WEBVTT - Ep 41: Gwenno

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

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<v Speaker 2>Hi everyone, welcome to the Witching Hour once again. It

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<v Speaker 2>is the eighth of February twenty eighteen, and it's time

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<v Speaker 2>for another episode of the Loud and Quiet interview podcast

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<v Speaker 2>Midnight Chats. It's been a long day today. I've only

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<v Speaker 2>just got home. I've been out at the Theater in

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<v Speaker 2>the West End of London, in theater Land, not something

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<v Speaker 2>I do very often, but I've just been to see

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<v Speaker 2>The Book of Mormon, which I've wanted to see since

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<v Speaker 2>it came over to the UK. And what an incredible

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<v Speaker 2>show that is. I mean, I don't like musicals, it's

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<v Speaker 2>not for me, but this is the best thing about

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<v Speaker 2>this show is that it's a cynics basically who don't

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<v Speaker 2>really like musicals. I was staring at the stage and

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<v Speaker 2>grinning like a small child in wonder. This isn't a

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<v Speaker 2>great theater review, is it. But trust me, go and

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<v Speaker 2>see that musical if you haven't already. It's a bit

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<v Speaker 2>sweary and if you like religion then it might not

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<v Speaker 2>be for you either, but I enjoyed that a lot.

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<v Speaker 2>In the day, In fact, in the day every day

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<v Speaker 2>this year. We're currently doing a big project at Loud

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<v Speaker 2>and Quiet. We're redesigning our magazine which will be relaunching

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<v Speaker 2>on the tenth of March. That's something that we do

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<v Speaker 2>as well as this podcast, so if you are not

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<v Speaker 2>aware of that or haven't checked that out, please do

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<v Speaker 2>check out our website Loud and Quiet dot com, where

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<v Speaker 2>you can also find all the information about our issues

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<v Speaker 2>that we put out. Current one has King Gizzard and

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<v Speaker 2>the Lizard Wizard on the cover. For now, though, you're

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<v Speaker 2>here to hear our podcast and my guest tonight is

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<v Speaker 2>Gueno Saunders, a musician from Wales, and this is quite

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<v Speaker 2>a beautiful piece of planning because today, as we tick

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<v Speaker 2>over into a new day at midnight, it is today

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<v Speaker 2>Welsh Language Music Day. That's an important thing because Gueno

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<v Speaker 2>is not only a Welsh lady and musician, she's someone

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<v Speaker 2>who is very, very proud of her heritage. She made

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<v Speaker 2>her debut album in twenty fifteen completely in Welsh, which

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<v Speaker 2>is not really something that many people do, and that

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<v Speaker 2>was a great record with a real sci fi undercurrent.

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<v Speaker 2>It translated to the Last Day and as I say,

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<v Speaker 2>the whole thing was in Welsh. It was kind of kroud,

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<v Speaker 2>rocky and a bit psyched. Elick very much recommend that album.

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<v Speaker 2>Her new album is called lakov and Gueno's gone one

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<v Speaker 2>further and she's recorded this one completely in Cornish. Now

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<v Speaker 2>only two hundred people in the world fluently speak Cornish,

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<v Speaker 2>and I know what you're already thinking. It's not for me, Stuart.

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<v Speaker 2>I don't want to hear an album completely in Cornish.

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<v Speaker 2>I don't speak Cornish, and I can see why you

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<v Speaker 2>would come to that conclusion. But like Gueno's previous album,

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<v Speaker 2>Lacov is such a beautiful electronic album that it really

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<v Speaker 2>doesn't matter that you can't understand a word she's saying.

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<v Speaker 2>It's just a very gentle and kind of hypnotic listen.

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<v Speaker 2>It comes out on March the second via Heavenly. Go

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<v Speaker 2>back and listen to The Last Day as well, released

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<v Speaker 2>two years ago, also on Heavenly, and I don't think

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<v Speaker 2>you're going to be disappointed, even if you don't speak

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<v Speaker 2>Welsh or Cornish. Gueno's led a really interesting life so far.

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<v Speaker 2>At the age of seventeen, she left Cardiff, where she

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<v Speaker 2>grew up and went to live in Las Vegas for

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<v Speaker 2>two years, where she danced in Michael Flatley's Lord of

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<v Speaker 2>the dance. We speak a little bit about that at

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<v Speaker 2>the beginning of this podcast, and it sounds like a

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<v Speaker 2>very strange and kind of sad time. She then moved

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<v Speaker 2>back to the UK and to Brighton, where she joined

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<v Speaker 2>girl group The Pipets, who you may remember for wearing

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<v Speaker 2>some pretty great poker dot dresses and doing synchronized dance

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<v Speaker 2>moves whilst singing kind of some very kitchen retro fun songs.

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<v Speaker 2>And now she's back in Cardiff where she lives with

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<v Speaker 2>her two year old son and her husband Reese, who

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<v Speaker 2>makes the music with her. They collaborate on all of

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<v Speaker 2>Gueno's music together. Thank you for downloading this podcast. Please

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<v Speaker 2>do subscribe if you haven't already, We've got I think

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<v Speaker 2>we're going to do a podcast next week and the

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<v Speaker 2>following you instead of so that there's going to be

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<v Speaker 2>three in a row over the next three weeks. Enjoy

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<v Speaker 2>this one and we'll be back in seven days time.

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<v Speaker 2>Greg will be your host then and until then, please

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<v Speaker 2>do enjoy this conversation that I had with Gueno. Happy

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<v Speaker 2>Welsh Language music day. Of course that's today now.

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<v Speaker 3>It is actually, isn't it. We will be the first

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<v Speaker 3>people to say to say these MUSICI happis.

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<v Speaker 2>How long has that been going on?

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<v Speaker 3>I don't think it's been going on a few years now.

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<v Speaker 3>It's fantastic.

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<v Speaker 2>I only actually found out about it because we got

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<v Speaker 2>like a promotional pack. Okay, we have an illustration of

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<v Speaker 2>you have you seen this?

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<v Speaker 4>I know?

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<v Speaker 2>Really good?

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<v Speaker 3>So cool.

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<v Speaker 2>Yeah, so you're like a post the person for today.

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<v Speaker 3>Yeah. I mean there's a lot of really good Welsh

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<v Speaker 3>music in general going on both languages, So yeah, fantastic.

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<v Speaker 2>Are you typically a nighttime person a.

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<v Speaker 3>Bit too much? Yeah? Because yeah, Well, because I've got

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<v Speaker 3>a two year old son, and you think, right, as

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<v Speaker 3>soon as he gets to sleep, as I can do something,

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<v Speaker 3>But he doesn't sleep so quite late. Right, Okay, so

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<v Speaker 3>he's a bit of a night owl, so I'm definitely

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<v Speaker 3>at this time.

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<v Speaker 2>Does he get that from you? Have you always been something?

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<v Speaker 3>Well? No, he gets that from his dad's who was

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<v Speaker 3>very much a night owl and makes most of his

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<v Speaker 3>music in the middle of the night, So I think he,

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<v Speaker 3>I think is. And so it's difficult because because like, well,

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<v Speaker 3>no one else is going to sleep, so where should I? Yeah,

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<v Speaker 3>what are you guys doing? Yeah, a bit of that

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<v Speaker 3>going on.

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<v Speaker 2>I always felt like that I still feel like that

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<v Speaker 2>and did as a kid. I've always felt like going

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<v Speaker 2>to sleep is kind of like giving in.

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<v Speaker 3>A bit totally, like have you had have you made

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<v Speaker 3>the most of your day?

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<v Speaker 2>Yeah?

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<v Speaker 3>Completely, I felt I feel that way about sleep, which

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<v Speaker 3>is wrong. I definitely remember having to go to sleep

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<v Speaker 3>when there was still sunlight coming through the curtains and

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<v Speaker 3>being a bit annoyed about it.

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<v Speaker 2>In the summer.

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<v Speaker 3>Yeah, that's like, what are you doing? Son? It was

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<v Speaker 3>always traveling around, so it probably would have been up

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<v Speaker 3>quite late anyway. It's always been up late and then you, yeah,

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<v Speaker 3>sort of transition to gigs and stuff, so you're always

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<v Speaker 3>up late on you really.

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<v Speaker 2>I suppose as a musician it is just a nighttime.

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<v Speaker 2>It's a nocturnal thing. It really is, generally. So you

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<v Speaker 2>grew up in in Cardiff. Yeah, and you still live

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<v Speaker 2>there now.

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<v Speaker 3>Yeah, back back there.

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<v Speaker 2>But you moved away because you went to I. So

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<v Speaker 2>we met in Cardiff.

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<v Speaker 3>We did.

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<v Speaker 2>Yeah, Yeah, you gave us a tour round I did.

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<v Speaker 1>Yeah.

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<v Speaker 2>I've been back since. Actually, that was the first time I've.

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<v Speaker 3>Been when I met you.

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<v Speaker 2>Yeah, and I was back there last year and I

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<v Speaker 2>was in your manager's office in the arcade and they

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<v Speaker 2>were like old Gueno's back here, all right, okay, And

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<v Speaker 2>then they took me kind of to a window and

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<v Speaker 2>there was that huge mural of you on club I

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<v Speaker 2>for that, I know to explain that to anyone who

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<v Speaker 2>has not been there or seen it. It is the

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<v Speaker 2>side of a whole building. Is of your face? Is

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<v Speaker 2>that still there?

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<v Speaker 3>It was a project called Get It Right. I think

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<v Speaker 3>that it was about celebrating local culture and I think

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<v Speaker 3>going to gigs and things like that, and then it

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<v Speaker 3>was just really weird chain of events and a guy

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<v Speaker 3>called Mark James that designed it, and then there was

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<v Speaker 3>a graffiti artist that painted it. Yeah, and I think

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<v Speaker 3>it was just quite random that I was chosen to

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<v Speaker 3>do it, and then it was Yeah, two weeks after

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<v Speaker 3>Nicole was born it was finished. And then I took

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<v Speaker 3>Nichole to see it the other day and he's like,

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<v Speaker 3>mam ma'am like this because it must be really weird

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<v Speaker 3>because he probably thinks everyone's mum's on the wall. It's

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<v Speaker 3>quite normal. But yeah, very yeah, really honored obviously, and

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<v Speaker 3>it's sort of quite sci fi because of it was

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<v Speaker 3>based around the theme of my last album. Yeah, and

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<v Speaker 3>then I keep an eye on Alan and Kevin to

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<v Speaker 3>stell office and make sure that they're working every day.

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<v Speaker 3>It's like some kind of like lenin esque or like

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<v Speaker 3>stalin esque mural looking over people as they're working. Yeah,

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<v Speaker 3>it's funny because I very long time ago as a

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<v Speaker 3>professionalised dancer as a teenager, and I danced at the

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<v Speaker 3>New York Casino in Las Vegas and I was actually

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<v Speaker 3>on the side of the bus. So I've been on

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<v Speaker 3>a bus on a wall. Wow, this theme happening. I

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<v Speaker 3>don't know. It's just very random. Again, it was just

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<v Speaker 3>like so they just check my face.

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<v Speaker 2>Okay, So the bus. Yeah, was it just the one bus?

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<v Speaker 3>No, it was quite a few, the buses that go

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<v Speaker 3>up and down the strip.

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<v Speaker 2>Okay, this is Las Vegas. Yeah, this is when you're

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<v Speaker 2>doing the So you moved Vegas when you were.

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<v Speaker 3>Like seventeen, Yeah.

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<v Speaker 2>Why would say? And you were dancing it was this

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<v Speaker 2>when you were dancing in Lord, Lord of the Dance.

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<v Speaker 3>As you do, Yeah, as you do.

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<v Speaker 2>Which is in itself is a mad thing, completely, a

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<v Speaker 2>completely insane thing.

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<v Speaker 3>Again, it's just very random, like paying fifty p to

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<v Speaker 3>go to class and then all of a sudden, it's

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<v Speaker 3>like you can in a living and you can like

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<v Speaker 3>escape from your hometown because you're like, what am I

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<v Speaker 3>going to do? And then someone goes, here's a ticket

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<v Speaker 3>to Australia or whatever, and you're like, amazing.

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<v Speaker 2>Great, I'll take it. Yeah, and then you're on a bus.

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<v Speaker 3>And then you're on a bus.

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<v Speaker 2>So when you're on the so you'd see these buses

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<v Speaker 2>driving past with your face on? Was it just you?

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<v Speaker 2>Was there some other people in this picture? Is it

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<v Speaker 2>just it's just your big face?

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<v Speaker 3>I've got a photo of one. I need to get

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<v Speaker 3>it out.

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<v Speaker 2>Actually, were you in.

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<v Speaker 3>The life is like that? You know, it's just quite random.

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<v Speaker 2>Were you in like a costume?

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<v Speaker 5>You?

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<v Speaker 4>Oh?

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<v Speaker 3>Yeah, like you looking sort of as angelic as like

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<v Speaker 3>I possibly could. And it's white.

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<v Speaker 2>What was Vegas like to live in? I think people it.

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<v Speaker 3>Was just horrendous? Really, it was awful, awful?

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<v Speaker 2>Did you how long were you there?

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<v Speaker 3>Two years?

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<v Speaker 2>Two years?

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<v Speaker 3>It's awful.

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<v Speaker 2>Don't people say that it's worth going to Vegas for

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<v Speaker 2>like a weekend, but you don't need any longer than that.

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<v Speaker 3>That's exactly what they say.

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<v Speaker 2>And they're right, and you're there for two years?

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<v Speaker 3>Oh my god, It's just it's just you know it's yeah,

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<v Speaker 3>you just because I dread. I tried to rough guide

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<v Speaker 3>to Las Vegas, and rough guides are really good. And

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<v Speaker 3>actually think it really oversold Last Vegas a little bit

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<v Speaker 3>because it's sort of, you know, suggested a lot more

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<v Speaker 3>history than what actually is left, because you know, even

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<v Speaker 3>like the old bit and stuff, and you know, to

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<v Speaker 3>give you a bit of a backstory. And I was

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<v Speaker 3>just so I remember landing and just being so disappointed

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<v Speaker 3>as soon as I landed, going, oh my god, and

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<v Speaker 3>then like living seven miles from the strip, but you

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<v Speaker 3>can see it as if it's right there, because it's

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<v Speaker 3>you're so flat?

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<v Speaker 2>Is it so flat?

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<v Speaker 3>And I was like, I'll just take a walk. That's

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<v Speaker 3>three hours later, I was still walking. I still hadn't arrived.

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<v Speaker 3>It's just I don't know, I don't know what to

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<v Speaker 3>say about it.

0:12:10.880 --> 0:12:13.440
<v Speaker 2>So you were over it as soon as you got there.

0:12:13.360 --> 0:12:16.240
<v Speaker 3>It was yeah, it was did you was it that.

0:12:16.160 --> 0:12:17.560
<v Speaker 2>You had to stay for two years so we're on

0:12:17.559 --> 0:12:18.079
<v Speaker 2>a contract.

0:12:18.080 --> 0:12:19.679
<v Speaker 3>That was kind of I was, yeah, it was like

0:12:19.800 --> 0:12:22.920
<v Speaker 3>every six months we got to go home two weeks okay,

0:12:23.160 --> 0:12:25.439
<v Speaker 3>And it was really odd.

0:12:25.720 --> 0:12:26.000
<v Speaker 4>It was.

0:12:26.480 --> 0:12:28.280
<v Speaker 3>Yeah, it kind of throws you a bit because I

0:12:28.320 --> 0:12:31.480
<v Speaker 3>think when it was so different. I think to the

0:12:31.559 --> 0:12:36.160
<v Speaker 3>sort of homely, kind of comity community feel of all

0:12:36.200 --> 0:12:38.280
<v Speaker 3>of these interests that I'd sort of been a part of.

0:12:38.520 --> 0:12:38.680
<v Speaker 4>You know.

0:12:38.760 --> 0:12:41.200
<v Speaker 3>It's like going to your like local youth club and

0:12:41.320 --> 0:12:43.120
<v Speaker 3>just doing a hobby and then all of a sudden

0:12:43.160 --> 0:12:46.120
<v Speaker 3>it's like, whoa, it's the Las Vegas Strip and then

0:12:46.480 --> 0:12:50.000
<v Speaker 3>there's like lots of glitter lights and it's just so fun.

0:12:50.040 --> 0:12:54.360
<v Speaker 3>It's just like the americanization of something. And I always say, like,

0:12:54.600 --> 0:12:56.520
<v Speaker 3>remember some meet people, Oh, you know, I've lived in

0:12:56.559 --> 0:12:59.480
<v Speaker 3>Las Vegas. There's nothing like Americans. And it's really true

0:12:59.480 --> 0:13:03.400
<v Speaker 3>because obviously all of North America is very different from

0:13:03.640 --> 0:13:06.160
<v Speaker 3>the rest of it because it's so varied. But I

0:13:06.200 --> 0:13:10.040
<v Speaker 3>definitely felt that it was about something American, you know,

0:13:10.440 --> 0:13:13.880
<v Speaker 3>like undeniably American. Like it was very It's like the

0:13:13.960 --> 0:13:18.440
<v Speaker 3>vulgarity of it, which I really fully embraced and bought

0:13:18.480 --> 0:13:23.960
<v Speaker 3>massive wigs and things. Oh god, I look like Simba,

0:13:24.320 --> 0:13:28.120
<v Speaker 3>just like a big lion, just I don't know, like

0:13:28.160 --> 0:13:33.320
<v Speaker 3>a lollipop basically, very lollipop awful.

0:13:33.720 --> 0:13:37.120
<v Speaker 2>What does a typical day in Las Vegas for two

0:13:37.200 --> 0:13:40.760
<v Speaker 2>years like, because you're dancing at night?

0:13:41.440 --> 0:13:45.800
<v Speaker 3>Yeah, eventually I got into techno because there was a

0:13:45.800 --> 0:13:49.120
<v Speaker 3>club on them. Yeah, because we were just board Shipless

0:13:49.320 --> 0:13:52.160
<v Speaker 3>and there was a club on last Vegas ship called Utopia.

0:13:52.520 --> 0:13:54.120
<v Speaker 3>There was like a dance club. It's like the only

0:13:54.200 --> 0:14:00.920
<v Speaker 3>dance club, like where big DJs at the time, late nineties. Yeah, yeah,

0:14:01.000 --> 0:14:06.800
<v Speaker 3>that kind of thing, Carl Coxniversity. Yeah, So it was

0:14:06.840 --> 0:14:09.640
<v Speaker 3>that kind of circuit, and it was weird because I

0:14:09.679 --> 0:14:12.079
<v Speaker 3>think that all of the sort of acid house that happened.

0:14:12.440 --> 0:14:15.800
<v Speaker 3>It's odd that relationship I think between Europe, the UK

0:14:15.920 --> 0:14:18.800
<v Speaker 3>and North America with electronic music going back and forth

0:14:18.840 --> 0:14:21.200
<v Speaker 3>all time. Because when I was there, it was like

0:14:21.240 --> 0:14:24.560
<v Speaker 3>the height of like dance music and people really excited.

0:14:24.560 --> 0:14:26.400
<v Speaker 3>And I remember when I came back and I'd go

0:14:26.520 --> 0:14:29.120
<v Speaker 3>to places in Cardiff and like the club Nights because

0:14:29.120 --> 0:14:31.280
<v Speaker 3>the Hippo Club was closed that and I never got

0:14:31.320 --> 0:14:34.520
<v Speaker 3>to which was like the legendary acid house club in Cardiff.

0:14:35.040 --> 0:14:37.520
<v Speaker 3>And then I remember coming back and going out to

0:14:37.680 --> 0:14:40.080
<v Speaker 3>nights in Cardiffin. It's really depressing because people had been

0:14:40.080 --> 0:14:42.440
<v Speaker 3>doing it for about decade and they're a bit tired

0:14:42.520 --> 0:14:44.480
<v Speaker 3>at that point. Where it's in Las Vegas. At that point,

0:14:44.520 --> 0:14:46.760
<v Speaker 3>everyone was really excited and it was already new, and

0:14:46.920 --> 0:14:49.920
<v Speaker 3>like you know, we were all just like teenagers, managed

0:14:50.160 --> 0:14:52.560
<v Speaker 3>to sort of sneak into a dance club and like

0:14:52.880 --> 0:14:55.800
<v Speaker 3>just staying up all night and then that really helped,

0:14:56.000 --> 0:15:00.520
<v Speaker 3>actually because it was a real, real escapism from the

0:15:00.560 --> 0:15:05.120
<v Speaker 3>monotony of having to repeat yourself constantly and yeah, and

0:15:05.240 --> 0:15:07.240
<v Speaker 3>just being so far away from home and all of

0:15:07.280 --> 0:15:09.000
<v Speaker 3>that stuff. So it's yeah, it was it, I mean

0:15:09.000 --> 0:15:11.280
<v Speaker 3>it was it did that. I suppose I sort of

0:15:11.680 --> 0:15:13.160
<v Speaker 3>got more into electronic music.

0:15:13.320 --> 0:15:15.200
<v Speaker 2>Did you ever get into the slots?

0:15:15.720 --> 0:15:16.720
<v Speaker 3>What DJ you?

0:15:16.720 --> 0:15:17.040
<v Speaker 5>No? Like?

0:15:17.240 --> 0:15:19.160
<v Speaker 2>No, like gambling? Did you ever go in?

0:15:19.360 --> 0:15:22.600
<v Speaker 3>No? I did gamble once, but again I was, you know, seventeen.

0:15:22.800 --> 0:15:25.840
<v Speaker 2>Oh yeah, so you can no, not really twenty one?

0:15:26.680 --> 0:15:29.760
<v Speaker 3>Are you just like going in off fake idea ideas everywhere?

0:15:30.160 --> 0:15:32.760
<v Speaker 2>There's not there's just not much to do, I guess,

0:15:32.760 --> 0:15:33.280
<v Speaker 2>just boring.

0:15:33.320 --> 0:15:36.280
<v Speaker 3>It's making me feel weird talking about you thought about

0:15:36.320 --> 0:15:37.240
<v Speaker 3>it for such a long time.

0:15:37.520 --> 0:15:39.000
<v Speaker 2>It's an amazing thing to have done.

0:15:39.000 --> 0:15:41.080
<v Speaker 3>Though, well, I think if someone says I think with it,

0:15:41.200 --> 0:15:43.400
<v Speaker 3>like life in general's like someone says, I don't do this,

0:15:43.920 --> 0:15:46.840
<v Speaker 3>you don't say no, I don't think. Maybe you do

0:15:47.080 --> 0:15:50.000
<v Speaker 3>if you're wiser, but sometimes you need to do the

0:15:50.040 --> 0:15:52.600
<v Speaker 3>bad thing to know that you shouldn't have done it. Yeah,

0:15:52.640 --> 0:15:54.840
<v Speaker 3>and it's you know, and also I always think, you know,

0:15:55.280 --> 0:15:58.520
<v Speaker 3>when you're really, really really old hopefully and you're sat

0:15:58.600 --> 0:16:01.720
<v Speaker 3>down and like maybe you're lucky to have grandchildren, I say,

0:16:01.840 --> 0:16:04.040
<v Speaker 3>what did you do when you say, like, just you've

0:16:04.040 --> 0:16:07.000
<v Speaker 3>always got a story to tell them? Yeah, like this

0:16:07.080 --> 0:16:10.120
<v Speaker 3>one time. But you know you always like I think

0:16:10.200 --> 0:16:12.680
<v Speaker 3>it's you need your little adventures so that you can

0:16:12.720 --> 0:16:15.360
<v Speaker 3>tell you like little stories and they'll be like, whoa,

0:16:15.560 --> 0:16:17.360
<v Speaker 3>but you're really old and wrinkly. How did you ever

0:16:17.440 --> 0:16:17.760
<v Speaker 3>do that?

0:16:18.080 --> 0:16:20.160
<v Speaker 2>Yeah? How did you ever meet Michael Flatley? It was

0:16:20.160 --> 0:16:22.080
<v Speaker 2>Michael Flatley in the show when you were in the show.

0:16:22.360 --> 0:16:26.840
<v Speaker 3>Well, I did dance with Michael Flatley at in Frankfurt

0:16:27.160 --> 0:16:29.960
<v Speaker 3>in the sort of Amphithea to where Hitler gave all

0:16:29.960 --> 0:16:34.760
<v Speaker 3>the speeches, which I always loved. I was like, yeah,

0:16:34.840 --> 0:16:40.360
<v Speaker 3>this is like, this is culture squid, Yeah, this is mental.

0:16:41.120 --> 0:16:43.680
<v Speaker 3>I really enjoyed that. Ok, yeah, because it was such

0:16:43.680 --> 0:16:46.520
<v Speaker 3>a random thing. But yeah, and then yeah, it was

0:16:46.600 --> 0:16:49.480
<v Speaker 3>just we sort of got sent off as a troop

0:16:49.520 --> 0:16:52.880
<v Speaker 3>of dancers and then got left to our own devices mayhem.

0:16:53.360 --> 0:16:54.640
<v Speaker 3>It was completely mayhem.

0:16:54.960 --> 0:16:57.720
<v Speaker 2>Yeah, Vegas is obviously I've never been, but it's obviously

0:16:57.760 --> 0:17:03.000
<v Speaker 2>such a bizarre place and unique, strange party town, and

0:17:03.040 --> 0:17:06.199
<v Speaker 2>I imagine that's weird for anyone to go to. But

0:17:06.400 --> 0:17:08.760
<v Speaker 2>you were not only were you really young and seventeen,

0:17:09.040 --> 0:17:12.000
<v Speaker 2>but you'd grown up. You've grown up in Wales, but

0:17:12.480 --> 0:17:15.880
<v Speaker 2>you you weren't exposed to much pop music where you're

0:17:15.960 --> 0:17:18.240
<v Speaker 2>popular culture as a as a kid.

0:17:18.680 --> 0:17:23.360
<v Speaker 3>He had a very skewed perception of pop culture, which

0:17:23.400 --> 0:17:26.720
<v Speaker 3>is probably why I was like, Vegas fantastic, because maybe

0:17:26.720 --> 0:17:28.800
<v Speaker 3>if I was more aware of it, as you know,

0:17:28.920 --> 0:17:31.359
<v Speaker 3>a concept that may have gotten it's probably not a

0:17:31.359 --> 0:17:35.040
<v Speaker 3>good idea. But yeah, I just, yeah, completely detached from it.

0:17:35.119 --> 0:17:36.520
<v Speaker 3>And I suppose that was part of the reason why

0:17:36.520 --> 0:17:38.119
<v Speaker 3>I wanted to do it. Wasn't It's like, let's go

0:17:38.200 --> 0:17:40.880
<v Speaker 3>to the epicenter of capitalism?

0:17:41.160 --> 0:17:43.680
<v Speaker 2>Yeah, and everything that home isn't everything?

0:17:43.760 --> 0:17:46.600
<v Speaker 3>Yeah, like the extreme opposite. I still haven't suggested that

0:17:46.720 --> 0:17:50.040
<v Speaker 3>experience to work out what the positives was. Yeah, I'm

0:17:50.080 --> 0:17:52.159
<v Speaker 3>still trying to work that out because it was just

0:17:52.200 --> 0:17:52.800
<v Speaker 3>really weird.

0:17:53.200 --> 0:17:56.800
<v Speaker 2>So with the wall, not the bus, but the wallah,

0:17:57.320 --> 0:18:01.440
<v Speaker 2>obviously obviously your son reckoned, is it as you has

0:18:01.480 --> 0:18:05.920
<v Speaker 2>anyone else like you've not been there's the lady of Yeah,

0:18:05.920 --> 0:18:08.400
<v Speaker 2>and there's a lady, there's.

0:18:08.240 --> 0:18:13.200
<v Speaker 3>The wall lady. Yeah. Well, I mean there's sort of coincidentally,

0:18:13.359 --> 0:18:16.159
<v Speaker 3>I go out less because I've had a bit of

0:18:16.160 --> 0:18:16.679
<v Speaker 3>a child.

0:18:16.920 --> 0:18:18.639
<v Speaker 2>Yeah, and you and your hair is different.

0:18:18.960 --> 0:18:22.080
<v Speaker 3>Hair is different. So because obviously club people will be

0:18:22.080 --> 0:18:23.879
<v Speaker 3>the place that you go because that's where all the

0:18:23.920 --> 0:18:26.240
<v Speaker 3>good gigs are. So yeah, it has not. I haven't

0:18:26.280 --> 0:18:29.359
<v Speaker 3>had to stand underneath it too often for people what

0:18:29.400 --> 0:18:32.480
<v Speaker 3>you doing here? So thinks it's been fine. Yeah, it's

0:18:32.520 --> 0:18:33.320
<v Speaker 3>been absolutely fine.

0:18:33.440 --> 0:18:38.440
<v Speaker 2>Growing up you in your home you spoke Welsh and Cornish. Yeah,

0:18:39.000 --> 0:18:42.600
<v Speaker 2>and English is a third Yeah, English as well, but English,

0:18:42.760 --> 0:18:46.159
<v Speaker 2>but not at home you would just speak So your

0:18:46.240 --> 0:18:49.800
<v Speaker 2>dad is a is a he's a Cornish poet. Yeah,

0:18:49.960 --> 0:18:51.440
<v Speaker 2>he's he's from.

0:18:51.280 --> 0:18:56.720
<v Speaker 3>Corn from okay yeah, and then yeah, and he learned,

0:18:56.760 --> 0:19:00.720
<v Speaker 3>i think learn Cornish from a schoolmaster the local primary

0:19:00.720 --> 0:19:05.359
<v Speaker 3>school and then but he's been quite good with languages.

0:19:06.320 --> 0:19:07.879
<v Speaker 2>Are you good with other languages?

0:19:08.040 --> 0:19:13.159
<v Speaker 3>I've not. I've not felt that I'm amazing. I'm definitely

0:19:13.200 --> 0:19:17.440
<v Speaker 3>not someone that would just pick it up. So it's yeah,

0:19:17.760 --> 0:19:20.600
<v Speaker 3>so it's odds to be sort of find yourself in

0:19:20.720 --> 0:19:25.520
<v Speaker 3>quite a specialist subject within linguistics when you're actually not linguists. Yeah,

0:19:25.640 --> 0:19:28.240
<v Speaker 3>I don't think so anyway, and I've never felt Yeah,

0:19:28.280 --> 0:19:31.080
<v Speaker 3>I definitely don't have any expertise at all.

0:19:31.200 --> 0:19:33.200
<v Speaker 2>How many people speak Cornish fluently?

0:19:33.280 --> 0:19:35.359
<v Speaker 3>I think a few hundreds, and.

0:19:35.240 --> 0:19:38.720
<v Speaker 2>You're one of them. That's quite that's obviously quite a

0:19:38.760 --> 0:19:42.960
<v Speaker 2>special quite intense. It is quite intense, isn't it. But

0:19:43.040 --> 0:19:46.240
<v Speaker 2>I suppose that's why also people maybe presume if you

0:19:46.359 --> 0:19:49.000
<v Speaker 2>know Cornish, if you're one of the two hundred people

0:19:49.040 --> 0:19:52.040
<v Speaker 2>that speaks Cornish fluently, that you would probably also speak

0:19:52.080 --> 0:19:54.639
<v Speaker 2>Spanish and French. And yeah, they'd probably just presume that,

0:19:54.640 --> 0:19:56.440
<v Speaker 2>wouldn't I guess, yeah, because.

0:19:56.240 --> 0:19:58.440
<v Speaker 5>I think it is about I think it's about five

0:19:58.520 --> 0:19:59.920
<v Speaker 5>hundred fluent.

0:19:59.640 --> 0:20:03.080
<v Speaker 3>Speaker, and then it's in the thousands that can converse

0:20:03.200 --> 0:20:06.840
<v Speaker 3>to a certain level. And actually it's growing more, which

0:20:06.920 --> 0:20:10.439
<v Speaker 3>kind of made me feel encouraged me to write in

0:20:10.480 --> 0:20:11.240
<v Speaker 3>Cornish as well.

0:20:11.440 --> 0:20:14.280
<v Speaker 2>See your last Abu, your Deputy solo album from two

0:20:14.359 --> 0:20:18.000
<v Speaker 2>years ago, it was all Welsh except for the last track,

0:20:18.040 --> 0:20:23.640
<v Speaker 2>which was Cornish, and then this new album it's all Cornish. Yeah, Yeah,

0:20:23.760 --> 0:20:25.480
<v Speaker 2>that's hardcore is I love?

0:20:27.760 --> 0:20:28.399
<v Speaker 3>Oh what can you do?

0:20:28.600 --> 0:20:30.440
<v Speaker 5>So you've got to always get to that place, because

0:20:30.440 --> 0:20:33.960
<v Speaker 5>I think that what I learned from was like, try

0:20:33.960 --> 0:20:36.960
<v Speaker 5>and get to the most un compromising position that you can,

0:20:38.080 --> 0:20:42.120
<v Speaker 5>and then you might be in a better position to start, because.

0:20:41.880 --> 0:20:45.359
<v Speaker 3>I wanted to explore the language anyway, and I again

0:20:45.560 --> 0:20:49.440
<v Speaker 3>felt that it would perhaps give me freedom creatively because

0:20:49.480 --> 0:20:52.720
<v Speaker 3>I couldn't imagine it and they weren't a huge amount

0:20:52.720 --> 0:20:56.400
<v Speaker 3>of influences, although I do have it cornish language music influences.

0:20:58.359 --> 0:20:59.879
<v Speaker 3>That was a quite a good place to start and

0:21:00.040 --> 0:21:03.040
<v Speaker 3>then explore and actually and actually take a bit of

0:21:03.040 --> 0:21:06.320
<v Speaker 3>ownership because I think when you're raised with this really

0:21:06.480 --> 0:21:08.920
<v Speaker 3>quite it's not a specialist. Really, it's just a very

0:21:09.000 --> 0:21:13.040
<v Speaker 3>small thing that it's not particulars, not common at all,

0:21:13.400 --> 0:21:16.280
<v Speaker 3>and it makes you can you know, it's definitely at

0:21:16.280 --> 0:21:18.280
<v Speaker 3>times made me feel like I don't fit in anywhere,

0:21:19.000 --> 0:21:21.000
<v Speaker 3>and they think, well, that's probably the good thing that

0:21:21.040 --> 0:21:24.240
<v Speaker 3>you need to use, because that's your tool to explore

0:21:24.280 --> 0:21:26.840
<v Speaker 3>that means, because actually it's a common feeling and I

0:21:26.880 --> 0:21:30.199
<v Speaker 3>don't think it's you know, none of us feel like

0:21:30.240 --> 0:21:33.440
<v Speaker 3>we belong anywhere or feel you know, we'll feel a

0:21:33.480 --> 0:21:36.080
<v Speaker 3>bit weird. So I just thought that was a good

0:21:36.119 --> 0:21:38.240
<v Speaker 3>starting point and to sort of just take just claim

0:21:38.280 --> 0:21:40.359
<v Speaker 3>a bit of ownership over really, And I was like, right,

0:21:40.400 --> 0:21:42.080
<v Speaker 3>if this is my language, I've got to use it

0:21:42.160 --> 0:21:44.560
<v Speaker 3>in the way that I use language and just claim

0:21:44.560 --> 0:21:46.679
<v Speaker 3>a bit of ownership over it. And I don't. And

0:21:46.720 --> 0:21:49.520
<v Speaker 3>it's really scary as well, because I think you're even

0:21:49.600 --> 0:21:52.960
<v Speaker 3>more you know, you feel the fragility of a language

0:21:53.040 --> 0:21:56.240
<v Speaker 3>that five hundred people speak, and you think, oh, that's

0:21:56.240 --> 0:21:59.119
<v Speaker 3>not touch it because it might break. But actually you

0:21:59.160 --> 0:22:00.800
<v Speaker 3>got to do the opposite, because you've got to use

0:22:00.840 --> 0:22:02.359
<v Speaker 3>it and you've got to be brutal with it, and

0:22:02.400 --> 0:22:05.600
<v Speaker 3>you've got to sort of be carefree and really aggressive

0:22:05.680 --> 0:22:09.280
<v Speaker 3>and to try things out and work out patterns. And

0:22:09.320 --> 0:22:11.080
<v Speaker 3>I mean it's like with music, really, you've got to

0:22:11.080 --> 0:22:12.960
<v Speaker 3>sort bash it out and bash it about and then

0:22:13.119 --> 0:22:14.520
<v Speaker 3>you sort of reach somewhere.

0:22:14.600 --> 0:22:18.320
<v Speaker 2>What you've done with look off the new record. I'm

0:22:18.400 --> 0:22:20.480
<v Speaker 2>guessing and this is probably a safe thing to guess.

0:22:20.920 --> 0:22:23.720
<v Speaker 2>I'm presuming this, but you're using it in a way

0:22:23.720 --> 0:22:26.239
<v Speaker 2>that no one probably no one ever has because I

0:22:26.240 --> 0:22:29.440
<v Speaker 2>imagine the other two hundred people speaking in fluenced Cornish

0:22:29.680 --> 0:22:32.280
<v Speaker 2>like your Dad's a poet, and that's quite a traditional

0:22:32.320 --> 0:22:35.040
<v Speaker 2>way to use the language, but you're using it with

0:22:35.400 --> 0:22:38.000
<v Speaker 2>the type of music you're that you make. It's probably

0:22:38.000 --> 0:22:39.720
<v Speaker 2>never been done before, is that Yeah?

0:22:39.720 --> 0:22:43.800
<v Speaker 3>I don't think so, yeah, but it's kind of it's again.

0:22:43.880 --> 0:22:46.359
<v Speaker 3>It's I think the combination of working with Again on

0:22:46.400 --> 0:22:49.120
<v Speaker 3>the records, because I think what she's creates, I think

0:22:49.160 --> 0:22:54.400
<v Speaker 3>his worlds with his layers, and he creates a landscape

0:22:55.280 --> 0:22:57.200
<v Speaker 3>with his production.

0:22:58.040 --> 0:23:01.080
<v Speaker 2>There's a song there called the Cheese Yah.

0:23:01.880 --> 0:23:02.040
<v Speaker 6>Yeah.

0:23:03.000 --> 0:23:05.560
<v Speaker 3>So it's a phrase I found in a book from

0:23:05.600 --> 0:23:08.080
<v Speaker 3>I think the eighteenth century and is there cheese? Is

0:23:08.119 --> 0:23:10.840
<v Speaker 3>there or isn't there? If there's cheese, bring cheese. If

0:23:10.840 --> 0:23:14.000
<v Speaker 3>there's no cheese, bring what's easy? And I was just like,

0:23:14.080 --> 0:23:18.560
<v Speaker 3>that's amazing. I love cheese. Apologies to all vegans, but

0:23:18.600 --> 0:23:21.879
<v Speaker 3>I really do. And I just thought it was fantastic.

0:23:21.920 --> 0:23:24.520
<v Speaker 3>It was just such a sort of chanty thing. And

0:23:24.520 --> 0:23:26.240
<v Speaker 3>like when I think of Cornish, I think of it

0:23:26.280 --> 0:23:31.280
<v Speaker 3>as a very home, playful language because I don't attach

0:23:31.320 --> 0:23:34.600
<v Speaker 3>it to anything apart from family and community, and so

0:23:34.680 --> 0:23:38.119
<v Speaker 3>it's a lot of fun and silliness and that just

0:23:38.119 --> 0:23:41.520
<v Speaker 3>fitted in brilliantly. And then the verses are all just

0:23:41.560 --> 0:23:44.879
<v Speaker 3>like place names in Cornish and so it's like a

0:23:44.920 --> 0:23:47.480
<v Speaker 3>call to arms about it's finding some cheese.

0:23:47.880 --> 0:23:51.679
<v Speaker 2>And the great thing is because it's sung in Cornish.

0:23:51.760 --> 0:23:53.879
<v Speaker 2>If you were doing that, you couldn't get away with

0:23:54.720 --> 0:23:57.639
<v Speaker 2>is there Cheese because people would be like, this is

0:23:57.720 --> 0:24:01.399
<v Speaker 2>kind of a bit silly, but it sounds kind of

0:24:01.480 --> 0:24:03.240
<v Speaker 2>romantic and beautiful.

0:24:03.480 --> 0:24:05.639
<v Speaker 3>Yeah, done just about cheese.

0:24:05.800 --> 0:24:08.320
<v Speaker 2>Yeah, but it's just a song called is there Cheese? Yeah,

0:24:08.480 --> 0:24:10.720
<v Speaker 2>which is great. There are bits of when I first

0:24:10.760 --> 0:24:14.200
<v Speaker 2>heard the record, even though I knew it was in Cornish,

0:24:14.320 --> 0:24:16.080
<v Speaker 2>it kind of just sounds like it's got a French

0:24:16.119 --> 0:24:17.200
<v Speaker 2>feel to the record.

0:24:17.400 --> 0:24:17.640
<v Speaker 5>Yeah.

0:24:17.800 --> 0:24:21.840
<v Speaker 3>No, we were thinking a lot about likes, but definitely

0:24:22.520 --> 0:24:27.000
<v Speaker 3>strings and arrangements. Definitely we were, and particularly like the

0:24:27.000 --> 0:24:31.320
<v Speaker 3>way it was amazing conceptualizing his records as well, and

0:24:33.119 --> 0:24:36.400
<v Speaker 3>just sort of again, you know, with very little equipment

0:24:36.440 --> 0:24:38.159
<v Speaker 3>because we made it all at home with you know,

0:24:39.000 --> 0:24:41.879
<v Speaker 3>we don't have sense and things like that. Really is

0:24:42.040 --> 0:24:45.840
<v Speaker 3>source sort of quite low fi, but yeah, and I

0:24:45.840 --> 0:24:48.880
<v Speaker 3>think really wanted to create a sort of seventies feel, yeah,

0:24:49.080 --> 0:24:54.600
<v Speaker 3>quite progue and quite Celtic, which I'm really fully embracing

0:24:54.640 --> 0:24:57.800
<v Speaker 3>of and actually a thing. Yes, let's do this because

0:24:57.840 --> 0:25:00.920
<v Speaker 3>obviously I've done know the people's version of what Celtic kids,

0:25:00.960 --> 0:25:03.960
<v Speaker 3>particularly with a lot of the dance, and I think

0:25:04.000 --> 0:25:05.040
<v Speaker 3>that there are better ways.

0:25:06.280 --> 0:25:08.800
<v Speaker 2>I mean, that wasn't authentic Lord of the Dance.

0:25:10.040 --> 0:25:12.440
<v Speaker 3>It's quite exciting as a teenager because it was so

0:25:12.560 --> 0:25:15.960
<v Speaker 3>like rejecting of like sort of the conservative element of

0:25:15.960 --> 0:25:18.840
<v Speaker 3>Irish dance. So like as a teenager, you're like, wow,

0:25:18.920 --> 0:25:21.560
<v Speaker 3>this is like a rock show, which it obviously wasn't,

0:25:21.600 --> 0:25:23.920
<v Speaker 3>but that's how we saw it. Was like, wow, I.

0:25:23.880 --> 0:25:28.480
<v Speaker 2>Remember seeing it on Eurovision. Yeah, when they first showed it.

0:25:28.560 --> 0:25:28.720
<v Speaker 5>Yeah.

0:25:28.800 --> 0:25:31.199
<v Speaker 3>River Dances way more classic though. I was in that

0:25:31.240 --> 0:25:31.879
<v Speaker 3>as well, and that was.

0:25:31.880 --> 0:25:34.280
<v Speaker 2>Way ah yeah, no, you're right. Lord of the Dance

0:25:34.400 --> 0:25:35.560
<v Speaker 2>was like that.

0:25:35.640 --> 0:25:38.440
<v Speaker 3>Yeah, lots of like the really tacky one, was it?

0:25:38.680 --> 0:25:38.920
<v Speaker 5>Yeah?

0:25:39.080 --> 0:25:42.320
<v Speaker 3>It was then well it's like, oh god, there was

0:25:42.320 --> 0:25:43.720
<v Speaker 3>a dancing called strip Jake.

0:25:44.400 --> 0:25:44.760
<v Speaker 2>Okay.

0:25:44.880 --> 0:25:47.560
<v Speaker 3>It was awful. It was just like you sort of

0:25:47.640 --> 0:25:49.520
<v Speaker 3>jig around in a dress and then you like take

0:25:49.560 --> 0:25:51.240
<v Speaker 3>a dress off and you're just like in a crop

0:25:51.400 --> 0:25:54.560
<v Speaker 3>top and shorts. It's awful. It's awful.

0:25:54.640 --> 0:25:57.600
<v Speaker 2>It's like they didn't have that a Eurovision.

0:25:57.960 --> 0:26:00.080
<v Speaker 3>No, they definitely didn't. But it's just so much to

0:26:00.160 --> 0:26:02.160
<v Speaker 3>do with religion and stuff as well, because I think

0:26:02.160 --> 0:26:04.760
<v Speaker 3>there was a lot of that because like the history

0:26:04.800 --> 0:26:07.320
<v Speaker 3>of Rriish dancing is like the reason why people have

0:26:07.359 --> 0:26:08.800
<v Speaker 3>to put their hands by the side is because of

0:26:08.840 --> 0:26:11.520
<v Speaker 3>the Catholic Church. But like you can't use your arms

0:26:11.560 --> 0:26:14.240
<v Speaker 3>because it's too suggestive. That's why it all went into

0:26:14.280 --> 0:26:16.560
<v Speaker 3>the feet. And then like sort of river dance thing

0:26:16.640 --> 0:26:21.119
<v Speaker 3>was this burst of like Catholic suppression going mental and

0:26:21.160 --> 0:26:24.199
<v Speaker 3>everyone going yes, we can do a strip and we

0:26:24.240 --> 0:26:27.280
<v Speaker 3>can just move our arms around and so, and particularly

0:26:27.320 --> 0:26:30.120
<v Speaker 3>like because there was so many teenage girls in that Yeah,

0:26:31.800 --> 0:26:33.959
<v Speaker 3>so I think there was a lot of that. It

0:26:34.040 --> 0:26:36.800
<v Speaker 3>was just sort of went mental, right, So I think

0:26:36.840 --> 0:26:39.560
<v Speaker 3>this is quite interesting sort of context to why that

0:26:40.000 --> 0:26:43.960
<v Speaker 3>show was so tacky. Okay, I'm probably gonna get suit.

0:26:46.200 --> 0:26:50.080
<v Speaker 2>So the last record, yeah, it played a lot on technology. Yeah,

0:26:50.880 --> 0:26:53.959
<v Speaker 2>and it was a protest record in lots of ways.

0:26:55.440 --> 0:26:56.760
<v Speaker 2>How does this one fit well?

0:26:56.800 --> 0:27:01.760
<v Speaker 3>I think that because obviously, while she's a wide spoken language,

0:27:01.760 --> 0:27:05.560
<v Speaker 3>I think there were more variations of expression in that language,

0:27:05.680 --> 0:27:09.480
<v Speaker 3>and so I was quite interested in finding influences that

0:27:10.560 --> 0:27:15.600
<v Speaker 3>perhaps hadn't been as celebrated or utilized particularly post punk

0:27:15.760 --> 0:27:18.040
<v Speaker 3>sort of electronic things that were a lot colder in

0:27:18.119 --> 0:27:25.080
<v Speaker 3>feeling rather than a sort of homely folk thing. I

0:27:25.119 --> 0:27:28.399
<v Speaker 3>think probably there's more frustration in my last album.

0:27:28.600 --> 0:27:29.919
<v Speaker 2>What I was going to say when we met in

0:27:30.040 --> 0:27:33.880
<v Speaker 2>when we met yeah, Cardiff and you were showing us around,

0:27:34.080 --> 0:27:37.800
<v Speaker 2>it felt like that was a time when there was

0:27:37.960 --> 0:27:39.720
<v Speaker 2>a lot of frustration about a lot of the things

0:27:39.760 --> 0:27:42.159
<v Speaker 2>about Cardiff and things that we were talking about, the

0:27:42.160 --> 0:27:44.480
<v Speaker 2>buildings they were knocking down and we went to Butte Town,

0:27:44.720 --> 0:27:48.400
<v Speaker 2>yeah right, and just kind of pointing out the things

0:27:48.400 --> 0:27:50.399
<v Speaker 2>like this could this shouldn't be like this, and this

0:27:50.400 --> 0:27:53.240
<v Speaker 2>should like This record is less like that, is it.

0:27:53.240 --> 0:27:55.560
<v Speaker 3>It's less of a frustrating I think what it was

0:27:55.640 --> 0:27:58.480
<v Speaker 3>as well was that particular. I mean, obviously with everything

0:27:58.560 --> 0:28:02.560
<v Speaker 3>and even like creatively content and you know, in films,

0:28:02.680 --> 0:28:06.720
<v Speaker 3>television and you know, it was a very dystopian album,

0:28:06.760 --> 0:28:09.560
<v Speaker 3>which it was like a sort of wanting to make.

0:28:09.720 --> 0:28:13.239
<v Speaker 3>But I think with this one, I was also I

0:28:13.240 --> 0:28:16.760
<v Speaker 3>think just wanting to be as positive as I possibly

0:28:16.800 --> 0:28:19.639
<v Speaker 3>could as well, because I'm not sure how much it

0:28:19.680 --> 0:28:22.480
<v Speaker 3>adds to the conversation at the moment to be negative,

0:28:22.760 --> 0:28:26.760
<v Speaker 3>particularly creatively because I think, well, for me, it was

0:28:26.800 --> 0:28:30.400
<v Speaker 3>just trying to find a utopia other than going, look,

0:28:30.440 --> 0:28:33.240
<v Speaker 3>how shit everything is. Yeah, because we know everybody like

0:28:33.320 --> 0:28:36.600
<v Speaker 3>really know that. We absolutely know that now. I mean

0:28:36.640 --> 0:28:38.560
<v Speaker 3>it's like two years ago, even like two years down

0:28:38.600 --> 0:28:40.920
<v Speaker 3>the line, we know that way more than we did

0:28:40.920 --> 0:28:44.080
<v Speaker 3>two years ago. So you almost feel that you're sort

0:28:44.080 --> 0:28:47.120
<v Speaker 3>of looking And I felt that Cornish could give me

0:28:47.200 --> 0:28:50.920
<v Speaker 3>that because of its utopian nature and wanting to exist,

0:28:51.160 --> 0:28:56.080
<v Speaker 3>and that it's always drawn artists and the creativity of

0:28:56.760 --> 0:29:01.120
<v Speaker 3>reviving a language and it flourishing like a flower.

0:29:03.880 --> 0:29:07.280
<v Speaker 2>I remember you saying to me about Welsh language music

0:29:07.320 --> 0:29:12.080
<v Speaker 2>actually at the time that people make it for it

0:29:12.120 --> 0:29:16.400
<v Speaker 2>to exist. There's no expectations. If you make a Welsh

0:29:16.480 --> 0:29:20.120
<v Speaker 2>language album, you're not making it to become a millionaire

0:29:20.560 --> 0:29:23.720
<v Speaker 2>or successful in any way. You're not trying to get

0:29:23.760 --> 0:29:25.760
<v Speaker 2>on an advert for a car. You're just making it

0:29:25.800 --> 0:29:28.600
<v Speaker 2>so it exists and it's an artifact. And I guess

0:29:28.600 --> 0:29:31.560
<v Speaker 2>that's even more the case in Cornish. It's kind of

0:29:31.560 --> 0:29:35.080
<v Speaker 2>even or it's at least exactly the same, I guess definitely.

0:29:35.160 --> 0:29:40.760
<v Speaker 3>And I think that that's such a really powerful sentiment

0:29:40.840 --> 0:29:42.959
<v Speaker 3>to attach yourself to as an artist as well, and

0:29:43.000 --> 0:29:47.160
<v Speaker 3>to remember because I think it's a really great motivational

0:29:48.440 --> 0:29:51.960
<v Speaker 3>point as a starting point, that you're making something because

0:29:51.960 --> 0:29:54.520
<v Speaker 3>it doesn't exist, which I think, you know again, you know,

0:29:54.520 --> 0:30:01.880
<v Speaker 3>obviously minority cultures can do that. There's this every child, Yeah,

0:30:02.240 --> 0:30:05.640
<v Speaker 3>you're creating. You feel more that you're creating the narrative

0:30:06.440 --> 0:30:11.000
<v Speaker 3>than perhaps you would do in a humongous narrative, and

0:30:11.240 --> 0:30:14.080
<v Speaker 3>I think it's just a very I think it's a

0:30:14.120 --> 0:30:17.600
<v Speaker 3>really really wise thing to remember as well when you're

0:30:17.600 --> 0:30:18.560
<v Speaker 3>making I think.

0:30:18.520 --> 0:30:21.280
<v Speaker 2>A lot of young bands that I speak to are

0:30:21.320 --> 0:30:23.360
<v Speaker 2>who aren't who are even making something kind of a

0:30:23.400 --> 0:30:25.840
<v Speaker 2>bit more commercial and it's in English and it's kind

0:30:25.840 --> 0:30:29.240
<v Speaker 2>of maybe it's just quite standard in its structure and

0:30:29.320 --> 0:30:31.680
<v Speaker 2>its sound. I just think more and more people feel

0:30:31.720 --> 0:30:35.120
<v Speaker 2>that as well. Like the idea of being David Bowie

0:30:35.720 --> 0:30:38.960
<v Speaker 2>in the modern age when the music industry doesn't have

0:30:39.040 --> 0:30:41.520
<v Speaker 2>that kind of structure and that's kind of support and

0:30:41.600 --> 0:30:43.960
<v Speaker 2>money anymore. I think it's quite I remember when I

0:30:44.080 --> 0:30:45.400
<v Speaker 2>used to try and be in bands when I was

0:30:45.440 --> 0:30:48.040
<v Speaker 2>in school and stuff. The idea was always like, oh,

0:30:48.080 --> 0:30:49.560
<v Speaker 2>we're going to try and get a record deal and

0:30:49.560 --> 0:30:52.840
<v Speaker 2>become famous and now when I speak to two young

0:30:52.920 --> 0:30:57.640
<v Speaker 2>bands that's not even on the right to know that

0:30:57.680 --> 0:30:59.640
<v Speaker 2>it's not the case. An, Yeah, I.

0:31:00.040 --> 0:31:02.840
<v Speaker 3>Think so much more. Diy. You're absolutely right, so that

0:31:02.920 --> 0:31:05.480
<v Speaker 3>spirit's there everywhere. But I think that's what makes it

0:31:05.480 --> 0:31:07.360
<v Speaker 3>interesting as well, isn't it, because it actually puts everyone

0:31:07.440 --> 0:31:10.400
<v Speaker 3>an equal footing, Yeah, which is really exciting.

0:31:10.160 --> 0:31:13.640
<v Speaker 2>And it makes it fun again. If you completely reject

0:31:13.640 --> 0:31:16.000
<v Speaker 2>the idea that you're going to become it's going to

0:31:16.000 --> 0:31:18.760
<v Speaker 2>become your job even then you can just enjoy it

0:31:18.800 --> 0:31:21.160
<v Speaker 2>for what it is in the same way that people

0:31:21.200 --> 0:31:22.360
<v Speaker 2>enjoy yoga or you.

0:31:22.680 --> 0:31:26.400
<v Speaker 3>And I find that I don't know obviously my only

0:31:26.400 --> 0:31:29.760
<v Speaker 3>experience really is with bands in Wales, but I find

0:31:30.480 --> 0:31:34.000
<v Speaker 3>younger musicians so incredibly hard working as well, Like I

0:31:34.040 --> 0:31:36.320
<v Speaker 3>think that that, and I think it's because they've grown

0:31:36.400 --> 0:31:38.680
<v Speaker 3>up in a harsher climate as well. I just find

0:31:38.720 --> 0:31:41.560
<v Speaker 3>them really a lot more do it yourself, like you say,

0:31:41.600 --> 0:31:43.840
<v Speaker 3>but I think that yeah, they yeah, like you said,

0:31:43.840 --> 0:31:46.080
<v Speaker 3>they would never expect anyone, I mean, they wouldn't even expect

0:31:46.120 --> 0:31:49.600
<v Speaker 3>to at any point have a tool manager for example,

0:31:49.720 --> 0:31:53.200
<v Speaker 3>like it just for anybody now, like anybody making music,

0:31:53.240 --> 0:31:57.000
<v Speaker 3>which is really positive creatively is positive, isn't it?

0:31:57.080 --> 0:31:57.840
<v Speaker 2>Yeah? I think so.

0:31:58.160 --> 0:31:58.920
<v Speaker 3>Yeah.

0:31:59.000 --> 0:32:01.760
<v Speaker 2>There's also a track on the album called computer Yeah,

0:32:01.800 --> 0:32:04.720
<v Speaker 2>which is obviously about technology. Yeah, am I right? Thinking

0:32:04.760 --> 0:32:07.400
<v Speaker 2>it's about that kind of love hate relationship we had

0:32:07.480 --> 0:32:11.160
<v Speaker 2>with technology. We can't kind of live with hate our phones,

0:32:11.200 --> 0:32:13.040
<v Speaker 2>but we kind of can't. Yeah, that kind of thing.

0:32:13.160 --> 0:32:14.760
<v Speaker 2>How are you with technology generally?

0:32:15.240 --> 0:32:19.680
<v Speaker 3>I just have definitely overused my phone, do you? Oh god?

0:32:19.760 --> 0:32:20.000
<v Speaker 5>Yeah?

0:32:20.240 --> 0:32:23.200
<v Speaker 3>Awful. But I think I just wanted because again, like

0:32:23.320 --> 0:32:29.880
<v Speaker 3>because Cornish again, I sort of wanted to discuss something modern.

0:32:30.680 --> 0:32:32.960
<v Speaker 3>I think that was the idea really, and also the

0:32:33.000 --> 0:32:38.080
<v Speaker 3>fact that there's I'm not a linguist, so I don't

0:32:38.120 --> 0:32:42.680
<v Speaker 3>know how this works, but there are computers that can

0:32:42.760 --> 0:32:45.719
<v Speaker 3>read manuscripts and they sort of detect it and they

0:32:45.760 --> 0:32:50.640
<v Speaker 3>can help with forming. I don't know what I'm talking about.

0:32:50.600 --> 0:32:51.920
<v Speaker 2>It is like an AI thing.

0:32:52.200 --> 0:32:54.440
<v Speaker 3>Yeah, well no, it's not as like older than that,

0:32:54.480 --> 0:32:56.480
<v Speaker 3>because this happened in the eighties with Cornish. So I

0:32:56.520 --> 0:32:59.120
<v Speaker 3>just wanted to talk about this technological influence on the

0:32:59.200 --> 0:33:03.440
<v Speaker 3>language and it sort of predicts phrase like turn afraid,

0:33:03.640 --> 0:33:08.040
<v Speaker 3>like sentences and things like that. Okay, I don't know

0:33:08.040 --> 0:33:12.600
<v Speaker 3>what I'm talking about, so I apologize to any linguist's

0:33:12.600 --> 0:33:15.320
<v Speaker 3>listening to me, going what the hell is that? But

0:33:15.560 --> 0:33:18.320
<v Speaker 3>I just wanted to talk about that, just just bring

0:33:18.320 --> 0:33:20.360
<v Speaker 3>a sort of modern context, because I was aware that

0:33:20.440 --> 0:33:24.560
<v Speaker 3>I was mentally somewhere between the fifth and the seventeenth

0:33:24.640 --> 0:33:27.640
<v Speaker 3>century when I was making this album. So I just

0:33:27.680 --> 0:33:30.960
<v Speaker 3>really fast, like, whoa, whoa, whoa. Right, you know, this

0:33:31.040 --> 0:33:33.960
<v Speaker 3>is all a little bit Middle Ages and Age of

0:33:33.960 --> 0:33:35.800
<v Speaker 3>the Saints. So I think, you know, we really need

0:33:35.840 --> 0:33:38.480
<v Speaker 3>to bring this back after speed and the fact that

0:33:38.520 --> 0:33:40.760
<v Speaker 3>you know, technology had been part of the language and everything.

0:33:40.800 --> 0:33:44.640
<v Speaker 3>So I just wanted to and yeah and just that feeling,

0:33:44.640 --> 0:33:47.560
<v Speaker 3>because I think there may have been some heated discussions

0:33:47.600 --> 0:33:50.640
<v Speaker 3>about using that sort of technology with with the language,

0:33:51.440 --> 0:33:53.720
<v Speaker 3>and I thought, well, you know, you can't live with it,

0:33:53.760 --> 0:33:57.360
<v Speaker 3>you can't live without it, and you're infuriated by it,

0:33:57.400 --> 0:33:59.600
<v Speaker 3>but you're also glad that it's happened. Type of thing.

0:34:00.240 --> 0:34:05.320
<v Speaker 3>This sort of unrequited love relationship is very complicated, and

0:34:05.360 --> 0:34:08.640
<v Speaker 3>I think that's how we emotionally feel about technology. And

0:34:08.680 --> 0:34:11.759
<v Speaker 3>I thought it would just yeah, and I sort of

0:34:11.840 --> 0:34:14.480
<v Speaker 3>I definitely wanted the Cornish language to be having a

0:34:14.480 --> 0:34:17.759
<v Speaker 3>conversation with a computer as well. Not to be left

0:34:17.760 --> 0:34:19.719
<v Speaker 3>out because everyone else is having a conversation with it.

0:34:19.760 --> 0:34:23.360
<v Speaker 2>There is that idea, isn't there That that Cornwall and

0:34:23.480 --> 0:34:27.400
<v Speaker 2>Wales as well, that kind of recurring gag that everything

0:34:27.560 --> 0:34:31.640
<v Speaker 2>is still fifty years behind, and that kind of idea.

0:34:31.640 --> 0:34:34.240
<v Speaker 2>When you think of Cornwall, you think of it being

0:34:34.880 --> 0:34:38.320
<v Speaker 2>a little cottages and seaside towns and or very quaint

0:34:38.360 --> 0:34:41.520
<v Speaker 2>and fishing boats and things, and of course they do

0:34:41.600 --> 0:34:42.600
<v Speaker 2>have computers there.

0:34:42.719 --> 0:34:46.880
<v Speaker 3>Well. I think that most of the UK's Internet goes

0:34:47.520 --> 0:34:52.120
<v Speaker 3>from underneath Cornwall. Yeah, so I think actually is quite.

0:34:51.840 --> 0:34:54.280
<v Speaker 2>A it's on a bed of technology.

0:34:53.840 --> 0:34:56.040
<v Speaker 3>I think so. Yeah, as well as having I think

0:34:56.200 --> 0:35:00.560
<v Speaker 3>like ninety nine percent of the world's what would you

0:35:00.560 --> 0:35:06.520
<v Speaker 3>call them in English? I know it's mona Welsh. What

0:35:06.560 --> 0:35:10.000
<v Speaker 3>do you call it? You know, like elements in rock,

0:35:10.360 --> 0:35:13.279
<v Speaker 3>like sediment? No, but you know, like it's got ten

0:35:13.360 --> 0:35:19.520
<v Speaker 3>it's got oh yeah, minerals, minerals sorry, okay, minerals and yeah,

0:35:19.600 --> 0:35:24.120
<v Speaker 3>and again you know the sort of the industrial heritage

0:35:24.160 --> 0:35:27.520
<v Speaker 3>of Cornwall as well, which obviously leads onto computers and

0:35:27.560 --> 0:35:28.239
<v Speaker 3>things as well.

0:35:28.560 --> 0:35:32.640
<v Speaker 2>Yeah, your son is only two, right, so this is

0:35:32.640 --> 0:35:34.640
<v Speaker 2>obviously not something you need to worry about yet. But

0:35:34.960 --> 0:35:37.680
<v Speaker 2>have you thought about when they'd be allowed a phone

0:35:37.760 --> 0:35:40.520
<v Speaker 2>and things like that. I've got some nephews and nieces

0:35:40.560 --> 0:35:44.200
<v Speaker 2>and they're all getting to the age where they want phones.

0:35:44.920 --> 0:35:47.480
<v Speaker 2>One of them. Two of them have got phones, and

0:35:47.520 --> 0:35:49.160
<v Speaker 2>one of them is on Instagram.

0:35:49.600 --> 0:35:50.279
<v Speaker 3>Oh I know.

0:35:50.680 --> 0:35:56.120
<v Speaker 2>She's only but she's it's quite she's quite sweet on it.

0:35:56.840 --> 0:36:01.200
<v Speaker 2>But I think if it was my child, that fill

0:36:01.320 --> 0:36:02.320
<v Speaker 2>me with pure dread.

0:36:02.800 --> 0:36:05.200
<v Speaker 3>And it's weird because I think it's really interesting when

0:36:05.200 --> 0:36:09.799
<v Speaker 3>you see my little brother's fifteen and he is a

0:36:09.840 --> 0:36:17.279
<v Speaker 3>different person. It's amazing, Like he's a different character on.

0:36:15.760 --> 0:36:17.680
<v Speaker 2>The online online presence.

0:36:17.760 --> 0:36:20.480
<v Speaker 3>Yeah, it's just not the same person that talks to me.

0:36:20.680 --> 0:36:24.600
<v Speaker 3>It's like wow, because that's really fascinating. I think for

0:36:24.680 --> 0:36:29.280
<v Speaker 3>people that have been born into having personas.

0:36:28.520 --> 0:36:29.480
<v Speaker 2>Yeah, weird.

0:36:29.560 --> 0:36:31.359
<v Speaker 3>I don't know how you avoid it, really. I mean,

0:36:31.400 --> 0:36:33.840
<v Speaker 3>I'm sure there's a good reason not to be on

0:36:33.960 --> 0:36:38.719
<v Speaker 3>it or encourage your children to be on it, definitely,

0:36:38.960 --> 0:36:40.600
<v Speaker 3>And I don't know what the answer is. And I'm

0:36:40.640 --> 0:36:43.120
<v Speaker 3>actually not going to be on any kind of high

0:36:43.120 --> 0:36:44.640
<v Speaker 3>horse about it at all.

0:36:44.960 --> 0:36:47.279
<v Speaker 2>It's tough, isn't it. And also because you also don't

0:36:47.320 --> 0:36:49.960
<v Speaker 2>want them to like you can't really like say, no,

0:36:50.000 --> 0:36:53.560
<v Speaker 2>you're not doing that because it's part of the world now.

0:36:54.200 --> 0:36:57.000
<v Speaker 3>And also like they give kids tablets in primary school

0:36:57.040 --> 0:36:59.279
<v Speaker 3>and stuff, So how do you differentiate between having a

0:36:59.280 --> 0:37:01.399
<v Speaker 3>tablet and not be able to look on YouTube? I'm

0:37:01.440 --> 0:37:02.359
<v Speaker 3>so glad he's two.

0:37:02.680 --> 0:37:06.279
<v Speaker 2>Yeah, by the time he's ten, maybe there won't be

0:37:06.280 --> 0:37:11.319
<v Speaker 2>any internet anymore. Imagine that. Imagine if it was all

0:37:11.440 --> 0:37:12.840
<v Speaker 2>just a fad and it.

0:37:13.280 --> 0:37:17.160
<v Speaker 3>Well, yeah, I'm sort of I still feel like it

0:37:17.239 --> 0:37:19.600
<v Speaker 3>might be. Yeah, it's really odd.

0:37:19.719 --> 0:37:22.200
<v Speaker 2>It's still quite early, isn't it, Because you.

0:37:22.280 --> 0:37:25.320
<v Speaker 3>Might that you invest more and more of yourself into

0:37:25.360 --> 0:37:27.520
<v Speaker 3>it or you're like, oh your time at least, not

0:37:27.560 --> 0:37:29.880
<v Speaker 3>more of yourself. Really, that's the weird things. I think

0:37:29.920 --> 0:37:32.799
<v Speaker 3>you sort of after using the incidents, particularly social media

0:37:32.880 --> 0:37:35.040
<v Speaker 3>for a few years, you sort of start getting to

0:37:35.080 --> 0:37:37.880
<v Speaker 3>that point of like, you know, you're not revealing your

0:37:38.239 --> 0:37:41.040
<v Speaker 3>meals and you know as much as perhaps you did

0:37:41.080 --> 0:37:44.320
<v Speaker 3>initially go oh, you know, I can tell my friends

0:37:44.320 --> 0:37:47.600
<v Speaker 3>and you know far away what I've had for breakfast

0:37:47.680 --> 0:37:49.400
<v Speaker 3>or whatever. It's like it's changed a lot, hasn't it.

0:37:49.400 --> 0:37:50.839
<v Speaker 3>People have become more savvy to.

0:37:50.920 --> 0:37:52.560
<v Speaker 5>It, but.

0:37:54.719 --> 0:37:56.120
<v Speaker 2>Do use social media a lot.

0:37:56.920 --> 0:37:59.879
<v Speaker 3>I'm awful I'm terrible. I really well. I think Mike

0:38:00.000 --> 0:38:04.560
<v Speaker 3>excuse really is because especially with Twitter for me, because

0:38:04.560 --> 0:38:09.239
<v Speaker 3>I think when you have more sort of lesser, less

0:38:09.280 --> 0:38:14.320
<v Speaker 3>popular interest, maybe it's a really useful tool for finding

0:38:14.360 --> 0:38:18.120
<v Speaker 3>people that have the community. And I do still find

0:38:18.200 --> 0:38:21.879
<v Speaker 3>that because I kind of generally don't see well people

0:38:21.960 --> 0:38:25.640
<v Speaker 3>do retweet awful things and you're like, oh god, I

0:38:25.680 --> 0:38:28.040
<v Speaker 3>can almost blank that sort of stuff out because it's

0:38:28.120 --> 0:38:31.320
<v Speaker 3>just so.

0:38:29.800 --> 0:38:32.400
<v Speaker 2>So, what ones are you on Facebook?

0:38:32.760 --> 0:38:33.759
<v Speaker 3>I'm not on Facebook?

0:38:33.800 --> 0:38:36.160
<v Speaker 2>No, I'm not on Facebook. I ever did you ever join?

0:38:37.080 --> 0:38:39.960
<v Speaker 2>But you canceled? You canceled it? Did you? My wife

0:38:40.040 --> 0:38:42.480
<v Speaker 2>tried to do that recently because I never I never

0:38:42.560 --> 0:38:47.360
<v Speaker 2>joined that one. I've never I've never tasted all of

0:38:47.600 --> 0:38:49.240
<v Speaker 2>it's got to offer, so I've never had.

0:38:49.120 --> 0:38:51.640
<v Speaker 3>To quit it. It really doesn't offer very much.

0:38:51.719 --> 0:38:53.839
<v Speaker 2>But my wife tried to quit and she said that

0:38:54.239 --> 0:38:59.680
<v Speaker 2>when you try and cancel your your membership, that's not

0:38:59.719 --> 0:39:00.480
<v Speaker 2>the right word.

0:39:01.880 --> 0:39:02.160
<v Speaker 3>Count.

0:39:03.120 --> 0:39:05.080
<v Speaker 2>It starts to go through all the people that you're

0:39:05.120 --> 0:39:07.560
<v Speaker 2>friends with. Say if you're like Amy's going to miss you,

0:39:07.640 --> 0:39:08.880
<v Speaker 2>and it shows you a picture of Amy and it

0:39:08.920 --> 0:39:10.759
<v Speaker 2>says John's going to miss you. To try and.

0:39:10.800 --> 0:39:13.600
<v Speaker 3>Kind of make you then like, you're not sure if

0:39:13.600 --> 0:39:16.439
<v Speaker 3>you've deleted it, and of ages, I thought I deleted it.

0:39:16.520 --> 0:39:18.160
<v Speaker 3>But you can't delete this, like you've got to get

0:39:18.160 --> 0:39:20.000
<v Speaker 3>down to a little bit further down and then you

0:39:20.080 --> 0:39:22.480
<v Speaker 3>delete it because you can, like you can just de

0:39:22.520 --> 0:39:25.680
<v Speaker 3>activate it. Yeah, deactivate and then reactivate.

0:39:26.520 --> 0:39:27.520
<v Speaker 2>They don't want you to leave.

0:39:27.640 --> 0:39:28.839
<v Speaker 3>Did she manage to leave in the end?

0:39:28.960 --> 0:39:31.840
<v Speaker 2>No, she's still on it. She's still does.

0:39:31.680 --> 0:39:33.560
<v Speaker 3>She really hate it? Just like what am I doing

0:39:33.560 --> 0:39:33.919
<v Speaker 3>on here?

0:39:34.360 --> 0:39:36.920
<v Speaker 2>I think I think when you get to a certain

0:39:37.000 --> 0:39:42.239
<v Speaker 2>age as well, it's kind of it's useful, isn't it.

0:39:42.640 --> 0:39:45.400
<v Speaker 2>If you've if you've been traveling, or you've met people

0:39:45.400 --> 0:39:49.279
<v Speaker 2>from out you can keep in touch with people. So

0:39:49.360 --> 0:39:51.600
<v Speaker 2>I think she kind of likes it for that. But

0:39:52.400 --> 0:39:55.520
<v Speaker 2>having not been on it myself, everyone I know, they

0:39:55.560 --> 0:39:58.560
<v Speaker 2>always say I've got one friend in particular and here

0:39:58.680 --> 0:40:01.080
<v Speaker 2>say oh so and so got that or whatever. I say, oh, yeah,

0:40:01.080 --> 0:40:03.040
<v Speaker 2>how did you like? Oh did you speak to them?

0:40:03.000 --> 0:40:07.040
<v Speaker 2>And they'll always say no, No, I am on Facebook.

0:40:07.080 --> 0:40:08.920
<v Speaker 2>I'm not on there much and I never go on there.

0:40:08.960 --> 0:40:10.520
<v Speaker 2>He says it all the time, and I never go

0:40:10.600 --> 0:40:12.640
<v Speaker 2>on there. But no one's got a good word to

0:40:12.680 --> 0:40:13.320
<v Speaker 2>say about.

0:40:13.120 --> 0:40:15.960
<v Speaker 3>Face at all. I think it makes everyone really depressed, isn't.

0:40:15.719 --> 0:40:18.279
<v Speaker 2>It Everyone's down? I know I've never met someone who

0:40:18.320 --> 0:40:20.040
<v Speaker 2>says I'm on Facebook and I love it.

0:40:20.400 --> 0:40:24.920
<v Speaker 3>No, I don't think so. Yeah, hopefully. I don't think

0:40:24.960 --> 0:40:27.719
<v Speaker 3>the world would be terrible if there wasn't any social media. No,

0:40:27.840 --> 0:40:29.240
<v Speaker 3>I actually think it might be better.

0:40:29.440 --> 0:40:31.279
<v Speaker 2>But it's mainly Twitter for you, is it. It's that

0:40:31.400 --> 0:40:31.960
<v Speaker 2>the a key one.

0:40:32.120 --> 0:40:34.760
<v Speaker 3>Yeah, just again, yeah, it's just for special and also

0:40:35.120 --> 0:40:41.319
<v Speaker 3>because we don't have proper we don't have independent broadcasters

0:40:41.360 --> 0:40:45.239
<v Speaker 3>in Wales. And actually it's a really good way of

0:40:45.280 --> 0:40:48.319
<v Speaker 3>getting news and there's a few, like there's a really

0:40:48.360 --> 0:40:52.360
<v Speaker 3>great podcast called Desolation Radio that's really good and like

0:40:52.480 --> 0:40:56.080
<v Speaker 3>informing you about what the Welsh government does, for example,

0:40:56.320 --> 0:40:59.319
<v Speaker 3>and what it doesn't. And I think that yeah, when

0:40:59.400 --> 0:41:01.359
<v Speaker 3>you live someone like Whales and actually you don't get

0:41:01.400 --> 0:41:05.640
<v Speaker 3>any information about anything. And I think the like the

0:41:05.640 --> 0:41:08.000
<v Speaker 3>Whales online is run by the Mirror Group, so there's

0:41:08.040 --> 0:41:12.720
<v Speaker 3>no sort of local scrutiny of anything, right, it's quite vital.

0:41:13.520 --> 0:41:16.000
<v Speaker 3>So you know you can follow people from universities whatever,

0:41:16.360 --> 0:41:18.759
<v Speaker 3>or you know independent people doing blogs or whatever, and

0:41:18.760 --> 0:41:21.720
<v Speaker 3>you actually get a bit more information about what people

0:41:21.719 --> 0:41:23.840
<v Speaker 3>are up to than you would from anywhere, like you

0:41:23.880 --> 0:41:25.240
<v Speaker 3>wouldn't see it on Telly.

0:41:25.480 --> 0:41:27.520
<v Speaker 2>There are definitely good things about it. Yeah, I mean

0:41:27.560 --> 0:41:30.799
<v Speaker 2>I think it's I'm guilty of it myself. I'm very

0:41:30.800 --> 0:41:32.719
<v Speaker 2>easy to get on your high horse about whatso of

0:41:32.800 --> 0:41:35.480
<v Speaker 2>course at it, but there are at these great things

0:41:35.680 --> 0:41:36.279
<v Speaker 2>to it as well.

0:41:36.280 --> 0:41:40.040
<v Speaker 3>There's probably you know, I quite like the escapism of Instagram.

0:41:40.160 --> 0:41:43.280
<v Speaker 3>I think it can be and it is pure escapism.

0:41:43.320 --> 0:41:46.400
<v Speaker 3>It's almost I find that it's like replaced sort of

0:41:46.640 --> 0:41:50.400
<v Speaker 3>women's magazines really on anything. It's like, oh, there's a

0:41:50.440 --> 0:41:52.840
<v Speaker 3>nice picture of someone in nice clothes from the high Street.

0:41:53.440 --> 0:41:57.200
<v Speaker 3>It's like it's kind of it release, you know, it's

0:41:57.280 --> 0:42:01.480
<v Speaker 3>kind of like high Street as rational catalog.

0:42:02.880 --> 0:42:06.399
<v Speaker 2>So what's You've made a whole album in Welsh? Now

0:42:06.400 --> 0:42:09.560
<v Speaker 2>you've made a whole one in a Cornish What would

0:42:09.600 --> 0:42:10.200
<v Speaker 2>be your next one?

0:42:10.239 --> 0:42:12.040
<v Speaker 3>I don't know yet because I didn't realize I was

0:42:12.040 --> 0:42:15.319
<v Speaker 3>going to make a Cornish album. But I think it's

0:42:15.360 --> 0:42:18.520
<v Speaker 3>trying to get to sort of I think he's trying

0:42:18.560 --> 0:42:20.640
<v Speaker 3>to get to a point of freedom, and I don't

0:42:20.680 --> 0:42:22.400
<v Speaker 3>know what that would mean next.

0:42:22.880 --> 0:42:25.400
<v Speaker 2>Do you think you could make one in English?

0:42:25.560 --> 0:42:28.560
<v Speaker 3>I know you know, I have. I've thought about that,

0:42:28.880 --> 0:42:31.400
<v Speaker 3>like is it not though, yeah, I'll definitely do that.

0:42:31.440 --> 0:42:35.360
<v Speaker 3>But it's crossed my mind that I have three languages

0:42:36.320 --> 0:42:39.319
<v Speaker 3>and you know, I use the three of them, and

0:42:39.360 --> 0:42:42.239
<v Speaker 3>what is the context with It's quite interesting because you

0:42:42.280 --> 0:42:44.680
<v Speaker 3>have these sort of three perspectives and what are are

0:42:44.719 --> 0:42:49.239
<v Speaker 3>they in relationship to the other, which I'm quite interested in,

0:42:50.840 --> 0:42:53.839
<v Speaker 3>and particularly because I think as well, you know, you've

0:42:53.880 --> 0:42:58.080
<v Speaker 3>got at the end of the day, you are you

0:42:58.239 --> 0:43:00.840
<v Speaker 3>sort of You've just got to pursue your own muse

0:43:02.120 --> 0:43:05.359
<v Speaker 3>and I have no idea. I've just I just don't

0:43:05.440 --> 0:43:07.640
<v Speaker 3>know or no or no language at all. I have

0:43:07.680 --> 0:43:10.319
<v Speaker 3>no idea. I was because I think I was quite

0:43:10.360 --> 0:43:14.960
<v Speaker 3>interested in not using language at all, because of that's

0:43:15.000 --> 0:43:17.560
<v Speaker 3>the point I was trying to get to in a way, Yes,

0:43:17.640 --> 0:43:20.600
<v Speaker 3>that it was, and actually again it's it's to do

0:43:20.640 --> 0:43:25.279
<v Speaker 3>with the sort of trying to find what your like,

0:43:25.520 --> 0:43:28.000
<v Speaker 3>what your musical voice is, which is actually quite different.

0:43:28.440 --> 0:43:30.680
<v Speaker 3>And I think that's why I've definitely used Welsh and Corners,

0:43:30.719 --> 0:43:33.040
<v Speaker 3>because I figured that they would be a tool for

0:43:33.080 --> 0:43:35.600
<v Speaker 3>me to find it, because they're the thing that, like,

0:43:35.680 --> 0:43:37.560
<v Speaker 3>if I'm using my voice, that would be the most

0:43:37.640 --> 0:43:41.240
<v Speaker 3>instinctive thing to do, and I've absolutely for myself felt

0:43:42.360 --> 0:43:44.800
<v Speaker 3>so much more me than I've been able to be before.

0:43:52.560 --> 0:43:56.040
<v Speaker 1>Midnight Chats is a Loud and Quiet podcast. Music courtesy

0:43:56.040 --> 0:43:59.960
<v Speaker 1>of gold Panda. Search Midnight Chats on iTunes for more episodes.

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<v Speaker 1>It's unto subscribe. For more information, visit Loud and Quiet

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