WEBVTT - Ep 90: La Roux

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<v Speaker 1>If you can play me a twenty six track album

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<v Speaker 1>where there's more than four good songs, I'll give you

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<v Speaker 1>a million quid.

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<v Speaker 2>Good evening, everyone, wherever you're streaming this new episode of

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<v Speaker 2>Midnight Chats, welcome and thank you for listening. I'm Greg

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<v Speaker 2>and this is episode ninety of the podcast. Tonight's episode

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<v Speaker 2>was recorded a couple of months ago. It was mid

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<v Speaker 2>January when Ellie Jackson, obviously better known as LaRue, kindly

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<v Speaker 2>invited me to her house in South London. As you

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<v Speaker 2>can hear, LaRue was a little bummed up that day,

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<v Speaker 2>but given she wasn't feeling one hundred percent, she was

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<v Speaker 2>very hospitable and her place was also amazing, a house

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<v Speaker 2>as vibrant, colorful and full of amazing objects as you

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<v Speaker 2>would expect from Larux. For example, there's a giant gold

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<v Speaker 2>painted palm tree in her living room that was a

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<v Speaker 2>stage prop from one of her Glastonbury Festival performances a

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<v Speaker 2>few years ago.

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<v Speaker 3>We weren't alone.

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<v Speaker 2>Kat Calypso was weaving in and out of our feet

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<v Speaker 2>as we had this conversation, and downstairs was the kitchen

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<v Speaker 2>table where she wrote her latest album, Supervision, which was

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<v Speaker 2>her first in six years and that came out in February,

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<v Speaker 2>so do make sure you're go and.

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<v Speaker 3>Check that out.

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<v Speaker 2>As for the chat, it was fascinating to hear her

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<v Speaker 2>reflections on those early experiences of LaRue's exploding popularity. She

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<v Speaker 2>was twenty one years old, new to the industry when

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<v Speaker 2>In for the Kill and Bulletproof became huge hits. You

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<v Speaker 2>might remember she won a Grammy around that same time

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<v Speaker 2>as well. Then a few years on and the release

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<v Speaker 2>of her second album, Trouble in Paradise in twenty fourteen,

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<v Speaker 2>was a period marred by breakups and fractures of various

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<v Speaker 2>different kinds, and then a little later on the life

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<v Speaker 2>changing emotional realization or breakdown, whatever you want to call it,

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<v Speaker 2>which she describes in visceral detail that led to a

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<v Speaker 2>moment of clarity and the beginning of this brand new

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<v Speaker 2>era for Laru. Now, Ellie is a lot of fun

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<v Speaker 2>to hang out with. Sweary and opinionated and funny and

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<v Speaker 2>honest and refreshingly no bullshit. I felt pretty compelled by

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<v Speaker 2>everything she had to say listening back to it. I

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<v Speaker 2>hope you do too. So let's get into it. This

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<v Speaker 2>is Midnight Chat's episode ninety with laru one final mention,

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<v Speaker 2>as everyone is Star Clearware right now. These are uncertain

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<v Speaker 2>times for many people and many independent businesses, ourselves included.

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<v Speaker 2>And you've heard me say this before, but alongside this podcast,

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<v Speaker 2>we also make a music magazine, Loud and Quiet. We've

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<v Speaker 2>recently opened an online store at Loud and Quiet dot com.

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<v Speaker 2>Do take a look in there. Maybe there's something you

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<v Speaker 2>want to buy, including some rare archive issues of the

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<v Speaker 2>magazine that we've put up for sale. It helps support

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<v Speaker 2>what we do, including making this podcas Larie, welcome to

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<v Speaker 2>Midnight Chats.

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<v Speaker 1>Thanks for coming on not at all, thank you for having.

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<v Speaker 2>Me, and thanks for letting us come to your house

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<v Speaker 2>as well, because this is actually the place where you

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<v Speaker 2>made Supervision, the album that you released recently, So thanks

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<v Speaker 2>for letting us do it here. You just give me

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<v Speaker 2>a little bit of a tour so people can have

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<v Speaker 2>a bit of an idea. You made that album in

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<v Speaker 2>the studio that you've built in the kitchen come basement

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<v Speaker 2>of your of your of your house.

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<v Speaker 1>Basically, yeah, I hadn't actually, as I was saying, I

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<v Speaker 1>hadn't actually sort of built it yet then because I

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<v Speaker 1>realized it was the best place for me to make

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<v Speaker 1>music was in my own environment. I really just wanted

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<v Speaker 1>to keep it that way and I felt most comfortable there,

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<v Speaker 1>so I then built the studio there. But actually I

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<v Speaker 1>made supervision on the kitchen table, just on a laptop

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<v Speaker 1>really and like with a keyboard and bass and guitar.

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<v Speaker 2>How long have you been in this area? Have you

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<v Speaker 2>always been South London? Is this just like you've been

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<v Speaker 2>here long time?

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<v Speaker 1>My parents live about five roads away and I grew

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<v Speaker 1>up five roads away. I was born tech Conniclarly eat Peckham.

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<v Speaker 1>But then when I was one we moved tourn Hill,

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<v Speaker 1>but I say Brixton because nobody knows what hearn Hill

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<v Speaker 1>is and it's mildly cooler.

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<v Speaker 2>In terms of the beginnings of twenty twenty, you were

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<v Speaker 2>one of the first people that actually saw at the

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<v Speaker 2>beginning of twenty twenty because I was at home with

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<v Speaker 2>a few of the people and we flicked on the

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<v Speaker 2>TV and they were doing Jiles holland Who to Nanny.

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<v Speaker 2>What was the experience like of doing that?

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<v Speaker 1>It was actually quite a stressful day, but just because

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<v Speaker 1>my keyboard player fell ill that day and we didn't

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<v Speaker 1>know where she was, so it was quite stressful day.

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<v Speaker 1>So we had a stand in almost an entirely stand

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<v Speaker 1>in band for that day. Because it's also really last minute,

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<v Speaker 1>Like they don't tell you weeks in advance. They tell

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<v Speaker 1>you like four days in advance. And I'm not rehearsed

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<v Speaker 1>obviously anything for tours. So it was kind of like, uh,

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<v Speaker 1>this is not ideal, but we obviously really wanted to

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<v Speaker 1>make it work, and we did. We did make it work.

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<v Speaker 1>But yeah, it was good in the end. It was

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<v Speaker 1>really good in the end. And we've never actually done

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<v Speaker 1>Jiles Holland atoll before, which seems kind of mad. We

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<v Speaker 1>have been asked once or twice to think, but I

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<v Speaker 1>think I've been ill once, so it was nice to

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<v Speaker 1>finally do it.

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<v Speaker 2>Yeah, did you always consider doing something like that, or

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<v Speaker 2>doing the hutin any specifically as a bit of a

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<v Speaker 2>rite of passage because it is a famous thing to do.

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<v Speaker 2>It's maybe a bit of a sort of tick list thing,

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<v Speaker 2>isn't it because New Year's Eve, everybody thinks what's on TV?

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<v Speaker 2>It's Jules Holland's.

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<v Speaker 1>Yeah, I mean, it's definitely a right of passage. I

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<v Speaker 1>think I think to not beyond Jules Holland when you've

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<v Speaker 1>had you know, any kind of substantial music career seems

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<v Speaker 1>a bit weird. And also I think as you get older,

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<v Speaker 1>the likelihood of you going out on New Year's is

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<v Speaker 1>so slim everybody, even though they don't really want to

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<v Speaker 1>admit it. Pretty much most people do just stay in

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<v Speaker 1>and watch Jills Holland and drink wine and then go

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<v Speaker 1>to bed. Let's be honest.

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<v Speaker 2>I hate to break into anybody who still thinks this,

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<v Speaker 2>but like Jules Holand's doesn't actually take place live on

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<v Speaker 2>New Year's Eve, so it's.

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<v Speaker 1>Quite shocking to a lot of people, like as if

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<v Speaker 1>we're all going to give up our New Year's to

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<v Speaker 1>go to Maidstone.

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<v Speaker 2>I think all of the people in that room would

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<v Speaker 2>be even drunker if it actually was taking place like

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<v Speaker 2>it was.

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<v Speaker 1>Actually genuinely quite drunk, though I was mildly drunk by

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<v Speaker 1>the time I'd gone on stage, just because you have

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<v Speaker 1>to wait about three hours, so it's mainly bored and drinking.

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<v Speaker 1>But I mean, yeah, maybe you've seen from the internet.

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<v Speaker 1>I don't know. Ainsley Harriet is quite jolly and everyone

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<v Speaker 1>was genuinely quite drunk, like all the audience members in

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<v Speaker 1>the corners of the room. You are really quite drunk.

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<v Speaker 2>I mean, I love how random Chilses Hollins who to

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<v Speaker 2>Nanny Is? We were watching and there's obviously yourself, like

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<v Speaker 2>Stormsy was on there.

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<v Speaker 1>Like it doesn't fit, does it. It's like more it's

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<v Speaker 1>not like they've curated.

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<v Speaker 2>It is always really just kind of the guests selection

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<v Speaker 2>is always a bit wilder than that your average episode Hollands.

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<v Speaker 1>And even your average episode is quite random.

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<v Speaker 2>And it was going from some New Year's Eve. It

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<v Speaker 2>was obviously you played, but then there was like storm Z.

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<v Speaker 3>Rick Astley, Stereophonics.

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<v Speaker 2>You're never going to find yourself in a room with

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<v Speaker 2>those people again, hopefully. And I love how they do

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<v Speaker 2>those segments where oh, Mikayla Strachan was there, Yes, she was, yeah,

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<v Speaker 2>And I was like, I had all about Mikayla Strachen

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<v Speaker 2>since she presented the really wild show.

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<v Speaker 1>I know, right, that was quite weird. That woman from

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<v Speaker 1>Space was there as well, which was.

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<v Speaker 2>Quite Cool's amazing, Jessica. I forget what I was saying.

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<v Speaker 1>Yeah, she kept pointing at my outfit and I kept

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<v Speaker 1>pointing at her shoes. She had amazing shoes.

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<v Speaker 2>On What was the experience of actually performing like on

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<v Speaker 2>Jills Holland.

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<v Speaker 1>It's weird. I think it didn't help that I was

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<v Speaker 1>having a bit of a strange day, do you know

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<v Speaker 1>what I mean? Because my keeble playing my keyble players

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<v Speaker 1>like my best friend as well, So I was actually

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<v Speaker 1>quite worried. It was fine. I mean, TV's always weird.

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<v Speaker 1>I think, if people are honest, nobody really enjoys doing TV.

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<v Speaker 1>But it's really important for obvious reasons. But I think

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<v Speaker 1>as an artist and as a performer, it's a quite

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<v Speaker 1>a stale environment to perform in. And it's also it's

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<v Speaker 1>very much on que It's very rare and weird to

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<v Speaker 1>perform one song and then stop. You know, it's like

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<v Speaker 1>you amp yourself up, you get vibed up to do

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<v Speaker 1>something and then it's like, okay, now just be silent,

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<v Speaker 1>and then we're going to go over here. It's just

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<v Speaker 1>quite odd, you know, it's not very realistic. But it's fine,

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<v Speaker 1>you know, it is what it is. It was absolutely fine.

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<v Speaker 1>It was just nice to sing the tunes.

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<v Speaker 2>Really, was there anything else that you take away from

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<v Speaker 2>the experience of doing it? And so you post a

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<v Speaker 2>photo of you and Stormsy on New Year's Day, like

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<v Speaker 2>obviously taken when you recorded it, But you know, was

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<v Speaker 2>there anything where you're like, oh that, that was a

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<v Speaker 2>pretty cool element of being there and doing that.

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<v Speaker 1>Yeah, it was nice to meet him. I think he's

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<v Speaker 1>a fellow South Londoner as well, so we spoke about

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<v Speaker 1>that for a little bit. He actually sort of ran

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<v Speaker 1>up to me halfway through the evening and said, oh

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<v Speaker 1>my god, I didn't realize it was you. And I

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<v Speaker 1>sort of thought, I'm not really sure how you could

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<v Speaker 1>not realize it was me, but I'm wearing a pink

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<v Speaker 1>and green petrol outfit. But never mind. But then, yeah,

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<v Speaker 1>we had a really nice chat and he was like, oh,

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<v Speaker 1>I sampled you on my first EP or mixtape or whatever,

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<v Speaker 1>and then we had a bit of a chat and

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<v Speaker 1>he said he was a big fan and stuff like that,

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<v Speaker 1>so that's a really nice compliment. Yeah, it's really nice

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<v Speaker 1>to meet him. He's a really nice guy. He's like

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<v Speaker 1>the tallest guy I've ever met, though.

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<v Speaker 2>So I've got to ask on actual New Yars Eve,

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<v Speaker 2>did you watch it?

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<v Speaker 3>You didn't put it on?

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<v Speaker 1>I didn't. I went round to Dan Carey's house, who

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<v Speaker 1>I ended up recording co producing the end of the

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<v Speaker 1>record with, and we had dinner, but his family were

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<v Speaker 1>all quite ill. And then I was just in the

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<v Speaker 1>middle of talking to him saying something. I was talking

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<v Speaker 1>to him and his wife, and he just was looking

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<v Speaker 1>at me really disapprovingly, and I thought, well, am I

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<v Speaker 1>saying that's so awful? And then he just said, I

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<v Speaker 1>think I need to go and be sick. I met

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<v Speaker 1>up with some friends after that for like an hour

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<v Speaker 1>or so, and then I just went to bed. I

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<v Speaker 1>never watched myself back. It's not it's not a good idea.

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<v Speaker 1>I don't read interviews, I don't watch myself back. I

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<v Speaker 1>don't listen to myself. It's just how to hate yourself

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<v Speaker 1>in three easy steps. You know, i'd really rather not.

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<v Speaker 2>Did you do that in the early days? Did you

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<v Speaker 2>kind of learn a lesson of doing that or have

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<v Speaker 2>you always faut that way? Yeah?

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<v Speaker 1>I learned my lass in the hard way. It's just best.

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<v Speaker 1>You know, you'll never see yourself the way other people

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<v Speaker 1>see you. Ever, you'll never hear yourself to other people

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<v Speaker 1>hear you. I'm a massive perfectionist anyway, So if I

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<v Speaker 1>watch something and everybody else says it's amazing, it doesn't

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<v Speaker 1>make any difference, you know, it just makes zero difference,

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<v Speaker 1>I'll be like, oh, but then I looked a bit

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<v Speaker 1>weird when I looked over to the left, and I

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<v Speaker 1>looked uncomfortable. It's like you know yourself too well. It's

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<v Speaker 1>like your mom knows you too well, Like your mom

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<v Speaker 1>will always know if you're nervous, even if nobody else does.

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<v Speaker 1>You know. It's like it's just everything's very transparent, and

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<v Speaker 1>I think you just don't need to You don't need

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<v Speaker 1>to scrutinize yourself to that degree. Like if everybody says

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<v Speaker 1>it's good, just accept it and move on. You know,

0:10:37.960 --> 0:10:39.640
<v Speaker 1>you did the best you could. You can't rewind and

0:10:39.679 --> 0:10:41.839
<v Speaker 1>do it again either. It's not like you can go back,

0:10:42.280 --> 0:10:43.520
<v Speaker 1>so you might as well just move on.

0:10:43.640 --> 0:10:44.839
<v Speaker 2>I just want to ask a little bit about the

0:10:44.880 --> 0:10:47.240
<v Speaker 2>kind of early years when I mean I came to

0:10:47.280 --> 0:10:49.800
<v Speaker 2>see LaRue when you first started out and like we're

0:10:49.800 --> 0:10:52.360
<v Speaker 2>playing shows. I think the Enemy Radar at All was

0:10:52.400 --> 0:10:53.840
<v Speaker 2>maybe the first time I saw you, which I think

0:10:53.920 --> 0:10:56.840
<v Speaker 2>was around sort of two thousand and nine ten something

0:10:56.920 --> 0:10:58.480
<v Speaker 2>like that, and it just occurred to me, and the

0:10:58.559 --> 0:10:59.960
<v Speaker 2>run up to like coming to chat to you today,

0:11:00.040 --> 0:11:03.040
<v Speaker 2>I was like that whole experience of how everything went

0:11:03.080 --> 0:11:07.120
<v Speaker 2>around the first album you were in your really early twenties,

0:11:07.520 --> 0:11:09.959
<v Speaker 2>and it kind of thrust into this much bigger world

0:11:09.960 --> 0:11:11.840
<v Speaker 2>of kind of like obviously the popularity that came in

0:11:11.880 --> 0:11:13.600
<v Speaker 2>the UK, but then you know, off to the States

0:11:13.600 --> 0:11:16.120
<v Speaker 2>you went eighteen months later on a Grammy. When you

0:11:16.160 --> 0:11:20.800
<v Speaker 2>think about that time now, was it as head spinning

0:11:20.880 --> 0:11:23.480
<v Speaker 2>as I kind of imagine for somebody who was, you know,

0:11:24.040 --> 0:11:25.000
<v Speaker 2>in your early twenties.

0:11:25.120 --> 0:11:27.280
<v Speaker 1>Yeah, it was really odd. Whilst I knew that, like

0:11:27.320 --> 0:11:30.560
<v Speaker 1>Bulletproof was going to be big and we all knew that,

0:11:30.720 --> 0:11:33.120
<v Speaker 1>and management had said it was going to be big,

0:11:33.160 --> 0:11:35.360
<v Speaker 1>and the labeler said it was going to be big,

0:11:36.080 --> 0:11:39.720
<v Speaker 1>it's hard to comprehend what that kind of means for

0:11:39.800 --> 0:11:44.360
<v Speaker 1>you as an individual. So you might be kind of like, oh, wow, brilliant,

0:11:44.400 --> 0:11:46.640
<v Speaker 1>I might be number one, or you know, I might

0:11:46.720 --> 0:11:48.280
<v Speaker 1>sol as a record. You know, I have no problem

0:11:48.320 --> 0:11:51.080
<v Speaker 1>with that, but there's a lot of other stuff that

0:11:51.080 --> 0:11:54.440
<v Speaker 1>comes with it. I'm experiencing some of it now, even

0:11:54.480 --> 0:11:58.600
<v Speaker 1>though I'm not having a hit currently necessarily a sun

0:11:58.720 --> 0:12:00.360
<v Speaker 1>you don't you can't really have a hit hit in

0:12:00.400 --> 0:12:02.840
<v Speaker 1>the same way that you could then anyway, not for

0:12:02.880 --> 0:12:06.360
<v Speaker 1>an artist like myself, but just the workload it's so

0:12:06.679 --> 0:12:08.880
<v Speaker 1>intense for a twenty one year old. I found myself

0:12:08.920 --> 0:12:13.520
<v Speaker 1>becoming very, very very scared. Mainly I think I wasn't ready.

0:12:14.320 --> 0:12:17.280
<v Speaker 1>I was ready for success, but I wasn't ready for

0:12:17.520 --> 0:12:20.720
<v Speaker 1>the amount of pressure. So I don't mind, you know,

0:12:20.960 --> 0:12:22.880
<v Speaker 1>millions of people knowing my song. I don't think anyone

0:12:22.920 --> 0:12:26.400
<v Speaker 1>will complaining about that. But and fame wasn't really that

0:12:26.520 --> 0:12:28.520
<v Speaker 1>much of an issue. It wasn't like I was, you know,

0:12:28.559 --> 0:12:30.719
<v Speaker 1>I didn't feel like I had any privacy or I

0:12:30.760 --> 0:12:32.760
<v Speaker 1>was getting stopped in the street. That wasn't an issue.

0:12:32.800 --> 0:12:36.079
<v Speaker 1>It wasn't that. It was just the house full on.

0:12:36.200 --> 0:12:40.240
<v Speaker 1>Everything was you know, the traveling and like I said,

0:12:40.240 --> 0:12:41.640
<v Speaker 1>I haven't been doing it for five years now and

0:12:41.679 --> 0:12:45.520
<v Speaker 1>it's all taken me slightly by surprise. But it was

0:12:45.640 --> 0:12:49.559
<v Speaker 1>just being that young, not really knowing yourself and your limitations,

0:12:49.800 --> 0:12:53.200
<v Speaker 1>and also not really being able to communicate them. And

0:12:53.240 --> 0:12:54.880
<v Speaker 1>even if you do, you're kind of just like a

0:12:54.920 --> 0:12:59.400
<v Speaker 1>twenty one year old girl who's like moaning in inverted comments.

0:12:59.400 --> 0:13:00.520
<v Speaker 1>Do you know what I mean? It's like you don't

0:13:00.559 --> 0:13:03.320
<v Speaker 1>really get listened to, you don't get taken that seriously.

0:13:03.720 --> 0:13:05.320
<v Speaker 1>I don't think you had the right people around me

0:13:05.320 --> 0:13:08.640
<v Speaker 1>at that time either, So I think whilst I was like, wow,

0:13:08.720 --> 0:13:14.400
<v Speaker 1>I never expected this, This is incredible, it's also really

0:13:14.520 --> 0:13:16.720
<v Speaker 1>really really hard to know how to deal with it.

0:13:16.760 --> 0:13:20.199
<v Speaker 1>Like there's no Millions of people have said there really

0:13:20.240 --> 0:13:24.040
<v Speaker 1>is no instruction booklet, and there's there's nothing I'd even

0:13:24.040 --> 0:13:26.559
<v Speaker 1>say to myself. Now if I looked back, I wouldn't

0:13:26.559 --> 0:13:29.319
<v Speaker 1>even go, oh, you could do this better, or you

0:13:29.360 --> 0:13:31.280
<v Speaker 1>could do that, or why didn't you try that? You know,

0:13:31.320 --> 0:13:34.160
<v Speaker 1>because also you're twenty one, you would have first of all,

0:13:34.160 --> 0:13:35.959
<v Speaker 1>you would have said, fuck off, I know what I'm doing.

0:13:36.320 --> 0:13:38.959
<v Speaker 1>And second of all, you can only know that stuff

0:13:39.000 --> 0:13:41.800
<v Speaker 1>later on. You can't. You can't just get it right then,

0:13:41.880 --> 0:13:43.240
<v Speaker 1>you know, you have to get it wrong to get

0:13:43.280 --> 0:13:45.880
<v Speaker 1>it right. It wasn't that sort of amazing time that

0:13:45.920 --> 0:13:48.440
<v Speaker 1>I look back on, But it also just feels like

0:13:48.480 --> 0:13:50.480
<v Speaker 1>it went in a heartbeat. It went in a flash,

0:13:50.520 --> 0:13:53.160
<v Speaker 1>and I didn't get time to enjoy it.

0:13:52.920 --> 0:13:54.280
<v Speaker 2>You know what I mean, Like if you, I mean,

0:13:54.320 --> 0:13:56.160
<v Speaker 2>I don't know if you is your Grammy Award around

0:13:56.160 --> 0:13:56.960
<v Speaker 2>here somewhere.

0:13:56.720 --> 0:13:57.920
<v Speaker 1>Yeah, it's upstairs somewhere.

0:13:58.000 --> 0:14:00.480
<v Speaker 2>Yeah, Because it was happening so like fleetly and so

0:14:00.679 --> 0:14:03.960
<v Speaker 2>like fast paced that in a way. To the outside,

0:14:04.000 --> 0:14:06.000
<v Speaker 2>you're thinking, oh, well, it must have been absolutely incredible

0:14:06.000 --> 0:14:08.679
<v Speaker 2>going to the Grammys and having your weekend there and

0:14:08.679 --> 0:14:09.360
<v Speaker 2>then but you were.

0:14:09.280 --> 0:14:12.439
<v Speaker 1>Which that was actually amazing. I mean, that really was amazing.

0:14:12.480 --> 0:14:15.400
<v Speaker 2>But why was that experience so memorable for you? Well,

0:14:15.440 --> 0:14:17.240
<v Speaker 2>I mean apart from the obvious of going to the

0:14:17.640 --> 0:14:19.960
<v Speaker 2>winning a Grammy, but like, tell me a bit about

0:14:19.960 --> 0:14:20.440
<v Speaker 2>that weekend.

0:14:20.560 --> 0:14:23.280
<v Speaker 1>First of all, I was just in shock. I think

0:14:23.320 --> 0:14:24.840
<v Speaker 1>it means a lot less to me now than it

0:14:24.880 --> 0:14:28.720
<v Speaker 1>did then because I realized that unless you're happy, it

0:14:28.760 --> 0:14:31.440
<v Speaker 1>doesn't matter what award you're given by somebody else. But

0:14:31.720 --> 0:14:36.560
<v Speaker 1>at the time, obviously I remember the my American A

0:14:36.680 --> 0:14:38.680
<v Speaker 1>and R man texting me. I woke up at like

0:14:38.720 --> 0:14:40.960
<v Speaker 1>seven o'clock in the morning one morning around this time

0:14:41.000 --> 0:14:42.960
<v Speaker 1>of year, and he said, you've been nominated and I

0:14:43.000 --> 0:14:45.560
<v Speaker 1>was like for what, And he's like, for the Grammys,

0:14:45.600 --> 0:14:48.440
<v Speaker 1>and I was like, what were you talking about. You

0:14:48.480 --> 0:14:50.000
<v Speaker 1>know when you wake up to a text message and

0:14:50.040 --> 0:14:52.080
<v Speaker 1>you think I've not read that right, I've read that wrong.

0:14:52.320 --> 0:14:53.600
<v Speaker 1>I mean, just have a cup of tea and I'll

0:14:53.640 --> 0:14:55.080
<v Speaker 1>just wake up and I'll read it again, and then

0:14:55.120 --> 0:14:58.240
<v Speaker 1>I won't read that, and I still read that, and

0:14:58.280 --> 0:15:00.720
<v Speaker 1>I thought, that's this can't this must be an error, like,

0:15:00.800 --> 0:15:03.600
<v Speaker 1>you know, literally, this must be an error. And I

0:15:03.600 --> 0:15:04.760
<v Speaker 1>called him and I was like, what do you mean,

0:15:04.800 --> 0:15:07.480
<v Speaker 1>I don't get this. I said, You've been nominated for

0:15:07.520 --> 0:15:12.000
<v Speaker 1>a Grammy. Obviously, now I know how these awards harmonies work.

0:15:12.080 --> 0:15:14.360
<v Speaker 1>So it's not about me doing myself down or the

0:15:14.360 --> 0:15:17.120
<v Speaker 1>Grammy down, or taking anything away from myself or saying

0:15:17.120 --> 0:15:20.280
<v Speaker 1>it doesn't mean anything to me. But you know, I

0:15:20.280 --> 0:15:22.760
<v Speaker 1>had a huge record label that were pushing for that,

0:15:23.280 --> 0:15:26.640
<v Speaker 1>pushing for that award, and obviously they pushed really hard

0:15:26.720 --> 0:15:29.200
<v Speaker 1>and that they got what they wanted, and I kind

0:15:29.200 --> 0:15:30.880
<v Speaker 1>of got what I wanted, but I never really even

0:15:30.960 --> 0:15:33.040
<v Speaker 1>knew I wanted it. I'd never even dreamt of having

0:15:33.080 --> 0:15:36.000
<v Speaker 1>a Grammar. I wouldn't have even dreamt to dream that big,

0:15:36.040 --> 0:15:37.720
<v Speaker 1>do you know what I mean? I would have It

0:15:37.760 --> 0:15:40.520
<v Speaker 1>would have scared me to even think about dreaming that big.

0:15:40.600 --> 0:15:45.400
<v Speaker 1>So I think it was mainly just severe shock. And

0:15:45.520 --> 0:15:47.680
<v Speaker 1>as you can see, when I received the award, I

0:15:47.800 --> 0:15:52.320
<v Speaker 1>was like, what the fuck is going on? I mean,

0:15:52.360 --> 0:15:54.400
<v Speaker 1>I was just basically hyperventilating. I don't know, I don't

0:15:54.440 --> 0:15:56.840
<v Speaker 1>know what to do with myself because to me, even

0:15:56.880 --> 0:15:58.880
<v Speaker 1>though that was more like the shmammis, you know they

0:15:58.920 --> 0:16:01.040
<v Speaker 1>call it there where you're not allowed in the main

0:16:01.320 --> 0:16:03.760
<v Speaker 1>you're not actually allowed in the main Grammy arena, So

0:16:03.800 --> 0:16:05.920
<v Speaker 1>you're not actually in the main Staples Center bit. You're

0:16:05.960 --> 0:16:08.440
<v Speaker 1>in like another bit with like fold out chairs and

0:16:08.480 --> 0:16:10.760
<v Speaker 1>you get your Clipso get out of the draw. Please

0:16:11.000 --> 0:16:12.920
<v Speaker 1>shut that door because there's treats in there, and then

0:16:13.000 --> 0:16:14.480
<v Speaker 1>she'll just try and get.

0:16:14.360 --> 0:16:18.920
<v Speaker 2>In there.

0:16:18.200 --> 0:16:19.440
<v Speaker 3>The sideboard there, or.

0:16:19.440 --> 0:16:20.960
<v Speaker 1>You can get the treats out and give them to her,

0:16:21.080 --> 0:16:22.640
<v Speaker 1>or she'll just bug you for the whole time.

0:16:24.200 --> 0:16:26.280
<v Speaker 3>Is she angry or is she is she she's.

0:16:26.200 --> 0:16:28.440
<v Speaker 1>Not angry, she doesn't hate you, she really likes you,

0:16:28.520 --> 0:16:30.080
<v Speaker 1>or she wouldn't be anywhere near you, I promise.

0:16:32.960 --> 0:16:34.920
<v Speaker 2>Yeah, it was that kind of it's in like a

0:16:34.960 --> 0:16:37.200
<v Speaker 2>side room and it takes place that before it's because

0:16:37.200 --> 0:16:38.920
<v Speaker 2>the Grammys lasts about seven hours.

0:16:39.200 --> 0:16:41.400
<v Speaker 1>Yeah, I mean that was one sort of good thing

0:16:41.440 --> 0:16:43.040
<v Speaker 1>about it was that I didn't have to sit through

0:16:43.080 --> 0:16:47.840
<v Speaker 1>this seven hour ceremony. But at the same time, sorry,

0:16:47.920 --> 0:16:50.480
<v Speaker 1>the cats really amusing me. But at the same time,

0:16:51.120 --> 0:16:53.120
<v Speaker 1>you're kind of like, oh, I really wish I was

0:16:53.160 --> 0:16:55.160
<v Speaker 1>in the main Grammys and I'm not I'm in this

0:16:55.680 --> 0:16:58.720
<v Speaker 1>room with fold out chairs with no windows, which is

0:16:58.760 --> 0:17:00.920
<v Speaker 1>kind of interesting, but then near they call your name,

0:17:00.960 --> 0:17:02.760
<v Speaker 1>and I didn't really know what to do with myself.

0:17:02.840 --> 0:17:05.639
<v Speaker 1>And also, I think somebody who grew up in the

0:17:05.760 --> 0:17:11.439
<v Speaker 1>nineties where you're watching MTV and you'd see like MTV

0:17:11.560 --> 0:17:16.000
<v Speaker 1>Cribs or whatever. There'd be like huge, huge rappers and

0:17:16.040 --> 0:17:19.720
<v Speaker 1>like Mariah Carey and people like that, you know, was

0:17:19.720 --> 0:17:23.960
<v Speaker 1>shoving off their Grammys and cabinets and stuff, and you

0:17:24.119 --> 0:17:27.480
<v Speaker 1>just don't ever comprehend that it could even happen to

0:17:27.520 --> 0:17:29.879
<v Speaker 1>a really a British person, because I was just like,

0:17:29.960 --> 0:17:32.680
<v Speaker 1>what am I even allowed to win a Grammy? I

0:17:32.720 --> 0:17:33.960
<v Speaker 1>didn't really get it, do you know what I mean?

0:17:33.960 --> 0:17:35.520
<v Speaker 1>I thought you had to be American for starters. I

0:17:35.520 --> 0:17:38.320
<v Speaker 1>didn't really know much about the Grammys. And second of all,

0:17:38.359 --> 0:17:41.639
<v Speaker 1>I just thought, I can't understand how an album with

0:17:41.880 --> 0:17:44.560
<v Speaker 1>reflections are protection on it is getting it. I just

0:17:44.560 --> 0:17:46.199
<v Speaker 1>didn't make any sense to me, and it sort of

0:17:46.240 --> 0:17:48.400
<v Speaker 1>still doesn't now, you know. I look at it upstairs

0:17:48.440 --> 0:17:49.640
<v Speaker 1>and it's just a bit of a joke.

0:17:49.800 --> 0:17:53.560
<v Speaker 2>Sticking with the same period, Doctor Dre sampled the track

0:17:53.600 --> 0:17:56.000
<v Speaker 2>of yours, and then it was going to be the Detox,

0:17:56.080 --> 0:17:58.440
<v Speaker 2>wasn't it, which never materialized.

0:17:59.040 --> 0:18:00.080
<v Speaker 1>Got CD of it.

0:18:00.280 --> 0:18:02.680
<v Speaker 3>I was going to say, what, Yeah, did it ever materialize?

0:18:02.960 --> 0:18:08.399
<v Speaker 1>No, I don't know what happened. Apparently apparently other weird sorry,

0:18:08.440 --> 0:18:11.200
<v Speaker 1>but apparently the Game and Doctor Dre were hanging out

0:18:11.760 --> 0:18:13.360
<v Speaker 1>watching Oh god.

0:18:13.200 --> 0:18:14.119
<v Speaker 3>What was it?

0:18:15.200 --> 0:18:18.400
<v Speaker 1>Yes, they were watching Entourage and In for the Kill

0:18:18.480 --> 0:18:21.600
<v Speaker 1>was on it, and they both apparently were like what

0:18:21.760 --> 0:18:25.480
<v Speaker 1>is this? Decided to sample it, and then I was

0:18:25.480 --> 0:18:29.960
<v Speaker 1>playing something like V Festival or something awful, and my manager,

0:18:30.680 --> 0:18:33.240
<v Speaker 1>thank god, that doesn't exist anymore. It doesn't, does it?

0:18:34.080 --> 0:18:34.119
<v Speaker 2>No?

0:18:34.440 --> 0:18:38.800
<v Speaker 1>Thank god? And my manager said, oh, I've got this

0:18:39.119 --> 0:18:42.000
<v Speaker 1>CD of Doctor Dre and the Game and in physicill

0:18:42.240 --> 0:18:43.520
<v Speaker 1>Do you want to listen to it in my car?

0:18:43.600 --> 0:18:45.679
<v Speaker 1>I was like yes, So he went into his car

0:18:45.720 --> 0:18:47.960
<v Speaker 1>and we listened to it, and it had like properly

0:18:48.080 --> 0:18:51.080
<v Speaker 1>of Universal recordings like all over it, like every three seconds,

0:18:51.080 --> 0:18:53.160
<v Speaker 1>so you almost couldn't hear the track. It's really funny.

0:18:53.359 --> 0:18:57.720
<v Speaker 1>It's like watermarking to the extreme. Yeah, it was really funny,

0:18:58.040 --> 0:18:59.520
<v Speaker 1>so you could kind of hear it, and you kind

0:18:59.520 --> 0:19:02.920
<v Speaker 1>of couldn't. I mean, not really a lot happened in it,

0:19:02.920 --> 0:19:06.240
<v Speaker 1>it was basically just like it was basically just I

0:19:06.280 --> 0:19:08.720
<v Speaker 1>don't really remember it. It was, you know, but it

0:19:08.800 --> 0:19:10.520
<v Speaker 1>was just like, this is fucking cool. It had like

0:19:10.560 --> 0:19:14.399
<v Speaker 1>good beats obviously, but yeah, I have no idea what

0:19:14.440 --> 0:19:15.640
<v Speaker 1>happened with that. God knows.

0:19:16.400 --> 0:19:18.800
<v Speaker 3>God knows might make its way onto the internet.

0:19:19.080 --> 0:19:19.680
<v Speaker 1>He never knows.

0:19:20.320 --> 0:19:22.360
<v Speaker 2>So if we fast forward a little bit too sort

0:19:22.359 --> 0:19:24.920
<v Speaker 2>of troubling Paradise era, from what I've kind of read

0:19:24.960 --> 0:19:27.119
<v Speaker 2>and the stuff that you said so far, like it

0:19:27.160 --> 0:19:29.080
<v Speaker 2>sounded like that was a period that was kind of

0:19:29.119 --> 0:19:32.800
<v Speaker 2>fraught with lots of difficult relationships personal and professional, and

0:19:33.040 --> 0:19:36.880
<v Speaker 2>perhaps like after that you could just needed to get

0:19:36.920 --> 0:19:38.919
<v Speaker 2>back here and get away from that. I don't know,

0:19:39.000 --> 0:19:40.520
<v Speaker 2>like I've been putting that in the right terms, Like.

0:19:42.320 --> 0:19:45.040
<v Speaker 1>I don't think I was thinking much. Really, I don't

0:19:45.080 --> 0:19:47.080
<v Speaker 1>think I was really in control of my career at

0:19:47.080 --> 0:19:49.679
<v Speaker 1>that point. Now that I am so sort of in

0:19:49.720 --> 0:19:54.680
<v Speaker 1>control of my career, I think I realize now how

0:19:54.800 --> 0:19:57.640
<v Speaker 1>much I really wasn't then, you know, I think it's

0:19:57.840 --> 0:20:02.000
<v Speaker 1>much more obvious to me now at the time, I'm

0:20:02.000 --> 0:20:04.680
<v Speaker 1>trying to think how I felt. I mean, I'd come

0:20:04.720 --> 0:20:08.199
<v Speaker 1>out of a lot of voice problems, and that was

0:20:08.240 --> 0:20:10.840
<v Speaker 1>like my main concern, So I didn't really have a

0:20:10.880 --> 0:20:13.400
<v Speaker 1>lot of focus on other things because I was sort

0:20:13.400 --> 0:20:15.640
<v Speaker 1>of just so worried about my anxiety all the time.

0:20:16.359 --> 0:20:18.920
<v Speaker 1>And I think, you know, so many people are anxious

0:20:18.960 --> 0:20:22.439
<v Speaker 1>now that most people understand this. I think it's just

0:20:23.119 --> 0:20:25.160
<v Speaker 1>all you think about is not being anxious. You don't

0:20:25.200 --> 0:20:27.959
<v Speaker 1>really think about anything else, and that's kind of all

0:20:28.000 --> 0:20:30.520
<v Speaker 1>I thought about. And then obviously I did want to

0:20:30.520 --> 0:20:32.920
<v Speaker 1>make another record. I wanted to get another record out there,

0:20:33.560 --> 0:20:37.040
<v Speaker 1>but I'd also sort of slightly entangled myself in another

0:20:37.080 --> 0:20:40.680
<v Speaker 1>sort of relationship. By getting out of one, I'd sort

0:20:40.720 --> 0:20:43.119
<v Speaker 1>of entered into another one. And I don't think I

0:20:43.200 --> 0:20:46.840
<v Speaker 1>realized how obviously unhealthy that was for me personally as

0:20:46.840 --> 0:20:51.000
<v Speaker 1>a creative until twenty seventeen, when I ditched the album

0:20:51.040 --> 0:20:53.800
<v Speaker 1>I ditched and started making this one. I think it's

0:20:53.880 --> 0:20:56.280
<v Speaker 1>unfortunate that sometimes it takes so long to learn a

0:20:56.359 --> 0:20:59.760
<v Speaker 1>lesson that it really is unfortunate. I would really have

0:20:59.840 --> 0:21:03.200
<v Speaker 1>like there not to be such large lapses of time

0:21:04.119 --> 0:21:06.320
<v Speaker 1>in my career so far, but there's also nothing I

0:21:06.359 --> 0:21:08.920
<v Speaker 1>can do about it, because you only learn as quickly

0:21:08.960 --> 0:21:11.280
<v Speaker 1>as you learn, and I'm really grateful that I've learned

0:21:11.280 --> 0:21:14.720
<v Speaker 1>those lessons now and now I've made this record. But

0:21:15.160 --> 0:21:17.960
<v Speaker 1>I think I just felt a bit in the middle

0:21:17.960 --> 0:21:20.199
<v Speaker 1>of everything, in a bit, probably a bit lost, but

0:21:20.280 --> 0:21:24.040
<v Speaker 1>not very aware of my situation, because otherwise I would

0:21:24.040 --> 0:21:26.000
<v Speaker 1>have done a lot more about it. Yeah, I would

0:21:26.000 --> 0:21:28.399
<v Speaker 1>have been more proactive. And I think I was just

0:21:28.640 --> 0:21:30.800
<v Speaker 1>slightly in a backseat in my life. If I'm honest

0:21:30.800 --> 0:21:32.679
<v Speaker 1>with you, I think I was letting other people not

0:21:32.800 --> 0:21:35.960
<v Speaker 1>other people, but no one really take the reins. But

0:21:36.000 --> 0:21:38.159
<v Speaker 1>I certainly wasn't taking the reins. I knew that I

0:21:38.200 --> 0:21:40.240
<v Speaker 1>had to stop working with my record label because that

0:21:40.359 --> 0:21:44.280
<v Speaker 1>had really come to a bitter end. They were kind

0:21:44.280 --> 0:21:46.159
<v Speaker 1>of quite rightly as well. They were really fed up

0:21:46.160 --> 0:21:47.719
<v Speaker 1>with me by that point. You know. They were like,

0:21:48.520 --> 0:21:51.639
<v Speaker 1>you've spent hundreds and hundreds of thousands of pounds making

0:21:51.640 --> 0:21:53.960
<v Speaker 1>a record that you won't let us listen to or

0:21:54.000 --> 0:21:56.760
<v Speaker 1>have any saying, like, you're going to get annoyed. Do

0:21:56.800 --> 0:21:58.560
<v Speaker 1>you know what I mean? You are going to get annoyed.

0:21:58.560 --> 0:22:01.760
<v Speaker 1>But I was really trying to put push back. I

0:22:01.880 --> 0:22:05.159
<v Speaker 1>was so terrified of being turned into a crap pop artist,

0:22:05.240 --> 0:22:07.520
<v Speaker 1>you know, into just somebody that gets sent to writing

0:22:07.600 --> 0:22:10.800
<v Speaker 1>sessions and you know, has to sound like the last

0:22:10.800 --> 0:22:12.199
<v Speaker 1>thing that was in the top ten and all the

0:22:12.200 --> 0:22:13.960
<v Speaker 1>rest of it. I was just I think I was

0:22:14.040 --> 0:22:16.720
<v Speaker 1>really overly scared about it, because obviously that wasn't going

0:22:16.760 --> 0:22:19.040
<v Speaker 1>to happen. I don't think that was ever going to

0:22:19.080 --> 0:22:21.159
<v Speaker 1>happen to LaRue. It just wasn't going to happen. But

0:22:22.000 --> 0:22:24.400
<v Speaker 1>I was still terrified of it to the point where

0:22:24.520 --> 0:22:28.560
<v Speaker 1>where I kind of pushed everyone away to a great

0:22:28.600 --> 0:22:32.320
<v Speaker 1>extent and didn't really allow them back in. My world

0:22:32.359 --> 0:22:34.560
<v Speaker 1>kind of got smaller and smaller, and they got more

0:22:34.560 --> 0:22:37.159
<v Speaker 1>and more annoyed, quite rightly, and I hated them more

0:22:37.200 --> 0:22:39.120
<v Speaker 1>and more because we just never got on. We never

0:22:39.160 --> 0:22:42.040
<v Speaker 1>agreed about anything. You know. Their answer to all the

0:22:42.080 --> 0:22:45.760
<v Speaker 1>problems with Traveling Paradise Is promotion was like, get such

0:22:45.800 --> 0:22:47.959
<v Speaker 1>and such a DJ to remix the track, you know,

0:22:48.080 --> 0:22:51.320
<v Speaker 1>to get more plays and sales and stuff, and that, obviously,

0:22:52.880 --> 0:22:54.520
<v Speaker 1>I just led to a lot of arguments and a

0:22:54.520 --> 0:22:57.120
<v Speaker 1>lot of shouting, I'm not fucking doing that, etc.

0:22:57.440 --> 0:22:57.640
<v Speaker 2>Etc.

0:22:57.960 --> 0:23:01.480
<v Speaker 1>How can you turn this down, yoursel fish, bitch rohrah.

0:23:01.840 --> 0:23:04.760
<v Speaker 1>You know, those sorts of conversations were going on behind

0:23:04.760 --> 0:23:07.679
<v Speaker 1>closed doors all got quite unpleasant after a while, and

0:23:07.720 --> 0:23:10.240
<v Speaker 1>I think in the end, actually the best thing for

0:23:10.280 --> 0:23:13.560
<v Speaker 1>everybody involved was just to not work with me anymore.

0:23:14.040 --> 0:23:16.439
<v Speaker 1>And they sent me a letter. I received it on

0:23:16.560 --> 0:23:20.439
<v Speaker 1>like the first of January twenty fifteen, just saying you know,

0:23:20.560 --> 0:23:22.920
<v Speaker 1>you're no longer with Universal Records, and I was very

0:23:23.000 --> 0:23:24.880
<v Speaker 1>very happy. I called my parents and I sent them

0:23:24.880 --> 0:23:27.199
<v Speaker 1>out and they were like, oh, thank God for that.

0:23:27.920 --> 0:23:29.720
<v Speaker 1>So it was actually a really good day. It was

0:23:29.760 --> 0:23:32.480
<v Speaker 1>the right thing that happened. And then I realized I

0:23:32.560 --> 0:23:34.280
<v Speaker 1>needed to move away from my management as well, So

0:23:34.320 --> 0:23:37.440
<v Speaker 1>there was just a lot of it wasn't actually all bad.

0:23:37.480 --> 0:23:39.880
<v Speaker 1>It sounds like it's really really bad, but it wasn't.

0:23:39.920 --> 0:23:42.000
<v Speaker 1>It was actually all the right moves. And I just

0:23:42.040 --> 0:23:44.320
<v Speaker 1>needed to get away from everything that had happened in

0:23:44.359 --> 0:23:46.080
<v Speaker 1>the last five or six years and the first and

0:23:46.119 --> 0:23:49.560
<v Speaker 1>second record, and needed to build new relationships with myself

0:23:50.040 --> 0:23:51.960
<v Speaker 1>and with everybody else. I needed to go and find

0:23:52.000 --> 0:23:54.480
<v Speaker 1>new working partners, which actually it took me a really

0:23:54.520 --> 0:23:56.280
<v Speaker 1>long time to find. I think even if I'd have

0:23:56.320 --> 0:23:59.440
<v Speaker 1>made this record sooner, it wouldn't have made that much

0:23:59.480 --> 0:24:02.040
<v Speaker 1>different different so at the time that it came out,

0:24:02.400 --> 0:24:04.520
<v Speaker 1>because I still needed to find the right management team.

0:24:04.520 --> 0:24:06.560
<v Speaker 1>I still needed to find the right record label set

0:24:06.600 --> 0:24:09.040
<v Speaker 1>up for me. And actually, that stuff doesn't happen overnight.

0:24:09.080 --> 0:24:09.840
<v Speaker 1>It's taken years.

0:24:09.960 --> 0:24:13.520
<v Speaker 2>Speaking specifically about the music, was there almost a moment

0:24:13.560 --> 0:24:17.120
<v Speaker 2>that you can pinpoint where as you just mentioned you've

0:24:17.119 --> 0:24:19.520
<v Speaker 2>got an album's worth material to follow up to Trouble

0:24:19.520 --> 0:24:22.280
<v Speaker 2>in Paradise ready, and then you're like, no, just doesn't

0:24:22.320 --> 0:24:27.080
<v Speaker 2>feel right and effectively kind of like scrap that repurge next,

0:24:27.119 --> 0:24:29.280
<v Speaker 2>I'm gonna I'm gonna start again. Was it almost in

0:24:29.560 --> 0:24:31.679
<v Speaker 2>Is it like a memorable instant that that happened.

0:24:31.840 --> 0:24:35.440
<v Speaker 1>Okay, it happened overnight. That was the only quick thing

0:24:35.440 --> 0:24:38.840
<v Speaker 1>that's ever happened to me. Everything else like the years.

0:24:39.280 --> 0:24:42.919
<v Speaker 1>This was literally overnight. I was on holiday with my

0:24:43.480 --> 0:24:48.200
<v Speaker 1>ex partner and we were just walking down to the beach,

0:24:48.920 --> 0:24:51.800
<v Speaker 1>down to this like tiny, tiny beach. There's nobody there.

0:24:52.760 --> 0:24:56.399
<v Speaker 1>We were walking down this little gravel path and I

0:24:56.520 --> 0:24:58.639
<v Speaker 1>just remember, I don't really know what said it off.

0:25:00.600 --> 0:25:02.080
<v Speaker 1>Actually I do know what said it off. I was

0:25:02.119 --> 0:25:04.720
<v Speaker 1>talking about the person that i'd been in the studio with,

0:25:05.960 --> 0:25:13.199
<v Speaker 1>and I realized that I was I'd sort of like

0:25:13.200 --> 0:25:15.720
<v Speaker 1>I just let them in way too much, in loads

0:25:15.760 --> 0:25:20.200
<v Speaker 1>of ways, and I realized that I wasn't really acting

0:25:20.320 --> 0:25:21.400
<v Speaker 1>for myself anymore.

0:25:21.600 --> 0:25:23.800
<v Speaker 2>I didn't feel really present in those songs, like you

0:25:23.840 --> 0:25:25.680
<v Speaker 2>didn't feel always as.

0:25:27.080 --> 0:25:28.679
<v Speaker 1>Yeah, it didn't, it didn't. It felt like it was

0:25:28.720 --> 0:25:31.240
<v Speaker 1>going in another direction, like it almost felt like another

0:25:31.280 --> 0:25:35.000
<v Speaker 1>band or something. And I think I'd been telling myself

0:25:35.040 --> 0:25:39.480
<v Speaker 1>because of my fears of being overly possessive or being greedy,

0:25:39.600 --> 0:25:42.040
<v Speaker 1>because I think everybody has those fears, and especially as

0:25:42.040 --> 0:25:45.800
<v Speaker 1>somebody doing this job, it's very easy to make somebody

0:25:46.080 --> 0:25:48.240
<v Speaker 1>scared of basically being a cunt, do you know what

0:25:48.280 --> 0:25:50.680
<v Speaker 1>I mean? And I'm so scared of being a cunt

0:25:50.720 --> 0:25:55.240
<v Speaker 1>all the time that I think sometimes actually I allow

0:25:55.320 --> 0:25:57.959
<v Speaker 1>things to happen to me that are really not okay

0:25:58.040 --> 0:26:01.080
<v Speaker 1>because I'm so worried about the way affecting somebody else.

0:26:01.320 --> 0:26:03.720
<v Speaker 1>I realized that I had gone down that path way

0:26:03.800 --> 0:26:07.520
<v Speaker 1>too far, and I wasn't happy actually with where I

0:26:07.680 --> 0:26:09.720
<v Speaker 1>was artistically. You know, it's not that the music was

0:26:09.760 --> 0:26:11.640
<v Speaker 1>bad or anything like that. It's not like I thought, God,

0:26:11.640 --> 0:26:14.840
<v Speaker 1>there music shit. It wasn't that. It was just what

0:26:14.920 --> 0:26:17.800
<v Speaker 1>am I doing? Why am I doing this? Why am

0:26:17.840 --> 0:26:19.960
<v Speaker 1>I allowing this set up to continue when I'm not

0:26:20.000 --> 0:26:22.920
<v Speaker 1>happy with it, And why am I talking about things

0:26:22.920 --> 0:26:24.720
<v Speaker 1>as if I'm happy with them when I'm clearly not

0:26:24.760 --> 0:26:27.000
<v Speaker 1>happy with them. And when you're talking to your partner,

0:26:27.040 --> 0:26:30.359
<v Speaker 1>I think sometimes things become quite stark. I was just

0:26:30.480 --> 0:26:32.879
<v Speaker 1>listening to myself and I could hear myself sort of

0:26:33.160 --> 0:26:35.399
<v Speaker 1>saying things I didn't even believe in, and I was like,

0:26:35.440 --> 0:26:37.439
<v Speaker 1>I don't even believe that, but I'm saying it like

0:26:37.480 --> 0:26:40.159
<v Speaker 1>I believe it. And I thought, who's in my head?

0:26:41.080 --> 0:26:43.720
<v Speaker 1>And why are they there? You know? And I basically

0:26:43.840 --> 0:26:47.919
<v Speaker 1>I just literally instantly collapsed and I had a panic attack,

0:26:48.080 --> 0:26:50.680
<v Speaker 1>which I hadn't had for years. So that freaked me out.

0:26:51.840 --> 0:26:55.000
<v Speaker 1>And we were just sat crouched on the floor trying

0:26:55.000 --> 0:26:59.919
<v Speaker 1>to calm me down, and you know, she was like,

0:27:00.040 --> 0:27:02.280
<v Speaker 1>what was wrong? Why is it so bad? Why are

0:27:02.280 --> 0:27:03.840
<v Speaker 1>you so unhappy? What's going on? I don't get it.

0:27:03.880 --> 0:27:06.399
<v Speaker 1>Where's this comas has come from? Nowhere? Because there's no

0:27:06.480 --> 0:27:09.080
<v Speaker 1>warning to this at all, And I just said, I

0:27:09.119 --> 0:27:11.440
<v Speaker 1>don't know. I just I think I'm deeply, deeply unhappy

0:27:11.440 --> 0:27:13.720
<v Speaker 1>and I haven't realized until right this second, and I'm

0:27:13.720 --> 0:27:15.439
<v Speaker 1>not happy with what I'm doing I'm not happy with

0:27:15.480 --> 0:27:18.960
<v Speaker 1>the setup. I'm not happy with the amount of time

0:27:18.960 --> 0:27:22.480
<v Speaker 1>it's taking and has taken, and it's not even finished yet,

0:27:22.520 --> 0:27:25.960
<v Speaker 1>and you know, I'm not happy with where the studio

0:27:26.119 --> 0:27:28.280
<v Speaker 1>is or how it's set. I just suddenly I realized

0:27:28.320 --> 0:27:30.480
<v Speaker 1>all this stuff, and I was just it just was

0:27:30.520 --> 0:27:33.400
<v Speaker 1>like puking. And then I went and made a lot

0:27:33.440 --> 0:27:35.040
<v Speaker 1>of phone calls. I don't think we went to the

0:27:35.040 --> 0:27:39.880
<v Speaker 1>beach that Yeah, we didn't get an ice cream. After that,

0:27:40.119 --> 0:27:41.640
<v Speaker 1>we went. I think we went back to the villa

0:27:41.720 --> 0:27:44.439
<v Speaker 1>and I had a bit of a debrief with some

0:27:44.480 --> 0:27:47.120
<v Speaker 1>family members and some friends and stuff, and just decided

0:27:47.240 --> 0:27:48.360
<v Speaker 1>to make a big change.

0:27:48.400 --> 0:27:52.200
<v Speaker 2>You know what's great about hearing that and taking like

0:27:52.480 --> 0:27:55.680
<v Speaker 2>all the positives from that is that that moment happened. Yeah,

0:27:55.720 --> 0:27:57.159
<v Speaker 2>you didn't kind of write it off as just sort

0:27:57.200 --> 0:27:59.600
<v Speaker 2>of like like a kind of just moment of upset

0:27:59.640 --> 0:28:00.960
<v Speaker 2>and just kind of be like, Okay, no, we'll just

0:28:01.000 --> 0:28:02.200
<v Speaker 2>get back to it, it'll be fine.

0:28:02.320 --> 0:28:03.520
<v Speaker 1>No, it was really bad.

0:28:03.640 --> 0:28:05.600
<v Speaker 2>Everything that you've built in the last few years came

0:28:05.640 --> 0:28:08.080
<v Speaker 2>from that moment, and you actually, in that moment, in

0:28:08.119 --> 0:28:10.399
<v Speaker 2>the panic, collected your thoughts about what you're going to do.

0:28:10.560 --> 0:28:12.480
<v Speaker 1>Yeah, and I even had to kind of argue because

0:28:12.480 --> 0:28:17.240
<v Speaker 1>I remember I remember calling my mum and she was like, no,

0:28:17.320 --> 0:28:22.840
<v Speaker 1>you're not doing that. You are not doing that. No, no, no, no, no, no, no, no, no,

0:28:22.880 --> 0:28:27.080
<v Speaker 1>you're stressing me out. Now. She was like, you can't

0:28:27.119 --> 0:28:30.280
<v Speaker 1>be saying this to me after three years. You cannot

0:28:30.320 --> 0:28:34.440
<v Speaker 1>be telling me you're about to ditch this whole project.

0:28:35.280 --> 0:28:38.160
<v Speaker 1>You can't be. And at the time, actually I thought

0:28:38.200 --> 0:28:39.760
<v Speaker 1>I was going to be able to take some songs

0:28:40.200 --> 0:28:42.239
<v Speaker 1>and write some new songs and take some bits and

0:28:42.240 --> 0:28:44.479
<v Speaker 1>bobs that I'd done. But at the time it's just

0:28:44.880 --> 0:28:49.600
<v Speaker 1>me trying to, I think, be just trying to salvage

0:28:49.600 --> 0:28:52.520
<v Speaker 1>what I could. But actually that wouldn't have even been

0:28:52.520 --> 0:28:54.880
<v Speaker 1>a good idea. It would have been a mess of

0:28:54.880 --> 0:28:57.880
<v Speaker 1>an album because it would have been coming from two

0:28:57.920 --> 0:29:01.040
<v Speaker 1>different places and it was also just a bit unrealistic

0:29:01.120 --> 0:29:04.720
<v Speaker 1>and you know, just unlikely. But I think at the

0:29:04.720 --> 0:29:06.520
<v Speaker 1>time that that was the way I was sort of

0:29:07.600 --> 0:29:09.480
<v Speaker 1>making it okay. In my head, was like, well, it's

0:29:09.480 --> 0:29:11.240
<v Speaker 1>not all wasted, you know, I can use this and

0:29:11.240 --> 0:29:14.000
<v Speaker 1>I can use this and blah blah blah. But even then,

0:29:14.040 --> 0:29:16.120
<v Speaker 1>you know, my parents were like, are you really sure

0:29:16.160 --> 0:29:17.960
<v Speaker 1>about this. Are you not just having a bit of

0:29:17.960 --> 0:29:20.040
<v Speaker 1>a panic, you know, if you just had a panic

0:29:20.080 --> 0:29:21.760
<v Speaker 1>attack and you just need to calm down, and are

0:29:21.760 --> 0:29:23.120
<v Speaker 1>you going to change your mind tomorrow? And do you

0:29:23.160 --> 0:29:25.320
<v Speaker 1>need to sleep on it? I was like, I don't

0:29:25.320 --> 0:29:27.560
<v Speaker 1>need to sleep on this. I really really don't. I

0:29:27.640 --> 0:29:30.480
<v Speaker 1>never really felt anything so strongly in my life. I

0:29:30.480 --> 0:29:32.880
<v Speaker 1>remember even calling my lawyer in my accountant like within

0:29:33.000 --> 0:29:35.760
<v Speaker 1>hours and saying, change the whole setup I have. This

0:29:35.800 --> 0:29:38.240
<v Speaker 1>has to stop now. I realize what I'm doing and

0:29:38.280 --> 0:29:40.480
<v Speaker 1>it's really it's really wrong, and we and we have

0:29:40.520 --> 0:29:41.200
<v Speaker 1>to stop it now.

0:29:45.640 --> 0:29:48.640
<v Speaker 2>Let's bring ourselves up to the current day, so to speak.

0:29:48.800 --> 0:29:51.160
<v Speaker 2>On reflection of that, that was the starting point of

0:29:51.280 --> 0:29:53.600
<v Speaker 2>basically a new chapter where he wrote this collection of

0:29:53.640 --> 0:29:56.760
<v Speaker 2>new songs that's formed supervision, that you recorded in your kitchen,

0:29:56.840 --> 0:29:58.800
<v Speaker 2>and then you've built a studio at home. It's a

0:29:58.840 --> 0:30:00.760
<v Speaker 2>sort of new era. Really, all of the stuff that

0:30:00.760 --> 0:30:03.120
<v Speaker 2>we've just talked about to this point. Does it feel

0:30:03.160 --> 0:30:05.760
<v Speaker 2>like the experience of going through all that has actually

0:30:05.760 --> 0:30:08.280
<v Speaker 2>giving you some greater clarity than you've ever had before.

0:30:08.280 --> 0:30:10.720
<v Speaker 2>Do you feel like a greater confidence, like a more

0:30:10.720 --> 0:30:11.760
<v Speaker 2>control in what you're doing.

0:30:11.920 --> 0:30:14.240
<v Speaker 1>Yeah, totally. I feel like I'm starting my career again,

0:30:15.360 --> 0:30:19.040
<v Speaker 1>but from the place I always needed to start it from. Mentally,

0:30:19.080 --> 0:30:21.600
<v Speaker 1>at least, I could never start my career again, but

0:30:21.720 --> 0:30:24.840
<v Speaker 1>I can. I can do things in the way that

0:30:24.880 --> 0:30:27.200
<v Speaker 1>I want to do them. And it was also interesting

0:30:27.200 --> 0:30:29.719
<v Speaker 1>because actually, even on that day when I had all

0:30:29.720 --> 0:30:33.360
<v Speaker 1>those realizations whatever you want to call them, I went

0:30:33.440 --> 0:30:35.680
<v Speaker 1>through some voice notes. Like the next day I kept

0:30:36.080 --> 0:30:38.200
<v Speaker 1>I had loads of voice notes from the album we

0:30:38.200 --> 0:30:41.240
<v Speaker 1>were making. It's actually overly extensive. When I look back,

0:30:41.280 --> 0:30:44.600
<v Speaker 1>it was quite strange. I've got them still now. You

0:30:44.680 --> 0:30:47.200
<v Speaker 1>think you can actually see how unhealthy the album was

0:30:47.240 --> 0:30:49.560
<v Speaker 1>by how much thinking there was going on. It was

0:30:49.640 --> 0:30:52.920
<v Speaker 1>way too much. It was like way too many harmony options,

0:30:52.960 --> 0:30:55.720
<v Speaker 1>way too many all sorts of things. It was just

0:30:55.760 --> 0:30:58.120
<v Speaker 1>too much. Like it was like no decisions were being made.

0:30:58.160 --> 0:31:01.280
<v Speaker 1>It was just options, options, options, options, which is never

0:31:01.360 --> 0:31:05.440
<v Speaker 1>a good sign. And I but I went back in

0:31:05.520 --> 0:31:08.600
<v Speaker 1>between all those voice notes, and I'd suddenly found realized

0:31:08.600 --> 0:31:10.960
<v Speaker 1>that I'd found, you know, the voice note for twenty

0:31:11.000 --> 0:31:12.840
<v Speaker 1>first Century, a voice note for do You Feel, a

0:31:12.920 --> 0:31:15.720
<v Speaker 1>voice note for some other track that actually didn't end

0:31:15.800 --> 0:31:17.680
<v Speaker 1>up on the album in the end. But I already

0:31:17.680 --> 0:31:20.920
<v Speaker 1>had like a couple of the ideas that formed this album,

0:31:21.080 --> 0:31:24.040
<v Speaker 1>and I think the correct part of me, the right

0:31:24.080 --> 0:31:26.160
<v Speaker 1>part of me, had sort of already already sort of

0:31:26.200 --> 0:31:28.240
<v Speaker 1>been thinking that quite a long time before I made

0:31:28.240 --> 0:31:31.720
<v Speaker 1>that decision, and then when I started doing it, it's

0:31:31.720 --> 0:31:34.320
<v Speaker 1>all just felt so right since and I never would

0:31:34.320 --> 0:31:36.760
<v Speaker 1>have had the confidence when I was younger. But at

0:31:36.760 --> 0:31:39.000
<v Speaker 1>the same time, even when I was making the record

0:31:39.000 --> 0:31:41.760
<v Speaker 1>with Ben, I remember there being uncomfortable conversations with both

0:31:41.800 --> 0:31:43.760
<v Speaker 1>of us about whether it was a solo project or

0:31:43.760 --> 0:31:46.200
<v Speaker 1>whether it wasn't, and me backing down in the end

0:31:46.240 --> 0:31:50.080
<v Speaker 1>and feeling bad because you know, we'd co written so

0:31:50.120 --> 0:31:51.920
<v Speaker 1>many of the you know, most of the songs and

0:31:52.720 --> 0:31:55.800
<v Speaker 1>all the songs really, but it's just because you co

0:31:55.880 --> 0:31:57.640
<v Speaker 1>write songs doesn't mean you're in a band. You know,

0:31:57.720 --> 0:32:00.440
<v Speaker 1>Otherwise every single pop artist out there would be in

0:32:00.480 --> 0:32:02.320
<v Speaker 1>a band, do you know what I mean? But I

0:32:02.360 --> 0:32:08.160
<v Speaker 1>think again, it's slight, even though I'm mouthy and all

0:32:08.160 --> 0:32:11.680
<v Speaker 1>the rest of it, actually backing down quite a lot

0:32:12.040 --> 0:32:13.840
<v Speaker 1>in lots of areas that I wasn't happy with, and

0:32:13.880 --> 0:32:15.440
<v Speaker 1>I just won't do it anymore. And I won't be

0:32:15.480 --> 0:32:17.800
<v Speaker 1>called a bitch for it. I won't. I won't be called,

0:32:17.880 --> 0:32:19.640
<v Speaker 1>you know, greedy, I won't be called anything else. And

0:32:19.680 --> 0:32:21.320
<v Speaker 1>if you think that, you can fuck off right out

0:32:21.360 --> 0:32:23.400
<v Speaker 1>of my life. To be honest, I really can't be

0:32:23.440 --> 0:32:27.200
<v Speaker 1>asked with that narrative anymore. It's just not true. It's

0:32:27.240 --> 0:32:29.200
<v Speaker 1>an easy way for people to manipulate you, to make

0:32:29.240 --> 0:32:30.959
<v Speaker 1>you feel bad about the person that you are, but

0:32:31.000 --> 0:32:32.680
<v Speaker 1>it just isn't true. I know what I'm doing, I

0:32:32.720 --> 0:32:35.000
<v Speaker 1>know why I'm doing it, I am the best person

0:32:35.080 --> 0:32:38.240
<v Speaker 1>to sort of do it. It doesn't mean I have

0:32:38.320 --> 0:32:40.800
<v Speaker 1>to take over everything and I'm suddenly going to become

0:32:40.840 --> 0:32:44.800
<v Speaker 1>like Terence strength Derby, you know, or anything like that.

0:32:45.160 --> 0:32:47.160
<v Speaker 1>It's not like that where I'm delusional and I think

0:32:47.200 --> 0:32:49.560
<v Speaker 1>I know best and that's it and you can all

0:32:49.600 --> 0:32:53.240
<v Speaker 1>fuck off. But at the same time, nobody else knows

0:32:53.280 --> 0:32:55.800
<v Speaker 1>how to make LARU records apart from me, you know, like,

0:32:55.880 --> 0:32:57.800
<v Speaker 1>I've never seen anyone else make one. If they go

0:32:57.840 --> 0:32:59.720
<v Speaker 1>and make one and prove me wrong, you know, fair enough,

0:32:59.720 --> 0:33:01.160
<v Speaker 1>but so far it's not happened.

0:33:02.880 --> 0:33:05.760
<v Speaker 2>The result is a record supervision that is really concise.

0:33:05.800 --> 0:33:08.600
<v Speaker 2>It's eight tracks, isn't it, And it's just it does

0:33:08.640 --> 0:33:09.200
<v Speaker 2>feel like.

0:33:09.640 --> 0:33:11.160
<v Speaker 1>One actually said, it is more of an EP I

0:33:11.200 --> 0:33:11.840
<v Speaker 1>nearly punched it.

0:33:13.280 --> 0:33:16.440
<v Speaker 3>I mean it feels like decisive. It feels decisive.

0:33:16.680 --> 0:33:19.120
<v Speaker 1>It was very decisive. Actually it's quite direct.

0:33:19.160 --> 0:33:20.080
<v Speaker 3>I think, yeah, it is.

0:33:20.160 --> 0:33:20.440
<v Speaker 2>It is.

0:33:20.800 --> 0:33:23.400
<v Speaker 3>And it's also like kind of forty odd minutes long?

0:33:23.440 --> 0:33:23.640
<v Speaker 2>Is it?

0:33:23.680 --> 0:33:26.240
<v Speaker 1>And I think it's like forty eight minutes or something.

0:33:26.320 --> 0:33:28.120
<v Speaker 2>Were you ever attempted to make it longer? Were there

0:33:28.200 --> 0:33:30.160
<v Speaker 2>much more material or was it? Was? It just like, no,

0:33:30.240 --> 0:33:32.600
<v Speaker 2>that's it, that's this. I've made this decision. It is decisive.

0:33:32.640 --> 0:33:34.280
<v Speaker 2>This is the eight tracks that make the new album.

0:33:34.480 --> 0:33:37.280
<v Speaker 1>There was like one other track floating around that was

0:33:37.280 --> 0:33:40.320
<v Speaker 1>like half finished, which I will actually finish. But it

0:33:40.360 --> 0:33:43.680
<v Speaker 1>felt a bit sort of too negative. It was about

0:33:43.720 --> 0:33:46.560
<v Speaker 1>this area and about how it's changed. And it was

0:33:46.600 --> 0:33:49.400
<v Speaker 1>called people around here or people or something. I can't

0:33:49.400 --> 0:33:51.160
<v Speaker 1>remember what it was called. I really like it. I

0:33:51.200 --> 0:33:54.280
<v Speaker 1>had a really good melody. It was like mildly scathing,

0:33:54.960 --> 0:33:58.280
<v Speaker 1>and I just felt like it doesn't belong on this

0:33:58.360 --> 0:34:00.960
<v Speaker 1>album about balance and new bound happiness. Do you know

0:34:01.000 --> 0:34:04.680
<v Speaker 1>what I mean? Just doesn't make sense. Dan agreed. You know,

0:34:05.040 --> 0:34:06.400
<v Speaker 1>when I played it to him, he was like, I

0:34:06.440 --> 0:34:08.080
<v Speaker 1>think it's a really good song, but I just don't

0:34:08.120 --> 0:34:10.759
<v Speaker 1>feel like it's part of this body of work. And

0:34:10.800 --> 0:34:13.080
<v Speaker 1>we also did There was also a cover of a

0:34:13.160 --> 0:34:16.440
<v Speaker 1>track by this band I keep forgetting their name, done

0:34:16.480 --> 0:34:20.000
<v Speaker 1>it for two years. It's really annoying. Oh wow, that's

0:34:20.040 --> 0:34:23.400
<v Speaker 1>really bad. There's a cover called the Sun by a

0:34:23.440 --> 0:34:26.960
<v Speaker 1>sixties band. It's going to really annoy me that I

0:34:26.960 --> 0:34:29.120
<v Speaker 1>can't remember them, and it's called the Sun. It's like

0:34:29.120 --> 0:34:32.080
<v Speaker 1>a really weird track. It just had this really good

0:34:32.200 --> 0:34:34.040
<v Speaker 1>riff at the beginning of it that I thought sounded

0:34:34.080 --> 0:34:36.320
<v Speaker 1>like a riff from a hip hop song. And originally

0:34:36.360 --> 0:34:38.759
<v Speaker 1>I was going to sample the riff and then kind

0:34:38.800 --> 0:34:40.920
<v Speaker 1>of write a song off the back of that, but

0:34:41.040 --> 0:34:44.960
<v Speaker 1>then actually me and Dan started sort of playing it

0:34:45.000 --> 0:34:47.520
<v Speaker 1>together in our sort of dub style, because we have

0:34:47.600 --> 0:34:49.520
<v Speaker 1>this other thing that we do together that's this sort

0:34:49.520 --> 0:34:52.120
<v Speaker 1>of like mini sort of dub band which we're sort

0:34:52.120 --> 0:34:55.440
<v Speaker 1>of working on behind the scenes, and when we played together,

0:34:55.480 --> 0:34:58.960
<v Speaker 1>it just instantly just sounds like some weird, little squelchy

0:34:59.000 --> 0:35:01.960
<v Speaker 1>dub project. And we started sort of playing that together

0:35:02.600 --> 0:35:05.120
<v Speaker 1>and it just came out in about an hour. So

0:35:05.200 --> 0:35:07.279
<v Speaker 1>we just played it once down made, you know, made

0:35:07.280 --> 0:35:09.960
<v Speaker 1>a little beat, did guitar and bassed together and you know,

0:35:10.000 --> 0:35:12.160
<v Speaker 1>and I sang over it and blah blah blah, it's

0:35:12.160 --> 0:35:13.960
<v Speaker 1>really cool and I will put it out. I'm actually

0:35:14.000 --> 0:35:19.480
<v Speaker 1>planning on doing a dub version of Supervision, But again

0:35:19.560 --> 0:35:21.600
<v Speaker 1>that just was like, why would I put a cover

0:35:21.680 --> 0:35:25.640
<v Speaker 1>on this album? Why would a dub track? It's quite

0:35:25.640 --> 0:35:29.520
<v Speaker 1>authentically dub as well, like it's it's less electronic, it's

0:35:29.600 --> 0:35:32.040
<v Speaker 1>blah blah blah, and I just thought it's just gonna

0:35:32.040 --> 0:35:34.080
<v Speaker 1>make it messy and less concise. So there was kind

0:35:34.080 --> 0:35:36.239
<v Speaker 1>of like two other tracks flirting around, but I don't

0:35:36.239 --> 0:35:38.720
<v Speaker 1>believe they were ever ever meant to belong on this record.

0:35:38.760 --> 0:35:41.239
<v Speaker 1>They were just they just happened because I wanted them

0:35:41.239 --> 0:35:42.960
<v Speaker 1>to happen. But I didn't mean that they should be

0:35:43.000 --> 0:35:46.120
<v Speaker 1>on this record personally as well, just from a kind

0:35:46.160 --> 0:35:49.560
<v Speaker 1>of creative choice place. I just don't like long albums.

0:35:50.480 --> 0:35:52.759
<v Speaker 1>I hate to say it, but I really genuine this

0:35:52.840 --> 0:35:55.319
<v Speaker 1>is really genuinely feel like when I see a track

0:35:55.360 --> 0:35:59.000
<v Speaker 1>with seventeen albums, I think, you fucking wanker who wants

0:35:59.000 --> 0:36:01.440
<v Speaker 1>to fucking listen to one person for like an hour

0:36:01.480 --> 0:36:04.880
<v Speaker 1>and forty five minutes or whatever. I think it's really weird,

0:36:05.080 --> 0:36:07.719
<v Speaker 1>just personally, after like forty five minutes an hour, I'm

0:36:07.840 --> 0:36:11.160
<v Speaker 1>so done, even with my favorite artists. I just don't

0:36:11.160 --> 0:36:12.960
<v Speaker 1>think you need any longer. I know that there's this

0:36:13.000 --> 0:36:15.440
<v Speaker 1>whole thing with algorithms now and night Spotify and the

0:36:15.440 --> 0:36:17.520
<v Speaker 1>more tracks you have. I just I can't play to

0:36:17.560 --> 0:36:20.680
<v Speaker 1>that game. I cannot play that game. An album should

0:36:20.680 --> 0:36:22.840
<v Speaker 1>be right because it's right, because it's creatively right, and

0:36:22.920 --> 0:36:25.640
<v Speaker 1>nothing else should be thought about in that process. The

0:36:25.719 --> 0:36:29.840
<v Speaker 1>songs sit together really nicely. They're all coming from the

0:36:29.840 --> 0:36:32.279
<v Speaker 1>same place at the same time in my life when

0:36:32.320 --> 0:36:34.600
<v Speaker 1>I felt the same, and that's what an album should be.

0:36:34.719 --> 0:36:37.319
<v Speaker 1>It's a diary from that time, and therefore it's the

0:36:37.360 --> 0:36:38.640
<v Speaker 1>correct length in my eyes.

0:36:38.920 --> 0:36:40.600
<v Speaker 2>It does fill me with a little bit of dread

0:36:40.640 --> 0:36:43.319
<v Speaker 2>when I see like a twenty six track mixtape and

0:36:43.360 --> 0:36:45.120
<v Speaker 2>I just think, I'm not sure the time is right

0:36:45.160 --> 0:36:45.400
<v Speaker 2>for this.

0:36:45.719 --> 0:36:48.239
<v Speaker 1>What is that? It's weird? But you're right.

0:36:48.440 --> 0:36:51.080
<v Speaker 2>I don't know whether it has been the rise of

0:36:51.080 --> 0:36:54.560
<v Speaker 2>that type of thing has just because of the streaming generation,

0:36:54.719 --> 0:36:56.520
<v Speaker 2>or that that I must play a part in it.

0:36:56.560 --> 0:36:58.600
<v Speaker 2>But still I ALWASO think it's this idea.

0:36:58.320 --> 0:36:59.799
<v Speaker 1>That fans want more and more.

0:37:00.360 --> 0:37:03.200
<v Speaker 2>Yeah, and for some artists. They just they're just ready

0:37:03.200 --> 0:37:05.480
<v Speaker 2>to know. They're happy to give everything. You know, this

0:37:05.600 --> 0:37:07.439
<v Speaker 2>is these are the twenty six tracks that I've made

0:37:07.440 --> 0:37:10.759
<v Speaker 2>in the last twelve months to have it all. He's

0:37:10.800 --> 0:37:12.480
<v Speaker 2>the eight best of the twenty six.

0:37:12.360 --> 0:37:15.040
<v Speaker 1>Track Yeah exactly. I'm like, if you can play me

0:37:15.080 --> 0:37:17.200
<v Speaker 1>a twenty six track album where there's more than four

0:37:17.200 --> 0:37:20.680
<v Speaker 1>good songs, I'll give you a million quid. It will

0:37:20.719 --> 0:37:23.400
<v Speaker 1>never fucking happen. It just won't happen. It's just I

0:37:23.440 --> 0:37:25.239
<v Speaker 1>know I'll never have to give anyone a million quid

0:37:25.239 --> 0:37:28.440
<v Speaker 1>because no, it won't happen. It's just it's not true.

0:37:28.840 --> 0:37:32.160
<v Speaker 1>I mean, I just don't get it. And also, I

0:37:32.160 --> 0:37:35.040
<v Speaker 1>feel like self editing is so important. It's like the

0:37:35.040 --> 0:37:38.640
<v Speaker 1>one fall down of prints. Everyone says it, there's just

0:37:38.719 --> 0:37:41.120
<v Speaker 1>so much work. It's like, mate, you don't need to

0:37:41.160 --> 0:37:44.280
<v Speaker 1>prove it anymore. You're a genius. You know it's fine.

0:37:45.080 --> 0:37:48.399
<v Speaker 1>Actually you're making it worse. You're making it seem less

0:37:48.440 --> 0:37:51.760
<v Speaker 1>like your genius. The more music you release, just stop.

0:37:52.200 --> 0:37:55.640
<v Speaker 1>And I really think editing is so important. I had

0:37:55.680 --> 0:37:58.240
<v Speaker 1>it before I write. Some people lead it after they write.

0:37:58.239 --> 0:38:01.439
<v Speaker 1>That's fine, but I could never write a hundred songs

0:38:01.440 --> 0:38:03.360
<v Speaker 1>and then just pick the ten best or whatever I

0:38:04.080 --> 0:38:07.200
<v Speaker 1>only wrote. Like I said, I wrote essentially nine and

0:38:07.239 --> 0:38:09.840
<v Speaker 1>a half songs and I just took one of them away.

0:38:09.719 --> 0:38:11.160
<v Speaker 2>The dand that we've referenced a couple of times in

0:38:11.200 --> 0:38:13.799
<v Speaker 2>this conversation, like he says, Dan Kerrey, who people aren't

0:38:13.800 --> 0:38:17.120
<v Speaker 2>familiar with that name. He is producer and songwriter and

0:38:17.200 --> 0:38:20.480
<v Speaker 2>label boss based in South London. He is probably best

0:38:20.520 --> 0:38:23.600
<v Speaker 2>known for working with like South London bands like Black

0:38:23.640 --> 0:38:26.759
<v Speaker 2>Midi and Black Country, New Road and people like that. Yeah,

0:38:26.880 --> 0:38:29.000
<v Speaker 2>Kate tempers, of course. So have you known Dan a

0:38:29.000 --> 0:38:32.040
<v Speaker 2>long time? You wrote the collection songs and you were

0:38:32.040 --> 0:38:33.680
<v Speaker 2>they were they all recorded with Dan? Or were they

0:38:33.760 --> 0:38:35.279
<v Speaker 2>recording and then you kind of finessed them at the

0:38:35.360 --> 0:38:35.799
<v Speaker 2>end with Dan?

0:38:35.800 --> 0:38:36.239
<v Speaker 3>How did it well?

0:38:36.360 --> 0:38:38.879
<v Speaker 1>We recorded them all in his studio because even though

0:38:38.920 --> 0:38:41.759
<v Speaker 1>like I wrote and arranged and basically produced it here,

0:38:42.320 --> 0:38:46.320
<v Speaker 1>it is still a kitchen at the end of the day.

0:38:45.960 --> 0:38:46.920
<v Speaker 3>I can make a cup of tea.

0:38:48.560 --> 0:38:52.160
<v Speaker 1>Yeah, but I'm still I'm quite a purist. I've never

0:38:52.239 --> 0:38:55.279
<v Speaker 1>known my cat made this much noise. It's hilarious. It's

0:38:55.320 --> 0:38:57.000
<v Speaker 1>like the one time she needs to be quiet.

0:38:57.440 --> 0:38:59.279
<v Speaker 3>Lips has found is that her favorite toy.

0:38:59.400 --> 0:39:02.000
<v Speaker 1>Ye doesn't have a favorite tie. It's the noisiest tie

0:39:02.120 --> 0:39:06.560
<v Speaker 1>she's found, that's for sure. Yeah, we're both quite massive

0:39:06.560 --> 0:39:09.520
<v Speaker 1>purists when it comes to recording. I've always been like

0:39:09.680 --> 0:39:11.800
<v Speaker 1>that about the studio or not so much on the

0:39:11.840 --> 0:39:13.480
<v Speaker 1>first album because I didn't know what was doing. But

0:39:13.560 --> 0:39:15.840
<v Speaker 1>once I knew what I was doing, and you know,

0:39:15.880 --> 0:39:18.600
<v Speaker 1>I wanted my records to sound as good as the

0:39:18.640 --> 0:39:21.520
<v Speaker 1>records that I love, obviously, then that starts to become

0:39:21.560 --> 0:39:24.719
<v Speaker 1>really important. So no, we're both quite funny about how

0:39:24.719 --> 0:39:26.600
<v Speaker 1>things are recorded and what they were recorded on and

0:39:26.640 --> 0:39:28.000
<v Speaker 1>with and all the rest of it. So I would

0:39:28.000 --> 0:39:29.680
<v Speaker 1>never have done it here, but I did write, I

0:39:29.680 --> 0:39:32.200
<v Speaker 1>wrote and arranged, and you know, the sound and the

0:39:32.200 --> 0:39:34.719
<v Speaker 1>feel of the record was all designed here. I went

0:39:35.000 --> 0:39:37.480
<v Speaker 1>to his studio which is down the road and Stretum.

0:39:37.480 --> 0:39:40.040
<v Speaker 1>It's only like a five minute drive away. But I've

0:39:40.040 --> 0:39:42.400
<v Speaker 1>known Dan for years. I first met him on the

0:39:42.440 --> 0:39:47.000
<v Speaker 1>first album because me and Ben I really liked his

0:39:47.440 --> 0:39:50.080
<v Speaker 1>work with bands like Hot Chip and stuff like that,

0:39:50.680 --> 0:39:54.319
<v Speaker 1>and we went to actually mix the record with him

0:39:54.320 --> 0:39:58.600
<v Speaker 1>initially in his studio and Strettum, but it kind of

0:39:58.640 --> 0:40:01.640
<v Speaker 1>went further than mixing. It was definitely definitely additional production

0:40:01.760 --> 0:40:05.080
<v Speaker 1>by that point, and uh Me and Dan got on

0:40:05.200 --> 0:40:09.759
<v Speaker 1>so well and both love distortions so much. We just

0:40:10.120 --> 0:40:12.759
<v Speaker 1>took it way too far, to the point where by

0:40:12.760 --> 0:40:15.080
<v Speaker 1>the time we sent the mixes back to the record label,

0:40:15.120 --> 0:40:18.160
<v Speaker 1>they were like, what the fuck have you done? You

0:40:18.760 --> 0:40:20.840
<v Speaker 1>the whole thing for a bit crusher. It was like,

0:40:20.880 --> 0:40:25.600
<v Speaker 1>that's basically what we have done. So yeah, we just

0:40:25.680 --> 0:40:27.600
<v Speaker 1>really went for it. It was like, a it was

0:40:27.800 --> 0:40:31.160
<v Speaker 1>really gnarly. I mean that records quite gnarly anyway, but

0:40:31.560 --> 0:40:33.800
<v Speaker 1>you know, it's really tinny and like jagged, but it

0:40:34.480 --> 0:40:37.960
<v Speaker 1>was really really gnarly. It was like ah all the

0:40:37.960 --> 0:40:42.680
<v Speaker 1>way through. So yeah, that that got shelved. But they

0:40:42.760 --> 0:40:44.359
<v Speaker 1>kind of basically were like, yeah, we think we're going

0:40:44.360 --> 0:40:46.400
<v Speaker 1>to send it to America to like the biggest mixer

0:40:46.440 --> 0:40:48.919
<v Speaker 1>on the planet. Maybe not Dan Garry, and I think,

0:40:49.000 --> 0:40:51.640
<v Speaker 1>you know, Dan was disappointed. I was quite disappointed. But

0:40:51.680 --> 0:40:54.920
<v Speaker 1>actually Quicksand on the first album is still Dan's, you know,

0:40:55.120 --> 0:40:57.440
<v Speaker 1>our mix, our mix we did with Dan because nobody

0:40:57.440 --> 0:41:00.920
<v Speaker 1>else seemed to understand Quicksand, which I thought was interesting,

0:41:01.360 --> 0:41:03.440
<v Speaker 1>and he's the only one that managed to capture the

0:41:03.560 --> 0:41:05.959
<v Speaker 1>essence of it mix wise, in any way, shape or form.

0:41:06.080 --> 0:41:09.360
<v Speaker 1>So Quicksand is still his mix, but everything else is

0:41:09.400 --> 0:41:12.040
<v Speaker 1>mixed by serving Can. We've known each other since then,

0:41:12.080 --> 0:41:14.440
<v Speaker 1>but we didn't talk loads. Over the years. I went

0:41:14.480 --> 0:41:16.319
<v Speaker 1>to a few of his parties. We've always sort of

0:41:16.320 --> 0:41:18.319
<v Speaker 1>stayed We've always stayed in touch, and we always really

0:41:18.360 --> 0:41:20.799
<v Speaker 1>got on and a lot of my friends know his

0:41:20.880 --> 0:41:24.360
<v Speaker 1>friends and people as well, so there's always been a connection.

0:41:24.840 --> 0:41:26.680
<v Speaker 1>But then I think I came out of this and

0:41:26.760 --> 0:41:31.000
<v Speaker 1>I realized that because I, like I said, initially, I

0:41:31.080 --> 0:41:33.480
<v Speaker 1>was going to take the record i'd been doing that

0:41:33.560 --> 0:41:35.920
<v Speaker 1>I ditched and I was going to take parts of

0:41:35.960 --> 0:41:39.000
<v Speaker 1>it and then try and add to it. So I thought, oh,

0:41:39.040 --> 0:41:42.000
<v Speaker 1>I need somebody that's going to understand the record I've

0:41:42.000 --> 0:41:44.239
<v Speaker 1>been making and also understands me because I'm now in

0:41:44.239 --> 0:41:47.920
<v Speaker 1>a really vulnerable place. So I called Dan from Holiday.

0:41:48.360 --> 0:41:51.400
<v Speaker 1>All these decisions were very quick looking back, Wow, I

0:41:51.480 --> 0:41:53.600
<v Speaker 1>called Dan from Holiday and I was like, I need

0:41:53.640 --> 0:41:57.040
<v Speaker 1>your help, like now, and I told him the situation.

0:41:57.400 --> 0:41:59.839
<v Speaker 1>And there is other things that the situations well, which

0:41:59.840 --> 0:42:02.120
<v Speaker 1>I don't want to go into publicly or anything, but

0:42:02.160 --> 0:42:05.600
<v Speaker 1>there was other emotional issues and relationship problems, and I

0:42:05.680 --> 0:42:08.319
<v Speaker 1>just said I need your help badly. I'm in a

0:42:08.360 --> 0:42:12.600
<v Speaker 1>really dark place. I felt. I felt like i'd kind

0:42:12.640 --> 0:42:15.480
<v Speaker 1>of been abused as well, and I felt like I'd

0:42:15.480 --> 0:42:19.560
<v Speaker 1>been worn down mentally, and I just needed help. And

0:42:19.840 --> 0:42:27.200
<v Speaker 1>he he was very sympathetic, very understanding, very supportive. He said,

0:42:27.200 --> 0:42:30.160
<v Speaker 1>all right, when you come back, you know, come back

0:42:30.200 --> 0:42:32.080
<v Speaker 1>and we'll sit down and we'll have a chat. And

0:42:32.160 --> 0:42:34.600
<v Speaker 1>I never actually played him that record. He's never heard it.

0:42:35.239 --> 0:42:37.239
<v Speaker 1>He said, I actually don't want to hear it. He

0:42:37.360 --> 0:42:39.200
<v Speaker 1>was like, I don't want to hear it. I think

0:42:39.280 --> 0:42:41.360
<v Speaker 1>you should go and I think you should go and

0:42:41.400 --> 0:42:43.239
<v Speaker 1>write some other songs. Actually, I think it's a far

0:42:43.320 --> 0:42:46.200
<v Speaker 1>better idea. So I went and did that, and then

0:42:46.360 --> 0:42:48.759
<v Speaker 1>I played him like the beginning of Automatic Driver and

0:42:48.800 --> 0:42:52.480
<v Speaker 1>do you Feel And he was just seemed obsessed by them.

0:42:52.520 --> 0:42:55.600
<v Speaker 1>He was just like, absolutely love them. He was like, right,

0:42:55.800 --> 0:42:59.799
<v Speaker 1>that's it, go back home. I'm free in April. This

0:42:59.880 --> 0:43:03.160
<v Speaker 1>is in February. He was like, I'm free in April,

0:43:03.400 --> 0:43:06.920
<v Speaker 1>so just be done by then. I was like, what

0:43:06.920 --> 0:43:09.160
<v Speaker 1>what did you fucking say? Hang on a minute. I

0:43:09.200 --> 0:43:11.040
<v Speaker 1>was like, but everything takes me years. He was like, well,

0:43:11.040 --> 0:43:12.719
<v Speaker 1>this isn't going to take you years, because you haven't

0:43:12.719 --> 0:43:14.560
<v Speaker 1>got years now, You've got to fucking get on it.

0:43:14.760 --> 0:43:16.920
<v Speaker 1>You haven't got years, Ellie. He was like, you know,

0:43:17.000 --> 0:43:20.200
<v Speaker 1>it's it's now. Whenever you know you've got to turn

0:43:20.200 --> 0:43:22.640
<v Speaker 1>this round. You've got to turn it around now, so

0:43:22.760 --> 0:43:24.759
<v Speaker 1>you just better be ready. And I don't know, he

0:43:24.840 --> 0:43:26.560
<v Speaker 1>just sort of sparked something in me that no one's

0:43:26.560 --> 0:43:28.960
<v Speaker 1>ever really sparked before. And I had this confidence and

0:43:29.239 --> 0:43:32.360
<v Speaker 1>felt supported and I felt believed in I think for

0:43:32.440 --> 0:43:35.239
<v Speaker 1>the first time in my whole career, because everyone else

0:43:35.280 --> 0:43:37.600
<v Speaker 1>had always thought it was Ben or somebody else, or

0:43:37.640 --> 0:43:41.040
<v Speaker 1>an engineer or a mixer or It's almost like they'd

0:43:41.160 --> 0:43:44.200
<v Speaker 1>be willing to give credit to it everybody else that

0:43:44.320 --> 0:43:46.120
<v Speaker 1>was surrounding me, but never me. It was like, it

0:43:46.160 --> 0:43:48.600
<v Speaker 1>can't be her because I don't know why, it just

0:43:48.680 --> 0:43:50.840
<v Speaker 1>it can't possibly be her that's doing all of this.

0:43:50.960 --> 0:43:53.360
<v Speaker 1>She can't possibly be the talent. It's just not possible.

0:43:53.640 --> 0:43:56.800
<v Speaker 1>And I'd got made me so angry over the years.

0:43:56.960 --> 0:43:59.680
<v Speaker 1>I had so much pent up aggression, and I'm quite

0:43:59.800 --> 0:44:02.120
<v Speaker 1>ang person anyway, so it's just getting It was just

0:44:02.160 --> 0:44:05.400
<v Speaker 1>getting too much to bear, and I felt it wasn't healthy.

0:44:05.920 --> 0:44:07.960
<v Speaker 1>And then finally Dan came along and was just like,

0:44:08.040 --> 0:44:09.600
<v Speaker 1>I fucking believe in you. Look what you've just done

0:44:09.640 --> 0:44:12.560
<v Speaker 1>in your kitchen. It's fucking great. Listen to automatic driver, like,

0:44:13.000 --> 0:44:16.279
<v Speaker 1>what's the problem? Go away? Do more come back? I

0:44:16.320 --> 0:44:19.479
<v Speaker 1>was like, Oh, what a relief. It was really nice.

0:44:19.560 --> 0:44:21.600
<v Speaker 2>Before we started chatting, you took me downstairs to show

0:44:21.640 --> 0:44:23.799
<v Speaker 2>me the studio that you've built. This is difference, this

0:44:23.880 --> 0:44:26.080
<v Speaker 2>is this happens since you've made supervision. Yeah, but it's

0:44:26.080 --> 0:44:28.640
<v Speaker 2>downstairs in your kitchen at home. Is that going to

0:44:28.640 --> 0:44:31.960
<v Speaker 2>be the place that you foresee yourself writing more Lewis

0:44:32.000 --> 0:44:35.600
<v Speaker 2>records in the future? And also yeah, always now? And

0:44:35.680 --> 0:44:38.080
<v Speaker 2>also it's an impressive setup. Do you ever think you

0:44:38.760 --> 0:44:41.759
<v Speaker 2>would like to produce somebody else's record in there, or

0:44:42.280 --> 0:44:44.480
<v Speaker 2>you know, mix somebody else's record, Like, would you move

0:44:44.520 --> 0:44:45.439
<v Speaker 2>into that area as well?

0:44:45.520 --> 0:44:47.759
<v Speaker 1>Yeah? I would, Actually, I would really like to do that.

0:44:47.840 --> 0:44:50.719
<v Speaker 1>I need a lot more experience first, I think. But

0:44:51.920 --> 0:44:53.719
<v Speaker 1>you know I've always sort of done those things sort

0:44:53.760 --> 0:44:57.520
<v Speaker 1>of hand in hand with somebody else. Like I can mix.

0:44:57.600 --> 0:45:00.759
<v Speaker 1>I've got really good ears. You know, I've really good

0:45:00.760 --> 0:45:02.680
<v Speaker 1>he is, and I know my music better than anybody

0:45:02.719 --> 0:45:05.439
<v Speaker 1>will ever know it. And you know, I mix really

0:45:05.440 --> 0:45:07.839
<v Speaker 1>well with somebody like Doan or whatever. But and I've

0:45:07.880 --> 0:45:10.919
<v Speaker 1>actually just recently done a cover of Damage Goods by

0:45:11.400 --> 0:45:14.200
<v Speaker 1>Gang of Four because Andy Gill asked me to. And

0:45:14.239 --> 0:45:17.000
<v Speaker 1>that's the first track I've actually mixed on my own

0:45:17.480 --> 0:45:20.640
<v Speaker 1>with nobody else there. And that was nice proof to

0:45:20.680 --> 0:45:23.680
<v Speaker 1>me that actually, you're at a point now where you

0:45:24.400 --> 0:45:28.440
<v Speaker 1>certainly to mix your own tracks. You could almost pretty

0:45:28.480 --> 0:45:31.319
<v Speaker 1>much mix an entire album of your own, which I

0:45:31.400 --> 0:45:34.560
<v Speaker 1>was really really, really really happy to realize and to

0:45:34.560 --> 0:45:37.279
<v Speaker 1>get to that point. That track will hopefully be out soon,

0:45:38.000 --> 0:45:39.920
<v Speaker 1>and then everybody else can judge whether I'm shit at

0:45:39.920 --> 0:45:44.680
<v Speaker 1>mixing or not, but I'm certainly really really happy with it. Yeah,

0:45:44.719 --> 0:45:47.520
<v Speaker 1>I would love to. I'd love to go into that area.

0:45:47.640 --> 0:45:50.800
<v Speaker 1>I think LaRue's not going to be an old person's game.

0:45:51.040 --> 0:45:53.280
<v Speaker 1>I don't want to be sixty five on stage singing

0:45:53.320 --> 0:45:55.680
<v Speaker 1>in for the Kill. It's not my vibe. It's just

0:45:55.760 --> 0:45:57.360
<v Speaker 1>really not I don't want to be doing that to

0:45:57.400 --> 0:46:00.440
<v Speaker 1>anybody else or myself. You know, she's a to Pan

0:46:00.520 --> 0:46:02.640
<v Speaker 1>type character, and i'd like to keep her that way.

0:46:03.120 --> 0:46:05.080
<v Speaker 1>I don't want to ruin her. I don't want to

0:46:05.120 --> 0:46:08.960
<v Speaker 1>disgrace her either, So I think it's really important to

0:46:08.960 --> 0:46:10.879
<v Speaker 1>me that I stop at the right time in order

0:46:11.160 --> 0:46:12.719
<v Speaker 1>to be remembered in the way that I would like

0:46:12.800 --> 0:46:15.560
<v Speaker 1>to be remembered. I can't see myself doing a black

0:46:15.600 --> 0:46:18.880
<v Speaker 1>style moment. I can't see myself being Madonna or Dinah

0:46:18.960 --> 0:46:21.920
<v Speaker 1>Ross like going out doing shows when I'm night seventy.

0:46:21.960 --> 0:46:24.440
<v Speaker 1>I just can't see it. I don't want it either.

0:46:24.680 --> 0:46:27.239
<v Speaker 1>I also really like loads of other elements of like

0:46:27.320 --> 0:46:31.439
<v Speaker 1>normal life, and I don't really want my whole entire

0:46:31.480 --> 0:46:35.040
<v Speaker 1>life to be filled with music industry and management meetings

0:46:35.120 --> 0:46:40.319
<v Speaker 1>and interviews and promo trips, and I just I don't

0:46:40.360 --> 0:46:42.160
<v Speaker 1>think I do. You know, I don't mind talking about

0:46:42.239 --> 0:46:43.799
<v Speaker 1>music for the rest of my life, but I don't

0:46:43.800 --> 0:46:45.719
<v Speaker 1>necessarily always want it to be in the same vein

0:46:45.760 --> 0:46:48.279
<v Speaker 1>where I'm always the artist and it's always about me

0:46:48.360 --> 0:46:50.719
<v Speaker 1>in my life. I think it would be nice to

0:46:50.760 --> 0:46:54.000
<v Speaker 1>actually be able to move into a different realm where

0:46:54.440 --> 0:46:57.160
<v Speaker 1>I can spend, you know, the last thirty forty years

0:46:57.200 --> 0:46:59.880
<v Speaker 1>of my life in my kitchen with my cat mixing records.

0:47:00.000 --> 0:47:01.879
<v Speaker 1>WOULD absolutely love that. It sounds like a dream.

0:47:01.960 --> 0:47:03.759
<v Speaker 2>I would love to hear you producing the record for

0:47:03.800 --> 0:47:05.839
<v Speaker 2>somebody else. I think that'd be really the idea really

0:47:05.840 --> 0:47:06.279
<v Speaker 2>excites me.

0:47:06.320 --> 0:47:06.839
<v Speaker 3>That would be great.

0:47:06.960 --> 0:47:08.640
<v Speaker 1>Yeah, I would really like it as well. I think

0:47:09.200 --> 0:47:11.759
<v Speaker 1>for me it would be about the right bands. What

0:47:11.840 --> 0:47:16.359
<v Speaker 1>I really noticed from obviously now knowing Dan extremely well

0:47:16.360 --> 0:47:19.200
<v Speaker 1>to the point where he's like my brother, obviously, I

0:47:19.280 --> 0:47:22.040
<v Speaker 1>see the variation of work that he gets involved in,

0:47:22.800 --> 0:47:27.640
<v Speaker 1>and it's it's hard for me to imagine myself doing

0:47:27.920 --> 0:47:31.319
<v Speaker 1>so much varied work because I'm so specific with my

0:47:31.400 --> 0:47:34.040
<v Speaker 1>music taste. I mean, my music tastes really narrow, and

0:47:34.080 --> 0:47:36.880
<v Speaker 1>it's really narrow, I mean for somebody that does what

0:47:36.960 --> 0:47:40.440
<v Speaker 1>I do. And I think that from a production perspective, obviously,

0:47:40.480 --> 0:47:43.320
<v Speaker 1>that's really important that you can kind of apply yourself

0:47:43.360 --> 0:47:47.400
<v Speaker 1>to many different musical guises and genres and stuff like that.

0:47:47.480 --> 0:47:50.320
<v Speaker 1>And I think, you know, I'd find it. There's nowhere

0:47:50.360 --> 0:47:52.560
<v Speaker 1>I'd be able to produce a band because I haven't

0:47:52.560 --> 0:47:54.920
<v Speaker 1>come from a band background, and producing a band is

0:47:56.160 --> 0:47:58.239
<v Speaker 1>is a whole different ballgame. You know, you need a

0:47:58.320 --> 0:48:00.640
<v Speaker 1>very certain type of studio. You need to have a

0:48:00.640 --> 0:48:02.839
<v Speaker 1>great engineer or you need to be one yourself who

0:48:02.880 --> 0:48:05.040
<v Speaker 1>knows how to record drums really well, Like I don't

0:48:05.040 --> 0:48:06.839
<v Speaker 1>know how to set up a mic, up a drum kit.

0:48:06.880 --> 0:48:08.279
<v Speaker 1>I'm not going to sit here and say how to

0:48:08.280 --> 0:48:10.520
<v Speaker 1>do that, because I don't I know how to produce

0:48:10.560 --> 0:48:14.080
<v Speaker 1>electronic records. I come from a dance music background when

0:48:14.080 --> 0:48:18.840
<v Speaker 1>it comes to production, or a pop electronic background. And actually,

0:48:19.480 --> 0:48:21.960
<v Speaker 1>if I look at the landscape today and I think

0:48:22.000 --> 0:48:25.439
<v Speaker 1>about bands that or acts that today, if I tried

0:48:25.480 --> 0:48:26.880
<v Speaker 1>to make a list in my head of acts that

0:48:26.920 --> 0:48:30.280
<v Speaker 1>I could produce, I struggle to think of one. And also,

0:48:30.360 --> 0:48:32.120
<v Speaker 1>I think that the ones that I'd like to produce

0:48:32.160 --> 0:48:35.879
<v Speaker 1>are already well beyond my well beyond my reaches as

0:48:35.920 --> 0:48:39.000
<v Speaker 1>a new producer. So it's difficult, but you never know

0:48:39.080 --> 0:48:41.840
<v Speaker 1>in the future that may open up. I don't know

0:48:49.600 --> 0:48:50.799
<v Speaker 3>Anyway, good Night,