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Speaker 1: Pushkin. Hey, y'all's justin Richmond. Today on the show, we

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Speaker 1: have twenty seven year old British singer songwriter Nilafer Yanja.

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Speaker 1: Nilafer Yanja is a West London native who comes from

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Speaker 1: a background as diverse as her city. All of that

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Speaker 1: finds its way into her music, overlaid with her rich voice.

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Speaker 1: After several years of hitting London small stages and open

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Speaker 1: mics with her guitar, Nillifer broke through in twenty sixteen

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Speaker 1: with a series of soulful indie poppy pas and singles

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Speaker 1: that started leading to some critical acclaim. I spoke with

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Speaker 1: Nilapher in April, just after her performance at the first

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Speaker 1: weekend of Coachella about the release of her second album, Painless.

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Speaker 1: The album's tracks, laden with electronic drums and rockets guitar,

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Speaker 1: play like a diary entry wrenched with heartbreak, loss and hope.

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Speaker 1: Painless follow Nilla Fer's debut album, Miss Universe, which also

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Speaker 1: hinted at her fascination with nineties alt rock melodies. On

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Speaker 1: today's episode, Nilafer shares the collaborative songwriting process she has

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Speaker 1: that created her new album with her producer Will Archer

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Speaker 1: and friend saxophonist and multi instrumentalist Jazzy Bobby. She also

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Speaker 1: talks about writing her first songs at ten years old

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Speaker 1: and about how she always dreamed of being a guitarist

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Speaker 1: in a band, not a solo act. This is broken

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Speaker 1: record liner notes for the digital age. I'm justin Richard.

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Speaker 1: Before we get to my conversation with Nila Freyanya, here's

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Speaker 1: a live performance of her song The Dealer with frequent

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Speaker 1: collaborator Jazzy Bobby. It's been baking on my mind. Oh

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Speaker 1: seems to lose me for the time, for count the

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Speaker 1: decision you are for You are someone to life and

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Speaker 1: smell like you to say, said speaking to the bone.

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Speaker 1: Can somebody see? Somebody says I might ends up be

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Speaker 1: all alone this smart bush, I need some time to

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Speaker 1: I can't, They says, I need to know that wh

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Speaker 1: umty the was the kind of pace she spakes your part, Baby,

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Speaker 1: it's me that stake that set apart. I should start.

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Speaker 1: Sh Goes can eat our set and stop, Patien star

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Speaker 1: shot Goes can eat our sight and stop. It's been

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Speaker 1: hing on my mind since I live all the time.

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Speaker 1: I gonna tell a decision who I phone. You are

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Speaker 1: someone to life? No nothing lost beving that do the

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Speaker 1: times come back soon? Somebody asks, I hope it's just

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Speaker 1: the summer time to call touch two. I need some

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Speaker 1: time to work out this sit I need to Nona

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Speaker 1: who Undy. What is the kind of patience takes your part? Baby?

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Speaker 1: It's need a stake. I sat part m patien sta.

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Speaker 1: She goes, can't eat on satin and stop patient STA.

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Speaker 1: She goes, can't eat on satin, stop patient stats. She goes,

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Speaker 1: can't eat on satin, stop patient stats. She goes. I

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Speaker 1: listened to say, known, got of so, baby, but sometime

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Speaker 1: to this is I need to know now what kind

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Speaker 1: of patience. I haven't had the chance to see you

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Speaker 1: live yet, Unfortunately, I want to correct that soon. So

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Speaker 1: that was my first time sort of seeing you, you know,

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Speaker 1: do something live. And the incredible thing I was realizing

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Speaker 1: as I was listening is as great as the songs are,

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Speaker 1: you know, in the way that they uniquely produced like

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Speaker 1: on the records, Like even these you know kind of

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Speaker 1: bare versions are just as good, like just in a

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Speaker 1: different way. I would miss the recorded version, but those

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Speaker 1: are so good. Thank you. I'm glad you think so.

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Speaker 1: You never know if you've gone like too far away

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Speaker 1: from the original version. Yeah, it's always fun to like, yeah,

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Speaker 1: things out and maybe wonder how you like write the

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Speaker 1: songs because they stand alone so well away from the production.

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Speaker 1: But then like on the recordings, there's so much production

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Speaker 1: going on, Like are you writing them with all of

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Speaker 1: that stuff in mind, all the stuff that ends up

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Speaker 1: on the record or did they sort of evolve into

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Speaker 1: what people here on the releases? I mean it depends,

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Speaker 1: Like broadly speaking, when I'm writing, there's not much production

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Speaker 1: involved at the early stages, like I'll just be playing

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Speaker 1: something on guitar or working something out and then taking

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Speaker 1: it to the studio and then working on it from there.

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Speaker 1: Once I kind of have the song. But for this record,

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Speaker 1: a lot of it was made like in the studio.

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Speaker 1: So I was working with my friend Will Archer, and

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Speaker 1: he had a lot of not like all the produced

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Speaker 1: kind of effects in there, but a lot of it

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Speaker 1: was kind of feeding the process as we went along.

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Speaker 1: Did you write a lot of it in studio? Yeah,

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Speaker 1: So he had a lot of the guitar parts this

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Speaker 1: record with like drums already in there or like effects

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Speaker 1: already in then I'd write over it, I guess. Was

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Speaker 1: that pretty different from Miss Universe, which was your first record,

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Speaker 1: the Miss Universe was it was another kind of experiment,

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Speaker 1: I guess because a lot of the songs were like

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Speaker 1: old songs I've been working on for a while, and

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Speaker 1: then some of them I was like writing in the studio.

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Speaker 1: At what point do you bring in like say Jazzy,

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Speaker 1: like you've written a song, yeah, you figure you wanted

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Speaker 1: on a record. At what point do you bring someone

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Speaker 1: like her into like work out parts, And you mean

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Speaker 1: like for like live shows or for I guess for

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Speaker 1: the records. For the songs, well, I mean Jazz wrote

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Speaker 1: a couple of songs together on this record, on the

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Speaker 1: new record, Like one of them was totally from scratch

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Speaker 1: and one of them was more like help me, I

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Speaker 1: need help. Yeah, I guess it depends. But when it

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Speaker 1: comes to like doing stuff live, like I'll take it

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Speaker 1: to my band, Jazzy's my band and kind of rearrange

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Speaker 1: the songs or like arrange the parts for like the

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Speaker 1: live shows. On the newest record, you're saying a lot

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Speaker 1: of it was written in studio, So how did that

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Speaker 1: work with Jazz your band? When I was working with

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Speaker 1: Jazz on our song together, we just lard from the

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Speaker 1: beginning together and we were writing it together and then

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Speaker 1: she recorded it and produced it as Belong with You.

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Speaker 1: Otherwise Jazz's not playing on the rest of the record,

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Speaker 1: so mean will on most of the songs we wrote

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Speaker 1: those together, recorded those I had. Ellis plays drums in

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Speaker 1: my bands, come in and we do some of the

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Speaker 1: drum parts, like we've already had the demo drums. Some

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Speaker 1: of them are good enough to like keep, and some

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Speaker 1: of them we were like, let's do live. Let's do

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Speaker 1: live versions of these, and some of them is like

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Speaker 1: a blend. Which ones did you end up keeping the

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Speaker 1: demo drums, like, Chase me, maybe demo drubs is the

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Speaker 1: right word, but like produced the first version of it. Yea, yeah,

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Speaker 1: Chase Me trying to think now stabilize as a blend

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Speaker 1: has like the drum machine and live drums. It's a

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Speaker 1: really cool drum party. Yeah, he's kind of He's always like,

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Speaker 1: why did I make this so hard when we're doing

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Speaker 1: it live? Maybe the rest of them of like blends

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Speaker 1: or we have live drums on that, and said, yeah,

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Speaker 1: speaking of like the kind of production on this record,

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Speaker 1: there's a part in the song Shameless, like maybe three

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Speaker 1: quarters the way through it sounds like maybe it was

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Speaker 1: a demo version of the song, which it's like you guy,

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Speaker 1: it goes into like another world. Yeah, it's like piano

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Speaker 1: and oboe, Yeah, some sort of ye clarinet. There we

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Speaker 1: go exactly. That was Will, Like I can't only speak

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Speaker 1: for him, so it felt like a very Will section

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Speaker 1: as well and Will part um and that song. I

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Speaker 1: was actually on the fence for a while, like, yeah,

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Speaker 1: kind of what's just how I felt about it, Like

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Speaker 1: something about it was almost too honest and like too

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Speaker 1: up front, and it's like I felt okay writing it,

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Speaker 1: but then when I was listening, like singing it, I

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Speaker 1: was like, I just don't know, but I love it now.

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Speaker 1: What was it about it that didn't feel right when

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Speaker 1: you're singing it? I think, um, the lyrics for me,

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Speaker 1: and like the melody and everything kind of felt on

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Speaker 1: the place two or Guy Got You Too Simple? It

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Speaker 1: just fit too well. Yeah. I feel like most people

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Speaker 1: would say, like if the lyrics and the vocal melody

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Speaker 1: like fit really well into the song, like that's that's

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Speaker 1: like a good match. I guess. So yeah, I guess

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Speaker 1: maybe it was like you know, when something falls into

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Speaker 1: place and then you kind of doubt yourself. You're like, well,

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Speaker 1: should it that have been so like easy got you?

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Speaker 1: Maybe not easier about have been a bit more of

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Speaker 1: a struggle. Yeah, well, I guess it was meant to be,

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Speaker 1: you know, yeah, not only like is the rhythm in

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Speaker 1: your music, but also there's like a dynamic, so many

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Speaker 1: of the songs sound equally kind of loud and raucous

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Speaker 1: and like quiet and beautiful at the same time, like

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Speaker 1: you're looking to fit opposites together. I guess, you know. Yeah, always,

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Speaker 1: I think, and it kind of takes me back to

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Speaker 1: how I used to write, when I was just like

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Speaker 1: always working by myself. A lot of times it kind

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Speaker 1: of be a challenge because you come up with one

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Speaker 1: part for a song and then I'm like, for the coolest,

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Speaker 1: I don't want to do the same, so I need

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Speaker 1: to come off other parts. You can't need to take

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Speaker 1: yourself into another like headspace, and I come up a

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Speaker 1: whole of a section and then go back to the

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Speaker 1: original things and just see if they fit and see

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Speaker 1: if it works together. But for me, that's how I

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Speaker 1: kept things interesting for myself. So I think maybe finding

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Speaker 1: ways to like keep that I don't know, I guess

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Speaker 1: that's always stayed with me, trying not to do something

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Speaker 1: that feels too obvious. But I think I'm learning that's

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Speaker 1: totally like what's obvious to me is different to you

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Speaker 1: kind of thing. So sometimes I felt like there's too

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Speaker 1: many different things going on in one song, so it's

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Speaker 1: like how to pull it back and how to simplify it. Yeah,

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Speaker 1: because even on I guess like Midnight Sun, you know,

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Speaker 1: like the ending you have like this, you know, crazy

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Speaker 1: distortion going. It's amazing Sacks, beautiful sweet sound in Sacks.

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Speaker 1: It makes me smile every time I hear it from

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Speaker 1: Jazzy and such a cool, interesting contract. It makes the

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Speaker 1: music such an interesting listen and just never know what's

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Speaker 1: happening next, keep you on your toes. It definitely keeps

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Speaker 1: me on myself. Yeah, I don't know. For me, that's

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Speaker 1: the point of kind of writing a song. It's like

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Speaker 1: just get bored up always, like if it always stays

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Speaker 1: the same, or just go well, it has to be

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Speaker 1: a really good reason why it's going to stay like that,

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Speaker 1: or just not trip you up, or I'll surprise you.

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Speaker 1: Maybe I'll get into that phase a got later. It

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Speaker 1: sounds like you you've kind of had that inclination from

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Speaker 1: the beginning. Even listening to like the EPs and stuff,

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Speaker 1: it sounds like that's kind of there. I feel like

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Speaker 1: the static maybe has changed a little bit, but it

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Speaker 1: sounds like that basic element of your music, the element

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Speaker 1: of surprise, has sort of always been there. Yeah. It

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Speaker 1: kind of creates like for me, like attention and like

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Speaker 1: a place to go to like a direction. Are there

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Speaker 1: other artists that you can think of that do that

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Speaker 1: in a way that's interesting to you? I mean I

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Speaker 1: say this one a lot, but like PJ. Harvey A

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Speaker 1: should do a cover of rid of Me at the

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Speaker 1: moment with jazz Um. It sounds really good. I think

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Speaker 1: that's a beautiful song. Thanks. I mean I didn't write it,

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Speaker 1: so I can't say thanks. Yeah, yeah, no, it's just

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Speaker 1: I find the way Harvey writes it's like kind of

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Speaker 1: does a lot of that, like tension pulling release and

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Speaker 1: like stripping things back and then kind of letting things go.

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Speaker 1: And like for that with that song as well, it's

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Speaker 1: like the guitar kind of has this really strong rhythm

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Speaker 1: and then the voice just does this like kind of

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Speaker 1: crazy thing. I was surprised that, you know, like a

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Speaker 1: while back. I found your cover of the Pixies song

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Speaker 1: Hey Yes. I was gonna say Pixies another band as

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Speaker 1: you were explaining the way PJ Harvey does. You know

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Speaker 1: her songs are sort of constructed, and I was like, wow,

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Speaker 1: it's kind of similar with even that song, like I didn't.

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Speaker 1: I was surprised you covered it. As you're explaining it,

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Speaker 1: it makes a lot of sense, like there's a super

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Speaker 1: strong melody, it's always going different places. That song, you know,

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Speaker 1: that was one of the first songs I heard and

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Speaker 1: I was like sixteen, and I was like, wow, like

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Speaker 1: this makes sense, Like it makes sense. I kind of

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Speaker 1: see what they're doing and I want to do the

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Speaker 1: same thing. Do you remember where you heard it first?

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Speaker 1: On YouTube? Just just I was like hor I was

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Speaker 1: on YouTube and I was like, actually, a guitar teacher

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Speaker 1: told me to listen to it. He was like, I

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Speaker 1: think you're kind of like this band. I was like, okay, cool,

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Speaker 1: so good. I remember I saw them you just got

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Speaker 1: downe playing Coachella. I remember the first time I went

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Speaker 1: to Coachella was like two thousand and four, fourteen. I

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Speaker 1: built it out telling my mom and I went out

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Speaker 1: through some friends and yeah, that was like their reunion show,

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Speaker 1: and I remember that. I just like fucking was the craziest,

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Speaker 1: Like just they're they're insane, They're amazing. Yeah, you know

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Speaker 1: that's all like as well, and the lyrics as well

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Speaker 1: as totally insane Blair, I have no idea to this

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Speaker 1: day with I almost and I don't want to. I don't.

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Speaker 1: I don't want to focus too much on what they are.

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Speaker 1: Some of the lyrics are scary and like, but some

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Speaker 1: of them makes sense, like, they makes sense some weird

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Speaker 1: abstract ways. It's a devil between us and hears in

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Speaker 1: the door. That makes a lot of sense. Yeah, I'm

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Speaker 1: glad to make sense. It doesn't make any sense, it doesn't.

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Speaker 1: It doesn't make immediate sense because each each line kind

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Speaker 1: of means its own thing. Yeah, and the feeling like

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Speaker 1: they wanted to vokes like them. It makes emotional sense

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Speaker 1: to me at least, Yeah, emotional sense. Logical sense, it

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Speaker 1: makes like and it might it might it might be

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Speaker 1: like a really great meaning but makes like logically I

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Speaker 1: don't know, but yeah, emotionally I'm like, yeah, it's a great,

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Speaker 1: such a good band. Did you find a lot of

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Speaker 1: bands through like YouTube and stuff? I think so yeah,

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Speaker 1: definitely it was a very good. It worked very well

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Speaker 1: for me. I still spend too much time on They're

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Speaker 1: going on YouTube bowls and like old old music that

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Speaker 1: is on there, and you're just like, what is this?

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Speaker 1: You know, it's really interesting visually as well. It's like

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Speaker 1: you all this different kind of information of like and

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Speaker 1: then you get the comment. It's just like wholes like

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Speaker 1: whole world. The comments are though, the comments make me,

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Speaker 1: you know, not really believe in humanity too much. Though, Yeah,

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Speaker 1: I mean I learned the hard way not to look

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Speaker 1: at video comments. Before we pause for a quick break,

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Speaker 1: let's hear Nilafer play her song Midnight Sun from her

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Speaker 1: new album Painless comment book The Things a sob man

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Speaker 1: to feel. Found myself a better do, so maybe be

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Speaker 1: better time this chouse you still like to say say,

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Speaker 1: say do this a job of riding and none snug talk,

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Speaker 1: can't keep my head, don't don't blood not tell me

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Speaker 1: pete and better I noticing blood and mos w left

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Speaker 1: my skin. The feelings of your conking God they can

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Speaker 1: justice anyway, So maybe be better. Don't chouse you still

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Speaker 1: like to say say sorry, I can do it a

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Speaker 1: job and now I SnO okay, can keep my head,

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Speaker 1: don't don't like and for no time, pardon I never

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Speaker 1: try explaining? Do you all? I say, con keep my

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Speaker 1: mouth shot this time still let to say say say

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Speaker 1: this raise by com face. Didn't I lose the sleeves?

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Speaker 1: Always I did it for you. I felt so short.

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Speaker 1: You're my best, my ship, you, my man. I so

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Speaker 1: always I did it for you. Remember every life, go

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Speaker 1: through it one more time, so showing me how to

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Speaker 1: speak through him, think me the spinning, do so but

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Speaker 1: to this joys you stop that so so sad? Do

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Speaker 1: it the job of a value, and no man slung? Okay,

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Speaker 1: can keep my eye supposed to low and they have

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Speaker 1: not to en and never try expanding. Do you hold

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Speaker 1: on sight? Can my hands up from it's still like

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Speaker 1: to say so sad? This rays bout figures I dins

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Speaker 1: best means always I did it for you. I felt

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Speaker 1: so short You're my best, my sheet, you, my men,

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Speaker 1: my son. Always I did it for you. I didn't

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Speaker 1: so short you might my sheet, my son. M We're

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Speaker 1: back with my conversation with Nila for Janya. When did

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Speaker 1: you first start writing songs? Probably I was quite young.

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Speaker 1: I had a like lots of notebooks. I was just

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Speaker 1: like write lyrics in like as poetry or as no

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Speaker 1: like as a song. But I didn't have like I

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Speaker 1: was just I either hadn't started learning guitar yet or

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Speaker 1: I didn't. I just imagined the parts and just heard

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Speaker 1: them in my head kind of thing. How old would

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Speaker 1: you ben ten? Like before I went to high school? Yeah,

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Speaker 1: I wasn't playing guitar then, so I was just kind

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Speaker 1: of writing songs where they weren't real songs. What inspired

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Speaker 1: you at tend to be writing songs? That's ambitious? I

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Speaker 1: just thought like bands were really cool. The idea of

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Speaker 1: a rock band was really cool, and I really wanted

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Speaker 1: to play guitar and being a band, I didn't want

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Speaker 1: to sing them. I just wanted to be a guitar player. Yeah,

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Speaker 1: playing guitar in the band. And then I thought, you know,

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Speaker 1: if you have a band, you have to write the songs.

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Speaker 1: So yeah, I was always interested in the songwriting. Is

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Speaker 1: there a band or a group of bands early on

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Speaker 1: that would have yeah, like Blink one A two, Yeah,

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Speaker 1: when I was younger, like, yeah, they're one of my favorites.

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Speaker 1: What you do is so far away from Yeah, I

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Speaker 1: came I think I've you know, changed since then, which

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Speaker 1: is good. Yeah, absolutely, But this is when I was like,

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Speaker 1: you know, nine, yeah, yeah, that's a good age to

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Speaker 1: be in the blink, that's that's the appropriate age. You know,

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Speaker 1: very catchy songs, you know. Yeah, and they He had

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Speaker 1: loads of good guitar parts and melodies. Just loved to

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Speaker 1: sound as a guitar. That's funny because I feel like

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Speaker 1: pop punk's an adjective that comes up when I'm reading

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Speaker 1: stuff about you. It's never occurred to me like when

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Speaker 1: I listened. I mean I was very young, so yeah, yeah, yeah,

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Speaker 1: and I understood. So if you start writing songs at ten,

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Speaker 1: but really with that like a melody, just sort of

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Speaker 1: writing words but imagining their songs, when do you get

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Speaker 1: a guitar? I started playing guitar maybe like eleven twelve,

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Speaker 1: just kind of like a messing around on it. First

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Speaker 1: at home. It was like some random guitar my granddad

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Speaker 1: had given my sister. I don't think he had all

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Speaker 1: the strings, and it was not very good, but it worked.

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Speaker 1: It worked, and I thought it sounded really good. And

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Speaker 1: then I started having some lessons. That's cool. Took her

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Speaker 1: from there. It was any of your family musically inclined. Yeah,

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Speaker 1: I would say everyone was kind of musically inclined. My uncle,

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Speaker 1: he's a producer and like musician writer, so he was

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Speaker 1: another guy who played guitar, played bass, made lots of music,

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Speaker 1: had a studio where at was the studio. He was

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Speaker 1: working in London for a while in like acting, and

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Speaker 1: then they moved like out to the countryside build his

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Speaker 1: own studio. Cool, did he anything? We would now? He

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Speaker 1: did a lot of like Spanish acts, Spanish pope or

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Speaker 1: Spanish pop rock, I guess. And then he was like

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Speaker 1: in some like britt funk bands when he was younger.

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Speaker 1: I don't know if there's anyone you would know, but

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Speaker 1: his name's Joe Stiff Dvornik. He who showed myself on guitar.

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Speaker 1: He would encourage me as well. And then my parents

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Speaker 1: are like visual assists. So my mum got me to

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Speaker 1: piano when I was younger because she loved piano. Started

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Speaker 1: doing that from like seven years old. Cool. My dad,

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Speaker 1: he's Turkish, so he loves taxis music. He was like

355
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Speaker 1: musically inclined because he'd always be playing the saz what's

356
00:23:57,796 --> 00:24:00,996
Speaker 1: the sas kind of a folk instrument like an ood

357
00:24:01,116 --> 00:24:05,036
Speaker 1: or something not too far away. Six strings, five groups

358
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Speaker 1: of strings, but they come in groups of like three,

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Speaker 1: so they're all tuned to like the same peg, so

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Speaker 1: it sounds like a double string guitar kind of. Yeah,

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00:24:13,756 --> 00:24:15,436
Speaker 1: it's a lot like has a lot of richer sound,

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Speaker 1: like thinner sound as well. Yeah, yeah, yeah, that's right.

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Speaker 1: Had did you appreciate the Turkish music you were hearing

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Speaker 1: grown up? I don't think I did when I was younger, Yeah,

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Speaker 1: because I didn't really get it because he played a

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Speaker 1: lot of like kind of classical traditional stuff and it

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Speaker 1: was a bit like my mom was really into like

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Speaker 1: getting into like Mozart, and I was like, you can

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Speaker 1: hear the melodies and you can understand that, but like

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Speaker 1: I didn't really like appreciate it. Very grateful to have headaches, fosed,

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Speaker 1: very cool. When did you start performing I started doing

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Speaker 1: like open mics just by myself. I just left school,

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Speaker 1: so maybe eighteen around that time, so within the last

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Speaker 1: ten years. Yeah, okay, what was it coming from like

375
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Speaker 1: just writing songs, you know, by yourself to performing them?

376
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Speaker 1: It was abstract, like it was totally weird. Like I

377
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Speaker 1: knew if I wanted to do music, I perhaps to

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Speaker 1: kind of get used to the idea of performing. So

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Speaker 1: I was really pushing myself to just get good at it,

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Speaker 1: I guess, and feel comfortable with it. But it was

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Speaker 1: really strange because like you write something you're playing at home,

382
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Speaker 1: you're singing at home, or like even like recording like demos. Yeah,

383
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Speaker 1: oh it sounds so different to how I imagine it?

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Speaker 1: Why is that? And then you play it on stage

385
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Speaker 1: and like it sounds so different power imagine it? Had

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Speaker 1: you been recording demos at that point, Yeah, I've done

387
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Speaker 1: a few demos at school with my friends for music class,

388
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Speaker 1: I guess as well. And then I did record a

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Speaker 1: song on my uncle studio as well. Yeah that was cool.

390
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Speaker 1: Did it ever come out or now it was on

391
00:25:47,636 --> 00:25:53,556
Speaker 1: YouTube for a long time a video as well. Yeah, yeah,

392
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Speaker 1: I'd love to hear that. Oh my god. No, did

393
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Speaker 1: performing then? Did it change the way you wrote after that?

394
00:25:59,836 --> 00:26:02,156
Speaker 1: I think so a little bit. Yeah, because in my head,

395
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Speaker 1: I guess I was always writing for like an imaginary band,

396
00:26:06,436 --> 00:26:08,916
Speaker 1: so like the guitar parts I wrote were like more

397
00:26:08,956 --> 00:26:11,556
Speaker 1: like little riff, and then when I was on stage,

398
00:26:11,556 --> 00:26:13,036
Speaker 1: I was like, oh my god, like how is this?

399
00:26:13,396 --> 00:26:15,676
Speaker 1: It's kind of hard to sometimes it doesn't have all

400
00:26:15,716 --> 00:26:18,996
Speaker 1: the components of like rhythm like too strongly in there.

401
00:26:19,076 --> 00:26:22,156
Speaker 1: So kind of building an accompaniment for the voice is

402
00:26:22,236 --> 00:26:25,316
Speaker 1: different for like building parts of the guitar. Yeah, so

403
00:26:25,876 --> 00:26:27,436
Speaker 1: I don't know if it changed it too much. I

404
00:26:27,476 --> 00:26:30,476
Speaker 1: was kind of aware of it. Probably definitely allf we

405
00:26:30,596 --> 00:26:33,556
Speaker 1: did this is the process you countar playing super rhythmic.

406
00:26:33,836 --> 00:26:35,756
Speaker 1: Thank you. I feel like I can hear the drum

407
00:26:35,796 --> 00:26:38,556
Speaker 1: parts even if there's no drums. You know, when did

408
00:26:38,556 --> 00:26:40,396
Speaker 1: you give up on the band dream, like just being

409
00:26:40,396 --> 00:26:43,796
Speaker 1: a guitarist. No, I did have some bonds at school. Yeah.

410
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Speaker 1: At the beginning, I was like, no, I'm not saying

411
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Speaker 1: not singing, And then when I got a bit older,

412
00:26:47,836 --> 00:26:50,076
Speaker 1: I was like, that my song, so I have to

413
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Speaker 1: sing that. And you met Jazzy who played sax for

414
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Speaker 1: us here at school? Right? Yeah? We met on music tour?

415
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Speaker 1: What is that? What's on? What's music tour? Our school

416
00:27:02,436 --> 00:27:05,236
Speaker 1: had a really cool music department, And I think it

417
00:27:05,276 --> 00:27:07,916
Speaker 1: was when I was thirteen, Me and Jazz became friends

418
00:27:07,916 --> 00:27:10,676
Speaker 1: because we were sharing her toe over What did you

419
00:27:10,716 --> 00:27:14,196
Speaker 1: guys bond over? I think just the experience, I guess,

420
00:27:14,276 --> 00:27:18,116
Speaker 1: I like, yeah, we were in Prague, so you're performing

421
00:27:18,156 --> 00:27:20,796
Speaker 1: these songs and you're writing songs. Not all that long ago,

422
00:27:20,836 --> 00:27:24,036
Speaker 1: eight nine years ago? When did it happen that you

423
00:27:24,156 --> 00:27:27,796
Speaker 1: got signed and were able to record your first record?

424
00:27:28,476 --> 00:27:33,716
Speaker 1: So I got signed to my label. I want to say,

425
00:27:33,756 --> 00:27:38,996
Speaker 1: like twenty seventeen eighteen, How did that come about? I

426
00:27:39,076 --> 00:27:42,436
Speaker 1: was releasing EPs up until that point with another label,

427
00:27:42,596 --> 00:27:45,516
Speaker 1: but it wasn't like like a steal. You were just

428
00:27:45,556 --> 00:27:47,796
Speaker 1: part of like more of a collective. Yeah, it was

429
00:27:47,876 --> 00:27:50,596
Speaker 1: more a bit more relaxed, but we were releasing EPs

430
00:27:50,636 --> 00:27:52,996
Speaker 1: and that was really fun. I was like things start

431
00:27:53,036 --> 00:27:55,516
Speaker 1: to think about, like okay, album next, like how do

432
00:27:55,676 --> 00:27:57,156
Speaker 1: how do I want to do this? Because should I

433
00:27:57,156 --> 00:28:00,076
Speaker 1: work with? I was trying to find new labels or

434
00:28:00,116 --> 00:28:02,756
Speaker 1: find different labels for me. The EP part was like

435
00:28:02,796 --> 00:28:06,516
Speaker 1: really exciting because it's like to get from like having

436
00:28:07,036 --> 00:28:10,596
Speaker 1: no kind of connections to releasing music physically like vinyls

437
00:28:10,596 --> 00:28:13,436
Speaker 1: as well. That felt like a big jump. But I

438
00:28:13,476 --> 00:28:15,156
Speaker 1: go from the EPC the album kind of made more

439
00:28:15,156 --> 00:28:17,236
Speaker 1: sense because it's like I kind of already had a

440
00:28:17,236 --> 00:28:19,876
Speaker 1: manager in place, already had kind of connections and people

441
00:28:19,916 --> 00:28:22,716
Speaker 1: helping me. Yeah, but I think before that, getting to

442
00:28:22,716 --> 00:28:24,636
Speaker 1: the EP stage, it was like, how am I going

443
00:28:24,676 --> 00:28:27,756
Speaker 1: to do this? Yeah? Right, this is really hard? Interesting?

444
00:28:27,996 --> 00:28:32,236
Speaker 1: Yeah where did you record those EPs? In London? Yeah? Against,

445
00:28:32,476 --> 00:28:34,516
Speaker 1: but like at home or in a studio with different

446
00:28:35,156 --> 00:28:37,076
Speaker 1: producers that I was working with at the time. I

447
00:28:37,116 --> 00:28:40,316
Speaker 1: hadn't like found like one person. I was like, this

448
00:28:40,396 --> 00:28:43,196
Speaker 1: is person, Like we're going to make all the music together.

449
00:28:43,636 --> 00:28:46,196
Speaker 1: It was I was kind of like China, different engineers,

450
00:28:46,236 --> 00:28:49,956
Speaker 1: different producers, making a lot of demos. We'll be right

451
00:28:49,956 --> 00:28:52,876
Speaker 1: back with more from Nilla for Yanja after a quick break.

452
00:28:57,516 --> 00:28:59,596
Speaker 1: Before we get back to the rest of my conversation

453
00:28:59,676 --> 00:29:02,796
Speaker 1: with Nilla for Yanya, let's hear a live performance of

454
00:29:02,836 --> 00:29:22,796
Speaker 1: one of her newest songs, Chase men feel that need

455
00:29:23,036 --> 00:29:29,316
Speaker 1: no more chases. Let me make hathway to Hugh Babies,

456
00:29:29,396 --> 00:29:36,196
Speaker 1: no fan Amon anymore spaces are gonna make haathway to you,

457
00:29:36,636 --> 00:29:42,236
Speaker 1: baby slump my stock goados head a room, chase me

458
00:29:43,836 --> 00:29:49,956
Speaker 1: you who babies, Peanut wid you baby all go sazy

459
00:29:50,436 --> 00:29:55,356
Speaker 1: crazy hazy. And I can make no friends because I

460
00:29:55,676 --> 00:29:59,436
Speaker 1: can make no sence because I can't. Baby ten feels

461
00:29:59,596 --> 00:30:05,476
Speaker 1: like so bad calming and feels like soul that scarring.

462
00:30:06,836 --> 00:30:11,916
Speaker 1: It feels like sol and gol and he's like con

463
00:30:12,036 --> 00:30:19,276
Speaker 1: said son as Bison's bad drug, and he's like the

464
00:30:19,436 --> 00:30:29,396
Speaker 1: concert song, it's not flooding chases name you make hath

465
00:30:29,516 --> 00:30:35,676
Speaker 1: flay to you, who baby is not fan anymore? Spaces

466
00:30:35,756 --> 00:30:40,076
Speaker 1: aver make hath fay to you baby snow my stock

467
00:30:41,996 --> 00:30:47,796
Speaker 1: goados he over chase me you babies mean, ain't why

468
00:30:49,716 --> 00:30:56,236
Speaker 1: you baby all go sazing hazy hazy, SnO the way

469
00:30:56,356 --> 00:30:59,356
Speaker 1: you ain't in snow the way you said it's snow

470
00:30:59,636 --> 00:31:04,556
Speaker 1: the way we man feels like so bad calling and

471
00:31:05,036 --> 00:31:12,316
Speaker 1: feels like so that starving. It's like solid girl, and

472
00:31:12,796 --> 00:31:17,956
Speaker 1: it was like Co sad song as this stands hard

473
00:31:18,196 --> 00:31:25,596
Speaker 1: a job and it was like Co sad song, It's

474
00:31:25,676 --> 00:31:31,916
Speaker 1: nothing that need no more chases lending make half way

475
00:31:32,236 --> 00:31:37,916
Speaker 1: to you, who babies fan on on anymore? Spaces of

476
00:31:38,076 --> 00:31:42,156
Speaker 1: the me half way to you babies not my song

477
00:31:43,836 --> 00:31:48,076
Speaker 1: to go ridos in a will chase me to you?

478
00:31:48,196 --> 00:31:53,236
Speaker 1: Who babies mean? Ain't white to you baby? Oh go

479
00:31:53,596 --> 00:32:01,276
Speaker 1: sazy hazy hazy Ti too long time, too love Time

480
00:32:01,436 --> 00:32:09,836
Speaker 1: Too long, sister of T too Love TI Too love Long,

481
00:32:32,676 --> 00:32:34,596
Speaker 1: tell me at a little bit about how could ravel went.

482
00:32:34,636 --> 00:32:36,996
Speaker 1: That's kind of a pretty big gig, right, it was interesting,

483
00:32:37,356 --> 00:32:40,516
Speaker 1: a lot of traveling, and then the changeover is like

484
00:32:40,556 --> 00:32:43,316
Speaker 1: really quick, so lots of things went wrong in that changeover,

485
00:32:43,716 --> 00:32:46,876
Speaker 1: had to cut a song, like just things aren't working

486
00:32:47,156 --> 00:32:50,556
Speaker 1: because it was like first gig the tour, so those

487
00:32:50,636 --> 00:32:52,436
Speaker 1: things are going to go wrong, but we pulled off,

488
00:32:52,476 --> 00:32:54,756
Speaker 1: I think yeah, and I had fun and like the

489
00:32:54,836 --> 00:32:57,036
Speaker 1: crowd was nice. It was just like it was a

490
00:32:57,116 --> 00:33:00,756
Speaker 1: quite overwhelming experience. You mean you've done other festival dates. Ye,

491
00:33:00,916 --> 00:33:02,876
Speaker 1: did it feel different? The last thing we did was

492
00:33:02,956 --> 00:33:06,356
Speaker 1: like a EU and UK tour. To change from that

493
00:33:06,476 --> 00:33:09,676
Speaker 1: to like just straight at festival, everything's a mess. Yeah,

494
00:33:09,796 --> 00:33:12,476
Speaker 1: it's totally kind of different. I was like, oh, I

495
00:33:12,596 --> 00:33:15,796
Speaker 1: can't hear anything. It's kind of what festivals are like

496
00:33:15,956 --> 00:33:19,716
Speaker 1: generally kind of chaotic mess, very chaotic, And yeah, the

497
00:33:19,756 --> 00:33:22,676
Speaker 1: Cloud seems to enjoy it, so I can't really complain.

498
00:33:22,756 --> 00:33:26,356
Speaker 1: I guess following you on Instagram and search, seems like

499
00:33:26,476 --> 00:33:29,236
Speaker 1: you travel quite a bit, and I'm curious, like what,

500
00:33:29,876 --> 00:33:32,636
Speaker 1: like how travel either just informs you as a person

501
00:33:32,756 --> 00:33:35,956
Speaker 1: and maybe also informs your music if it are like

502
00:33:36,036 --> 00:33:38,276
Speaker 1: it seems like it's an important part of your life, right, yeah,

503
00:33:38,356 --> 00:33:42,996
Speaker 1: I would say, I mean definitely with music, like being

504
00:33:43,036 --> 00:33:46,236
Speaker 1: able to travel and play shows in different places, especially

505
00:33:46,356 --> 00:33:48,556
Speaker 1: like during the pandemic, Like I kind of realized how

506
00:33:48,636 --> 00:33:50,276
Speaker 1: massive that is of a privilege to be able to

507
00:33:50,356 --> 00:33:53,036
Speaker 1: do that. Not everyone gets to travel, and not everyone

508
00:33:53,076 --> 00:33:55,676
Speaker 1: gets to travel because of the job or the music,

509
00:33:55,756 --> 00:33:58,596
Speaker 1: So it feels it's really amazing when those two things

510
00:33:58,676 --> 00:34:01,116
Speaker 1: come together. I just never want to take that for granted,

511
00:34:01,116 --> 00:34:03,716
Speaker 1: I guess, and then it's just a I just think

512
00:34:03,756 --> 00:34:05,396
Speaker 1: it's a great thing to be able to do, like

513
00:34:05,476 --> 00:34:09,476
Speaker 1: when you can have family in different places. So also

514
00:34:09,556 --> 00:34:12,636
Speaker 1: feels a bit like necessity. I guess that that old

515
00:34:12,676 --> 00:34:14,956
Speaker 1: saying that people say about boiling your mind, it really does,

516
00:34:15,396 --> 00:34:19,676
Speaker 1: because it physically you take yourself out of your everyday environment.

517
00:34:19,836 --> 00:34:22,476
Speaker 1: And then when your song totally different, you can't think

518
00:34:22,516 --> 00:34:25,036
Speaker 1: about normal things because you're just so like caught up

519
00:34:25,076 --> 00:34:27,356
Speaker 1: in the moment of oh, how do I do this?

520
00:34:27,516 --> 00:34:29,556
Speaker 1: Or where do I go? Or like how does this work?

521
00:34:29,716 --> 00:34:32,756
Speaker 1: You're always having to improvise. Where's your family at. I

522
00:34:32,836 --> 00:34:35,196
Speaker 1: have some family in Turkey. I haven't seen them in

523
00:34:35,196 --> 00:34:37,716
Speaker 1: a while, so I'd like to do that next. My

524
00:34:37,876 --> 00:34:42,236
Speaker 1: mom's from Barbados and Island, so I have plans to

525
00:34:42,316 --> 00:34:46,836
Speaker 1: go talk the Caribbean soon. Yeah. We still go to

526
00:34:46,876 --> 00:34:49,196
Speaker 1: Island quite a bit when I was younger. I think, yeah,

527
00:34:49,236 --> 00:34:51,196
Speaker 1: everyone in my family kind of likes moving as well,

528
00:34:51,236 --> 00:34:54,036
Speaker 1: so really yeah, kind of not moving like physical like

529
00:34:54,156 --> 00:34:58,196
Speaker 1: moving house, but just movement, being on the move. Yeah. Yeah, yeah.

530
00:34:58,596 --> 00:35:00,356
Speaker 1: Most of my immediate family, they all live in London.

531
00:35:00,716 --> 00:35:03,876
Speaker 1: Did you feel like steeped in all the various cultures

532
00:35:03,876 --> 00:35:05,436
Speaker 1: growing up? But did you just feel did you just

533
00:35:05,516 --> 00:35:10,116
Speaker 1: feel English? It's interesting, Yeah, I don't really, It's kind

534
00:35:10,116 --> 00:35:12,156
Speaker 1: of hard to remember. I guess exactly what you feel like.

535
00:35:12,676 --> 00:35:16,036
Speaker 1: But I was aware of like these two very different

536
00:35:16,076 --> 00:35:20,156
Speaker 1: things happening in my family, and like two different kind

537
00:35:20,156 --> 00:35:22,836
Speaker 1: of sides. I guess to it because like my mum's side,

538
00:35:23,076 --> 00:35:25,596
Speaker 1: she grew up in London, so I think she very

539
00:35:25,676 --> 00:35:28,676
Speaker 1: much has that identity. And my dad came from Estanbul

540
00:35:28,756 --> 00:35:30,876
Speaker 1: and like very much carries that identity with him. So

541
00:35:31,516 --> 00:35:33,956
Speaker 1: on one side, my mom family was Catholic and my

542
00:35:34,076 --> 00:35:36,756
Speaker 1: dad's Muslim. Those two things alone are like this is

543
00:35:36,876 --> 00:35:38,836
Speaker 1: very different, and you kind of sense that growing up.

544
00:35:38,876 --> 00:35:40,756
Speaker 1: But I think the beauty of like growing up in

545
00:35:40,796 --> 00:35:44,236
Speaker 1: London is that everyone comes from different places, so you

546
00:35:44,316 --> 00:35:47,396
Speaker 1: don't feel like you have to be you have to

547
00:35:47,596 --> 00:35:50,596
Speaker 1: kind of be one thing, right, Yeah, I'm very grateful

548
00:35:50,636 --> 00:35:54,396
Speaker 1: for that. You can embrace the Yeah, you can embrace

549
00:35:54,436 --> 00:35:57,556
Speaker 1: the class definitely have to try to anyway. So that's

550
00:35:57,596 --> 00:36:00,516
Speaker 1: fascinating me. That's really that's wildly different. It's like wildly

551
00:36:00,596 --> 00:36:02,996
Speaker 1: different just day to day, like the way as a

552
00:36:03,076 --> 00:36:05,956
Speaker 1: Muslim and as a just like things like Christmas. I

553
00:36:06,116 --> 00:36:10,636
Speaker 1: was always like, oh, um, like does that work? Well?

554
00:36:10,716 --> 00:36:12,716
Speaker 1: My dad would always go to Turkey to see his

555
00:36:12,796 --> 00:36:15,316
Speaker 1: family then because he was teaching as well, so he

556
00:36:15,516 --> 00:36:19,596
Speaker 1: had like time off when they were holidays in the UK,

557
00:36:19,996 --> 00:36:23,476
Speaker 1: so he's always goes to his family and then yeah,

558
00:36:23,516 --> 00:36:26,356
Speaker 1: it's beaut with my mum's family. But Christmas and that, No,

559
00:36:26,556 --> 00:36:28,876
Speaker 1: I still love Christmas, but it's like that you get

560
00:36:28,916 --> 00:36:30,796
Speaker 1: that sense like oh, I'm not meant to, I'm not

561
00:36:30,836 --> 00:36:34,316
Speaker 1: supposed to or this isn't really my culture, but it

562
00:36:34,436 --> 00:36:36,476
Speaker 1: is at the same time. So as you do get all,

563
00:36:36,516 --> 00:36:38,996
Speaker 1: do you realize like there is an individual self? Yeah,

564
00:36:39,316 --> 00:36:42,156
Speaker 1: that exists alongside those things. I'm next to it, but

565
00:36:42,276 --> 00:36:44,996
Speaker 1: I'm not necessarily you know, it doesn't dictate everything in

566
00:36:45,076 --> 00:36:46,756
Speaker 1: my life. Yeah, And I think that's where music that

567
00:36:46,836 --> 00:36:48,756
Speaker 1: always helped me stay kind of saying because it's like

568
00:36:48,916 --> 00:36:50,876
Speaker 1: that's my own thing kind of just for me in

569
00:36:50,956 --> 00:36:53,636
Speaker 1: a way, and it's always helped me understand or even

570
00:36:53,676 --> 00:36:55,356
Speaker 1: like pushed me to do things I wouldn't do or

571
00:36:55,396 --> 00:36:57,116
Speaker 1: like kind of just grow. But it doesn't have to

572
00:36:57,156 --> 00:37:00,476
Speaker 1: connect with your like where you come from, like your culture,

573
00:37:00,516 --> 00:37:03,516
Speaker 1: identities or religion. Like it doesn't have to do it.

574
00:37:03,556 --> 00:37:05,396
Speaker 1: It doesn't have to connect those things unless you want

575
00:37:05,396 --> 00:37:07,876
Speaker 1: it to. Writing music always felt like I didn't have

576
00:37:08,036 --> 00:37:10,316
Speaker 1: to do that. I mean, like no one asked me

577
00:37:10,356 --> 00:37:11,436
Speaker 1: to do, you know what I mean. It's like I

578
00:37:11,556 --> 00:37:14,276
Speaker 1: just I just enjoyed it and I thought it was

579
00:37:14,356 --> 00:37:16,556
Speaker 1: fun and like I knew it's what I wanted to do.

580
00:37:17,076 --> 00:37:19,436
Speaker 1: It didn't really make sense to like anyone else. I

581
00:37:19,516 --> 00:37:23,476
Speaker 1: think it was kind of like just not my own thing. Yeah,

582
00:37:23,556 --> 00:37:25,076
Speaker 1: Like for a while, I was like stuck between like,

583
00:37:25,116 --> 00:37:27,836
Speaker 1: oh music a lot, like what should I do like UNI,

584
00:37:27,996 --> 00:37:31,276
Speaker 1: or like what should I study? It's really ambitious to

585
00:37:31,436 --> 00:37:34,636
Speaker 1: be like ten, and like I loved music when I

586
00:37:34,716 --> 00:37:37,916
Speaker 1: was ten, but I was not writing you know songs,

587
00:37:37,956 --> 00:37:39,676
Speaker 1: are attempting to write songs when I was ten and

588
00:37:39,716 --> 00:37:41,476
Speaker 1: then like to like you know, by the time you're

589
00:37:41,556 --> 00:37:43,796
Speaker 1: sixteen seventeen, you're out performing and like you're like, this

590
00:37:43,916 --> 00:37:45,876
Speaker 1: is what I want to do and this is my thing.

591
00:37:45,996 --> 00:37:49,956
Speaker 1: Like that's a really I don't know, evolved like way

592
00:37:50,036 --> 00:37:53,036
Speaker 1: to approach something that you enjoy. You know, most people

593
00:37:53,116 --> 00:37:55,436
Speaker 1: enjoy things like they just participate at the fan level

594
00:37:55,476 --> 00:37:56,996
Speaker 1: and you're like, you know, I don't know necessarily how

595
00:37:57,156 --> 00:37:59,436
Speaker 1: or but I'm gonna make this. I'm gonna do it.

596
00:37:59,636 --> 00:38:01,876
Speaker 1: That's what's interesting about kids. I guess it's like how

597
00:38:01,916 --> 00:38:04,756
Speaker 1: did they come up with these ideas? Like it's still

598
00:38:04,956 --> 00:38:07,756
Speaker 1: perplexed by Yeah, I guess I just felt like I

599
00:38:07,796 --> 00:38:09,836
Speaker 1: had to do it. I think. Also, and like Nope,

600
00:38:09,876 --> 00:38:11,716
Speaker 1: when I kind of was getting like growing up, I

601
00:38:11,796 --> 00:38:13,996
Speaker 1: was quite like shying resolved. So it's like I still

602
00:38:14,036 --> 00:38:16,396
Speaker 1: am like that I knew like if I didn't do it,

603
00:38:16,476 --> 00:38:18,276
Speaker 1: I was never going to do it, kind of thing

604
00:38:18,836 --> 00:38:20,796
Speaker 1: like if you if you just didn't jump. Yeah, if

605
00:38:20,836 --> 00:38:22,836
Speaker 1: I didn't make myself do it, then I might not

606
00:38:22,956 --> 00:38:24,596
Speaker 1: ever do it. I was quite like catalo of that

607
00:38:24,756 --> 00:38:27,796
Speaker 1: kind of natural like desire to like want to please people,

608
00:38:28,036 --> 00:38:29,476
Speaker 1: I think, But I was also kind of aware of

609
00:38:29,716 --> 00:38:33,596
Speaker 1: like maybe like what I actually wanted to do for myself.

610
00:38:34,156 --> 00:38:37,716
Speaker 1: So it's like I could always do things that people

611
00:38:37,756 --> 00:38:39,076
Speaker 1: tell you to do, but then you can also just

612
00:38:39,796 --> 00:38:42,756
Speaker 1: also do your own saying. So music was like subtle

613
00:38:42,796 --> 00:38:46,836
Speaker 1: way of rebellion A yea yeah, people pleasing tendency, and

614
00:38:46,956 --> 00:38:48,836
Speaker 1: then you felt like if you didn't jump right in

615
00:38:49,036 --> 00:38:51,036
Speaker 1: and like put yourself to do shows, which you might

616
00:38:51,196 --> 00:38:53,316
Speaker 1: feel like you're otherwise too shy to do, like you

617
00:38:53,596 --> 00:38:55,636
Speaker 1: maybe would lose all of it. Like maybe you wouldn't

618
00:38:55,836 --> 00:38:58,036
Speaker 1: just write songs by yourself. Who knows what you would

619
00:38:58,076 --> 00:39:01,436
Speaker 1: miss out on? Right? Yeah? Do you think you would

620
00:39:01,436 --> 00:39:04,316
Speaker 1: have kept writing just kind of personally, like as a

621
00:39:04,996 --> 00:39:07,796
Speaker 1: hobby or just for a personal fulfillment if you hadn't

622
00:39:07,956 --> 00:39:10,436
Speaker 1: pursued it a professional Yeah, And I kind of wonder

623
00:39:10,516 --> 00:39:12,276
Speaker 1: like that would kind of also be interesting because maybe

624
00:39:12,276 --> 00:39:15,356
Speaker 1: I'd be better something else. Maybe I'd be good at

625
00:39:15,396 --> 00:39:17,396
Speaker 1: doing two things. What do you think it would be?

626
00:39:17,836 --> 00:39:20,596
Speaker 1: I don't know, like what if I was like writing

627
00:39:20,636 --> 00:39:23,596
Speaker 1: books or maybe my songwriting would have evolved just differently,

628
00:39:24,196 --> 00:39:25,716
Speaker 1: Like I don't know why I felt the rush in

629
00:39:25,756 --> 00:39:27,956
Speaker 1: the panic. Yeah, yeah, to do it, Like I could

630
00:39:27,996 --> 00:39:31,756
Speaker 1: have just taken my time. It's impressive though, it's really impressive. Okay,

631
00:39:31,876 --> 00:39:34,596
Speaker 1: So do you still feel a certain amount of innate

632
00:39:35,276 --> 00:39:37,716
Speaker 1: pressure on yourself or like like you're in a bit

633
00:39:37,756 --> 00:39:40,316
Speaker 1: of a hurry to do things, like you feel like

634
00:39:40,356 --> 00:39:41,796
Speaker 1: you got to keep moving or else or are you

635
00:39:41,836 --> 00:39:44,316
Speaker 1: going to stall? Yes? Yeah, And I'm trying to like

636
00:39:44,396 --> 00:39:46,716
Speaker 1: tell myself like it doesn't it's not real. That's just

637
00:39:46,996 --> 00:39:49,756
Speaker 1: what's in my head. Like you can stall or you

638
00:39:49,796 --> 00:39:57,156
Speaker 1: can't stop, you can break relax, yeah, just relaxing. Yeah,

639
00:39:57,436 --> 00:40:00,436
Speaker 1: And like, um, I always aim to like work more slowly.

640
00:40:01,196 --> 00:40:03,756
Speaker 1: That's like my current aim, like all the time, take

641
00:40:03,876 --> 00:40:06,876
Speaker 1: more time, make it slow, like don't rush it. Yeah,

642
00:40:07,436 --> 00:40:10,876
Speaker 1: are you making stuff now? His writing? I'm not really

643
00:40:10,996 --> 00:40:13,996
Speaker 1: writing at the moment. I keep having like weird dreams

644
00:40:14,036 --> 00:40:17,196
Speaker 1: where I'm like buying songs Like I'm like like I've

645
00:40:17,236 --> 00:40:19,916
Speaker 1: never really done that before, like written something that I've

646
00:40:19,956 --> 00:40:22,276
Speaker 1: heard in a dream. But like I've been trying to

647
00:40:22,316 --> 00:40:24,716
Speaker 1: because I keep hearing stuff. Oh you gotta you gotta

648
00:40:24,716 --> 00:40:26,636
Speaker 1: take it down. Yeah. But it's like you know when

649
00:40:26,636 --> 00:40:29,356
Speaker 1: you work up your voices, like yeah, you're like recording

650
00:40:29,476 --> 00:40:35,756
Speaker 1: to your fine like it's always sounded this morning. I

651
00:40:35,756 --> 00:40:38,876
Speaker 1: always I always think of um like Satisfaction was written

652
00:40:38,876 --> 00:40:40,756
Speaker 1: that way. I read in the bo Keith Richards was

653
00:40:40,836 --> 00:40:45,876
Speaker 1: like asleep, like dead asleep and like dreamt like of

654
00:40:45,996 --> 00:40:47,676
Speaker 1: the song and then like woke up and was like,

655
00:40:47,756 --> 00:40:50,476
Speaker 1: oh fucking like grab your recorder and like just like

656
00:40:50,596 --> 00:40:55,156
Speaker 1: bump bump blah blah bamah. I was like, fuck. I

657
00:40:55,236 --> 00:40:58,276
Speaker 1: imagine if Keith Richards didn't stumble out of bed from

658
00:40:58,276 --> 00:41:01,036
Speaker 1: some in some hotel room, you know, probably you know,

659
00:41:02,316 --> 00:41:05,956
Speaker 1: fucked up and record that, Like god damn, we wouldn't

660
00:41:05,956 --> 00:41:07,996
Speaker 1: have that song. It kind of comes from the same

661
00:41:08,076 --> 00:41:10,676
Speaker 1: kind of place. It's like distinctive kind of melody and

662
00:41:10,756 --> 00:41:13,356
Speaker 1: just idea. So it's like when you're a sleeper week

663
00:41:13,356 --> 00:41:15,916
Speaker 1: it doesn't even make a difference. Yeah, I mean it's

664
00:41:15,956 --> 00:41:20,196
Speaker 1: all I'm sure equally good and equally bad ideas. Yeah, yeah, exactly, Yeah,

665
00:41:20,676 --> 00:41:22,956
Speaker 1: coming you're sleep, you know, and out of sleep. Yeah,

666
00:41:23,476 --> 00:41:25,756
Speaker 1: it's definitely that place where you're you're you're turned off

667
00:41:25,796 --> 00:41:27,636
Speaker 1: to the conscious mind. Yeah, it kind of makes more

668
00:41:27,636 --> 00:41:29,876
Speaker 1: sense of your dreaming. Yeah, when people are like it

669
00:41:29,956 --> 00:41:31,836
Speaker 1: just appeared, it's just from the star, it's like, how

670
00:41:33,316 --> 00:41:34,916
Speaker 1: I feel like, maybe you got to sleep with the recorder.

671
00:41:34,916 --> 00:41:36,636
Speaker 1: I mean you have your phone. Yeah, you got to

672
00:41:36,676 --> 00:41:39,876
Speaker 1: just do it. Yes, true? Cool. Well, thank you for

673
00:41:40,316 --> 00:41:43,036
Speaker 1: taking the time to play some stuff. Thank you, there's

674
00:41:43,036 --> 00:41:47,956
Speaker 1: a real pleasure. Yeah, catch you next time. Thanks to

675
00:41:48,036 --> 00:41:50,636
Speaker 1: Nila for Yanya for coming on Broken Record to talk

676
00:41:50,636 --> 00:41:54,756
Speaker 1: about her life, career and her latest album. You can

677
00:41:54,796 --> 00:41:57,076
Speaker 1: hear all of our favorite Nilla for Yanya songs on

678
00:41:57,196 --> 00:42:00,876
Speaker 1: a playlist at broken Record podcast dot com. Be sure

679
00:42:00,876 --> 00:42:03,516
Speaker 1: to subscribe to our YouTube channel at YouTube dot com

680
00:42:03,676 --> 00:42:06,916
Speaker 1: slash Broken Record Podcast, where you can find all of

681
00:42:06,956 --> 00:42:10,036
Speaker 1: our new episodes. You can allow us on Twitter at

682
00:42:10,116 --> 00:42:13,196
Speaker 1: broken Record. Broken Record is produced with help from Lea Rose,

683
00:42:13,396 --> 00:42:18,036
Speaker 1: Jason Gambrel, Bentaladay, Eric Sandler, and Jennifer Sanchez, with engineering

684
00:42:18,116 --> 00:42:21,756
Speaker 1: help from Nick Chaffey. Our executive producer is Mia Lavell.

685
00:42:22,596 --> 00:42:25,756
Speaker 1: Broken Record is a production of Pushkin Industries. If you

686
00:42:25,836 --> 00:42:28,556
Speaker 1: like this show and others from Pushkin, consider subscribing to

687
00:42:28,676 --> 00:42:32,556
Speaker 1: Pushkin Plus. Pushkin Plus is a podcast subscription that offers

688
00:42:32,596 --> 00:42:36,236
Speaker 1: bonus content an uninterrupted ad free listening for four ninety

689
00:42:36,316 --> 00:42:38,916
Speaker 1: nine on a month. Look for Pushkin Plus on Apple

690
00:42:38,996 --> 00:42:42,596
Speaker 1: podcast subscriptions, and if you'd like the show, please remember

691
00:42:42,636 --> 00:42:45,116
Speaker 1: to share, rate and review us on your podcast, Apple,

692
00:42:45,356 --> 00:42:48,076
Speaker 1: our theme music. Expect any beats. I'm Justin Richmond,