3: they're kind more of a ska kind of band. Lisa

1601
01:27:14,080 --> 01:27:17,720
Speaker 3: could call it, like what relationship do you have with

1602
01:27:18,680 --> 01:27:22,200
Speaker 3: that community that the soul you know, I guess R

1603
01:27:22,240 --> 01:27:23,000
Speaker 3: and B community.

1604
01:27:24,240 --> 01:27:24,880
Speaker 1: What's that like?

1605
01:27:26,200 --> 01:27:29,960
Speaker 6: Well, we're just like kind of a couple of old

1606
01:27:29,960 --> 01:27:33,920
Speaker 6: men who liked each other on the park bench every

1607
01:27:34,000 --> 01:27:35,880
Speaker 6: day and talk about the weather or whatever. Like we

1608
01:27:35,960 --> 01:27:38,200
Speaker 6: don't like I guess we're up and traveling, but we're

1609
01:27:38,280 --> 01:27:39,360
Speaker 6: kind of not really like.

1610
01:27:40,800 --> 01:27:42,559
Speaker 3: On the scene.

1611
01:27:42,680 --> 01:27:46,519
Speaker 6: Yeah, except that, except to say that there is just

1612
01:27:46,600 --> 01:27:50,160
Speaker 6: like it's just a very warm music community here in Melbourne.

1613
01:27:50,160 --> 01:27:52,599
Speaker 6: Everybody is very supportive. I think it's maybe because it's

1614
01:27:52,600 --> 01:27:58,479
Speaker 6: so geographically isolated. It's like there's there's just like it's

1615
01:27:58,560 --> 01:28:00,679
Speaker 6: very supportive. Anyway, we always feel for support.

1616
01:28:01,560 --> 01:28:05,920
Speaker 1: That's what's up, Steve. That's right.

1617
01:28:06,680 --> 01:28:09,520
Speaker 4: Yeah, you left me out of the Michelle Obama episode

1618
01:28:09,640 --> 01:28:15,920
Speaker 4: and the Jimmy as well.

1619
01:28:15,960 --> 01:28:19,800
Speaker 3: Be half a great callback, great callbacks. We have a

1620
01:28:19,880 --> 01:28:22,640
Speaker 3: quest love supreme fan Tikeolo and Steve. We like to

1621
01:28:22,640 --> 01:28:26,599
Speaker 3: thank the Avalanches uh for for kicking it with us.

1622
01:28:26,720 --> 01:28:28,800
Speaker 1: Oh my god, yeah man, this is I never thought.

1623
01:28:28,880 --> 01:28:31,840
Speaker 3: Yeah, I'm I don't think I've read an interview with y'all,

1624
01:28:31,920 --> 01:28:35,040
Speaker 3: let alone, you know, saying half interview, So this was

1625
01:28:35,120 --> 01:28:36,320
Speaker 3: this is a dream Cone Drew Man.

1626
01:28:36,320 --> 01:28:36,800
Speaker 1: Thank you guys.

1627
01:28:39,040 --> 01:28:41,679
Speaker 5: Yeah, seriously, has been so good, so much fun.

1628
01:28:41,960 --> 01:28:42,920
Speaker 4: All right, thank you guys.

1629
01:28:43,560 --> 01:28:49,640
Speaker 3: Thank you guys on behalf of h Unpaid Bill and

1630
01:28:49,040 --> 01:28:49,960
Speaker 3: and and.

1631
01:28:49,960 --> 01:28:53,360
Speaker 1: Uh Steve quest Love and this is quest Love Supreme.

1632
01:28:53,360 --> 01:28:56,280
Speaker 1: We will see you next week next go right, thank you.

1633
01:28:59,360 --> 01:29:00,639
Speaker 5: Hey, this is Sugar Steed.

1634
01:29:01,280 --> 01:29:03,439
Speaker 4: Make sure you keep up with us on Instagram at

1635
01:29:03,560 --> 01:29:07,120
Speaker 4: QLs and let us know what you think and you

1636
01:29:07,240 --> 01:29:10,240
Speaker 4: should be next to sit down with us. Don't forget

1637
01:29:10,320 --> 01:29:12,600
Speaker 4: to subscribe to our podcast.

1638
01:29:18,320 --> 01:29:24,439
Speaker 1: Quest Lom Supreme is a production of iHeartRadio. For more

1639
01:29:24,439 --> 01:29:28,960
Speaker 1: podcasts from iHeartRadio, visit the iHeartRadio app, Apple Podcasts, or

1640
01:29:28,960 --> 01:29:30,599
Speaker 1: wherever you listen to your favorite shows.